The Roger Hector ArchivesPART 1 · ONLINE AUCTION

A graduate of ArtCenter College of Design and recipient of a full General Motors scholarship, Hector entered the field of industrial design during a particularly difficult moment for the American automobile industry. The 1973–74 oil crisis dramatically altered the employment landscape for young automotive designers, redirecting Hector toward Huffy, where he applied his training to bicycles, recreational products, retail displays, and related industrial-design projects.

This archive documents that formative period of Hector’s career and the transition that would ultimately bring him to Atari. Included are original and period materials retained by Hector from his work at Huffy, including 1973 and 1976 Huffy catalogs; original prototype muscle-bike decals and placards, an original design drawing for a three-wheeled bicycle; an original retail-display rendering (both signed) and Hector’s handwritten inventory of the portfolio he assembled as he prepared to pursue his next position with reference slides showing many of his creations, such as a wind powered bicycle and even a prototype solid aluminum prototype bike reminiscent of a futuristic Syd Mead like creation. At the center of the archive is Hector’s handwritten letter of May 3, 1976, sent to Pete Takaichi at Atari. Written as Hector and his family contemplated a move toward San Jose, the letter provides a remarkable contemporaneous record of the moment immediately before one of the defining transitions of his career. In describing his portfolio, Hector noted that security restrictions at Huffy limited some of the work he could show, while outlining the breadth of material he was able to present, including bicycle designs, displays, catalog work, three-wheeled vehicle concepts, seating, fairings, and automotive and motorcycle studies.

Then, near the conclusion of the letter, Hector made his interest unmistakable:“Atari is a great attraction to us.”Within weeks, Hector would join Atari, beginning a new chapter that would place him inside one of the most consequential periods in the history of the emerging video game industry.

His offer letter on Atari letterhead dated June 1st, 1976 is included also, in part:“You will be reporting to Peter Takaichi...We are sure you will be an asset to our company and look forward to a rewarding relationship with you.” signed Penny Chapler, Personnel Manager, Atari. Countersigned Roger Hector. Preserved together for approximately half a century, this archive captures the young designer immediately before before his transition to Atari—not retrospectively, but through the drawings, working materials, catalogs, and correspondence he created and didn't leave behind as he prepared to leave "traditional" industrial design behind and apply his craft to the rapidly developing world of interactive entertainment. The archive and especially the bicycle decals remain In overall fine condition. Accompanied by Roger Hector's signed letter of provenance.

Roger Hector's Atari Employee Handbook, 1976 — Atari 1976 Employee Handbook issued to Roger Hector with its original tipped in sick-leave memorandum and medical/dental comparison material, 1976. In fine condition with a small circular scribble on the inside back page in an unknown hand. The crisp and vibrant yellow cardstock cover is bound so that the pages within are upside down. Included is a copy of the August 1976 issue of Play Meter Magazine in which Hector is pictured in the front inside cover (far left) watching Pete Takaichi playing the hit 1976 racing game, LeMans along with other Atari staff. Accompanied by Roger’s original Atari employee store price sheet. Accompanied by Roger Hector's signed letter of provenance.

VidCom Prototype with Original Shipping Box, c. 1979 — Prototype unit with its original manual and leatherette case; original, period shipping box dated February 19, 1980, addressed to Stephen Bristow, VP of Engineering at the time. There is a Basic Telecommunications Corporation return address and a much later Barrie Ellis Special Effects label in the UK along with a Microsoft shipping manifest from 2017 stating that this was the item shipped to Barrie Special Effects in the UK. A fun mystery for the future owner to unfold. Likely one of only a few known examples (the original custom case and instruction booklet likely make this example exceedingly rare). The piece comes with its original, white label, unbranded re-chargable batteries, it appears to be a working or engineering prototype. It has not been tested. The VidCom was designed as a communication aid for the speech impaired and assisted a user by displaying either a typed or already available word on a classic red LED screen on a rectangular front of the device. The letters and various action words are displayed on the large keypad. With the classic combo of brown and orange color scheme - this unassuming device from the late 70’s that would have fit perfectly in the decor of any home and, very likely, helped many people if it had ever made it to market. The prototype is in overall fine condition. Accompanied by Roger Hector's signed letter of provenance.

Hector's ambition led him to new designs displayed in many original renderings like the three shown here. Roger's philosophy was to get as many people engaged as possible and the improved upon cocktail table with a molded fiberglass top and video game cabinet was a brilliant way to do so as it was already a two-player game. He would go on to secure patent # 250,666 for his unique innovative design . Included are original transparencies as well used in securing this patent with the unreleased version of PoolShark pictured on the table's screen. A wonderful example of industrial design being utilized to bring gamers together in friendly competition. Accompanied by Roger Hector's signed letter of provenance.

Two items: Original Pong Advertising Slick c. 1974 and a rare issue of the internal employee newsletter St. Pong - Revisited from Spring 1979. Atari’s in-house newsletter was established in Spring of 1973 as The Gospel According to St. Pong after an in-house competition of 53 suggested names (the winner being Dennis Flinn of the purchasing department at the time). He also won a Hitachi TV. “Founded in service to the Atari family,” read the initial masthead. According to an archived 2nd issue, “A committee of Atarians” chose from a list of candidates.

It's important to note that after less than 3 years, Roger would work side by side with Al Alcorn, founder of the engineering department and inventor of Pong. They would run the Advanced Products Division, and in the process, develop the first commercial use for a hologram with Cosmos. An insightful and neat association piece from the dynamic design and engineering duo of Alcorn and Hector.

Accompanied by Roger Hector's signed letter of provenance.

Rare original Atari ProVision prototype design photographs and transparencies from the collection of Roger Hector, former Manager of Atari's Advanced Products Group.

Developed around 1981, the Atari Pro Vision was an experimental home entertainment system designed to consolidate Atari's existing consumer video game library into a single, self-contained unit. Conceived as an elegant piece of living room furniture, the system incorporated game electronics, controllers, and accessories within a rolling end-table cabinet.

Unlike Atari's conventional cartridge-based Video Computer System (VCS), the Pro Vision housed its game ROMs on a single circuit board, allowing users to select games through capacitive touch-sensitive switches located on the cabinet's upper surface. The system also featured its own power supply, integrated storage compartments for controllers, and headphones concealed beneath a hinged top.

According to Hector, a fully operational prototype was constructed by Atari's Advanced Products Group and demonstrated to company executives in Atari's mock living room established within Atari's research and development offices (5 x 4 in transparencies present here). Despite reaching the working prototype stage, the Pro Vision was never placed into commercial production.

The Pro Vision represents an early attempt to integrate an electronic video game library into a dedicated home entertainment center, anticipating the concept of centralized, readily accessible game libraries that would become commonplace decades later.

Accompanied by Roger Hector's signed letter of provenance.

Two original Atari-branded game cartridge storage binders from the personal collection of Roger Hector, former Manager of Atari's Advanced Products Group. Each binder is finished in brown leatherette with gold Atari insignia and decorative borders, opening to reveal fitted black plastic trays designed to accommodate eight Atari 2600 cartridges.

The binders contain 16 original Atari game cartridges, including Space Invaders, Asteroids, Missile Command, Warlords, Adventure, Breakout, Combat, Video Olympics, Brain Games, Video Chess, Dodge 'Em, Othello, Backgammon, Canyon Bomber, Maze Craze, and Basic Math. The selection represents a cross-section of Atari's early home video game library, encompassing arcade adaptations, sports, strategy, educational titles, and original console games.

Accompanying the binders are original Atari game-title identification strips, featuring dozens of titles from the company's early cartridge library, including Superman, Night Driver, Star Ship, Pele's Soccer, and Warlords with some titles missing. Additional materials include an Atari Video Computer System owner's manual, instruction booklets for Basic Math and Video Chess, and a multilingual Warlords instruction booklet bearing Roger Hector's handwritten signature.

Of particular interest is the inclusion of Warlords, a title closely associated with Hector's work at Atari as he was the first person to bring storyboards along to one of Nolan Bushnell's early brainstorming meetings in which he developed the idea for Warlords.. Also present are loose game-title identification labels for Star Ship and Night Driver, along with additional printed game documentation.

Both binders retain their original molded cartridge trays and exhibit age-appropriate wear, including surface scuffs and handling marks to the leatherette coverings. The accompanying paper materials show varying degrees of handling and age.

An attractive surviving pair of Atari-branded cartridge storage binders, preserved with their original contents and related materials by an early Atari executive. Accompanied by Roger Hector's signed letter of provenance.

1976 eight-page advertising slick announcing Atari's acquisition by Warner Communications in addition to featuring their flagship game, Pong rather heavily in addition to the Pong home console on assembly lines. An early and interesting look at Atari right as the changing of the guard from Bushnell to Ray Kessar would take place.

Accompanied by Roger Hector's signed letter of provenance.

Fantastic McDonald's/Atari archive, including the original presentation box marked “McDonald's / Atari 1979,” an internal proposal of guidelines for how to incorporate Atari games into popular restaurants overall, and Hector's signed and dated original designs and renderings, with related technical build designs. Includes the original patent issued to Roger Hector for his work in developing several fantastically original ideas, focused on engaging kids into being entertained whether in the drive-thru or even earning tokens after ordering their meal at the kids counter to be used in the arcade game hanging from the ceiling, reminiscent of the game Candy Land in which Ronald McDonald has to find his way back to McDonald's. . What this reflects, especially with the internal Atari proposal, is not only a proof of concept, but also Roger Hector's ability to incorporate specific corporate goals into something engaging and remarkable for those experiencing them, even as something as mundane as a fast food restaurant. Ultimately, we see the makings of an incredible partnership with the biggest entertainment company in the world and the most successful restaurant of all time. The incorporated "Touch Me" handheld game is interesting as well. This was one of the very few projects, aside from Breakout, where Steve Jobs was involved in the design. Roger notes that these special presentation boxes were designed to look unassuming and reminiscent of a Big Mac box at the time so that they would be familiar to the 3 executives that received one during his presentation at McDonald's headquarters in Chicago, where these drawings would be presented. Ultimately, the Kid's Counter was adopted in some test markets. Presentation box measures: 9.5 in x 7 in10 Concept Drawings: 9 of which measure 17 in x 11 in (with one smaller example of a drive thru TV measuring 9.5 x 5.5 in)Accompanied by Roger Hector's signed letter of provenance.

An important eight-page original storyboard for the arcade game King Me, identified by Roger Hector as the earliest conceptual iteration of Gridlee, the unreleased Videa arcade game whose underlying hardware would ultimately evolve into the Bally/Sente SAC-I arcade system. Accomplished in ink and pencil, the format is an unusual paper stock with borders that mimic the view of an arcade or home TV screen. Created during the formative period of Videa, Inc., the company founded by former Atari engineers and designers Roger Hector, Ed Rotberg, and Howard Delman, the storyboard provides a remarkably early look at the development of ideas that would become recognizable elements of Gridlee. Across the sequential panels are the grid-like playing field, one-eyed creatures, character movement, and other visual concepts that would be refined for the later arcade game. Each storyboard panel is accompanied by handwritten descriptive captions, documenting the game while it was still being worked out as a concept under the title KING ME.Gridlee was developed by Videa in 1982, with Ed Rotberg programming the game, Roger Hector responsible for video graphics, Howard Delman designing the hardware and sound, and Paul Brandt serving as technician. The resulting game placed the player on a grid of individual squares, collecting bouncing balls while avoiding or shooting enemies moving above the playing field. Opponents could charge sections of the grid or otherwise interfere with movement, making the changing playfield itself an important part of the gameplay.

Gridlee never reached commercial production, and only one dedicated working machine is known to survive. Its importance, however, extends considerably beyond the rarity of the game itself. Howard Delman's hardware architecture for Gridlee was subsequently developed into the Sente SAC-I, the cartridge-based arcade platform later associated with Bally/Sente and used for games including Snake Pit, Stocker, and Hat Trick. Videa was acquired by Pizza Time Theatre, and its personnel and technology formed the core of the newly established Sente Technologies.

Gridlee also achieved an unusual second life in arcade preservation. In 2001, Videa co-founders Hector, Rotberg, and Delman authorized the original Gridlee ROM images to be freely distributed for noncommercial use through MAME, preserving a game that otherwise existed in essentially a single surviving arcade machine.

This storyboard therefore documents more than an abandoned working title. It records the earliest known creative stage in a direct developmental sequence from King Me to Gridlee and, ultimately, to the hardware lineage of the Bally/Sente SAC-I system—an unusually tangible record of arcade game development at the moment Videa emerged from the engineering culture of Atari and began developing the technology that would define Sente.

Each storyboard page measures 8.5 x 7 in. Accompanied by Roger Hector's signed letter of provenance.

Nolan Bushnell's Issue of Replay Magazine tossed to Roger and addressed at their Catalyst building. A cardstock and off centered ad for Night Stocker stands out as Hector recalls Nolan playfully tossing this to him in the office and saying "It worked!" - they had slyly and successfully inserted their cardstock ad at the last minute after paying for a full page ad for the Night Stocker shooting/racing game in that month's issue of Replay so that when opened, you flipped directly to the ad. A small win but a win nonetheless in an increasingy competitive Silicon Valley at the time. Interestingly, the stakes may have been even higher, as their add likely received more views than the Atari full page on the back cover of the magazine for a similar steering wheel and gas pedal game (but without the monsters or shooting of Stocker) called Atari Sprint. The Sente ad is also present - so another attribution showing the dominance of Hector and Bushnell growing their ideas in the Catalyst building. A neat and insightful artifact owned by one of the most competitive video game pioneers of all time! Accompanied by Roger Hector's signed letter of provenance.

Atari Cosmos Holographic Game System – Original Prototype Photograph Transparency 5 x 4 in, (c. 1980–1981) depicting the unreleased Atari Cosmos holographic handheld game system, developed by Atari's Advanced Products Group under the direction of Roger Hector. The photograph shows a Cosmos prototype with its Asteroids game identification panel installed, accompanied by a matching Asteroids game package bearing the slogan "The Third Dimension." The system is displayed against a pale blue background featuring repeated Atari corporate graphics, providing a period presentation image of the proposed consumer product. Developed between 1978 and 1981, Cosmos represented Atari's ambitious effort to introduce holographic imagery into electronic handheld gaming. The system combined interchangeable holographic scenes with a programmable LED display, creating the appearance of gameplay within a three-dimensional visual environment. The project was developed through Atari's Holoptics Laboratory building, which was essentially an anti-vibration cleanroom with Al Alcorn playing an instrumental role in assembling and supporting the research team. Although Cosmos was publicly demonstrated and attracted substantial retailer interest at the 1981 New York Toy Show, Roger and Al were told the project hadn't been "rescheduled until next year" for commercial distribution as soon as they got back to CA. After this, Roger and Al left Atari with Al "going to the beach" and Roger starting Videa before teaming up with Bushnell. The surviving prototypes and original development materials rarely show up and provide an important record of the company's experimental work in holographic entertainment. This original transparency, preserved by Hector, documents the presentation and proposed marketing designs of the Cosmos system with its interchangeable game program. A fascinating peak at what could have been from the inventor's own personal files, and the an image that has never been published before as it originates from the personal Cosmos developmental archives of Roger Hector. Accompanied by his signed letter of provenance. Measures 5 x 4 in.

Nolan Bushnell / Chuck E. Cheese Automated Pizza Machine Presentation Rendering c.1976 — oversized 24.5 × 16 inch hand-drawn presentation rendering by Hector, depicting an elaborate Rube Goldberg-like automated pizza production concept created during the formative brainstorming years prior to Chuck E. Cheese. Roger notes : “I did that at Atari right after I arrived in the summer of 1976. I had a small office in the old roller skating rink where Atari started and my drafting table was right near Nolan’s office. Nolan was obviously the boss and one day he was spitballing ideas out loud for a pizza restaurant with animatronics where parents could have pizza and enjoy some time alone with the animatronic entertainment while their kids played games in the arcade, so after hearing his ideas, I came up with this drawing and showed it to him as kind of a concept of the theme. also, he used to walk the floor after everyone had left the building and take my drawings on occasion, so I thought I would just draw him something he might like for an idea of what I thought Chuck E. Cheese sounded like based on Nolan’s vision that day not long after I started. Provenance: The Roger Hector Collection Measures 24.5 x 16 in. Accompanied by Roger Hector's signed letter of provenance.

Original Atari Concept Art for "Arcade Lounge", Roger notes that after Warner purchased Atari, he was tasked to come up with several ideas as to how the arcade experience could be more sophisticated and adult oriented with elegant, fine lounges. The first was to be placed in the lobby of the new Atari headquarters after leaving the old roller skating rink. Provenance: From the Roger Hector Collection.

Measures 30 x 20 in. Accompanied by Roger Hector's signed letter of provenance.

Original Atari corporate folder containing an internal employee profit-sharing and sales incentive plan for the company's engineering department, dating to Roger Hector's early tenure at Atari.

The materials offer a look at Atari's internal operations during its formative years, when the company was rapidly expanding its engineering and product development activities. The incentive program reflects the company's efforts to reward employee contributions and connect its engineering staff with the commercial success of its products.

Retained by Roger Hector, who joined Atari in 1976 and served as Manager of Advanced Products, the folder provides an interesting example of the company's early corporate culture and employee compensation practices. Provenance: From the personal collection of Roger Hector.

Condition: Overall fine condition. Accompanied by Roger Hector's signed letter of provenance.

Roger Hector's “Port-a-Dog” Atari Concept Drawing, dated February 1979 — Novelty original pencil concept on Atari Advanced Products stationery for an “Adjustable Dog Carrier,” prominently titled “PORT-A-DOG,” signed/released “R. Hector” and dated 2/79. This "design" is a testament to the fact that both Roger and Atari were a great match as both did indeed “Take Fun Seriously”. A very cool little "one off" that would be at home in Mad Magazine, executed with the double-take talent of a serious industrial designer. Accompanied by a signed letter of authenticity from Roger Hector.

Original 1981 shareholder annual report for Chuck E. Cheese's Pizza Time Theatre, the pioneering family entertainment and restaurant chain established by Atari co-founder Nolan Bushnell. Dating to the company's early expansion, the report documents an important period in the development of its distinctive combination of coin-operated arcade games, themed dining, and computer-controlled animatronic entertainment.

Founded in 1977, Chuck E. Cheese's Pizza Time Theatre represented Bushnell's effort to combine the rapidly growing video game industry with a new form of family entertainment. Central to the concept was a cast of mechanical characters that performed musical numbers, exchanged jokes, and interacted through synchronized movements and prerecorded dialogue.

The original Pizza Time Theatre characters included Chuck E. Cheese, initially portrayed as a wisecracking, cigar-smoking rat dressed in a vest and derby hat; Jasper T. Jowls, a country-music-loving hound; Pasqually, an Italian pizza chef and musician; Mr. Munch, a purple creature with an enormous appetite; and the Warblettes, a trio of singing birds. Other early performers included Madame Oink, a theatrical singing pig, and The King, an Elvis-inspired lion. These characters established the distinctive visual identity and humor of the original restaurants, substantially different from the more familiar Chuck E. Cheese branding of later decades.

The animatronic performers, developed using the company's proprietary Cyberamics technology, incorporated electronically controlled mechanical movements synchronized with prerecorded audio. Computerized control systems coordinated the figures' mouths, heads, eyes, and other movements with songs and dialogue, creating the impression of a live theatrical performance. Their integration into the restaurant environment was an important early commercial application of robotic entertainment outside traditional amusement parks.

By 1981, Pizza Time Theatre was expanding rapidly, and its animatronic characters had become a defining feature of the business. The company's approach drew upon Bushnell's experience in electronic entertainment at Atari, bringing together computer technology, character design, music, and arcade gaming in a single family-oriented setting. The elaborate character performances also helped distinguish Pizza Time Theatre from conventional pizza restaurants and competing arcade establishments.

This original shareholder report dates to an important period in the company's development, when Pizza Time Theatre was establishing its recognizable cast of characters, refining its animatronic technology, and expanding its restaurant operations nationally. Beyond its financial and corporate content, the publication provides a contemporary record of an early chapter in American animatronic entertainment and the emergence of a restaurant concept that would become a fixture of childhood popular culture.

Provenance: From the personal collection of Roger Hector, former Atari Advanced Products manager. Accompanied by Roger Hector's signed letter of provenance.

Early material from Atari including a signed advertising fold-out advertising slick for pinball game Middle Earth, distributor Atari slick and a signed copy of an office self-portrait of Hector while seated at his drafting desk at Atari. Originally named Lost World, Middle Earth (1978) the production artwork is associated with Roger Hector, who documented his work on the game's cabinet design and production graphics under Atari art director and Atari Logo creator, George Opperman. Who started in the arcade game graphics department and eventually became the Atari Advanced Products manager with Al Alcorn soon after.

Accompanied by Roger Hector's signed letter of provenance.

The Lion & Compass Agreement Napkin Deal (c. 1982) Written on an original Lion & Compass restaurant napkin, this handwritten agreement documents the meeting leading to Videa’s formation and acquisition by Bushnell for Pizza Time Theater. Drafted by Atari marketing director, Gene Lipkin during a 1982 evening meeting at Nolan Bushnell’s Lion & Compass restaurant in Sunnyvale, California, with Bushnell, Roger Hector, Ed Rotberg, Howard Delman, and Lipkin in attendance. Bushnell’s non-compete following the sale of Atari to Warner was nearing its conclusion; Roger The significance of this informal agreement soon extended well beyond the restaurant table. Within roughly a year of Videa's formation, Nolan Bushnell was preparing his return to the video game industry as the seven-year non-compete associated with his sale of Atari to Warner Communications approached its expiration. Bushnell's Pizza Time Theatre acquired Videa in a deal subsequently reported at $2.2 million, transforming the young company into Sente Technologies and providing Bushnell with an established team of veteran Atari designers and engineers through which to re-enter the coin-operated game business.

The acquisition was consequential enough to prompt Atari to sue Bushnell in 1983, arguing that his preparations violated the still-active non-compete. The dispute was settled that May, and Sente formally began operations on October 1, 1983, coinciding with the expiration of Bushnell's restriction. Following Pizza Time Theatre's financial collapse the next year, Bally agreed to acquire Sente's assets for a reported $3.9 million.

A remarkable artifact preserved by Hector and stored in his filing cabinet for over 40 years, a company whose beginnings are recorded on this simple Lion & Compass napkin progressed in little more than two years from an informal agreement among a small group of Atari veterans to successive multimillion-dollar acquisitions and an established place in the American arcade industry. In addition, a side deal was made a few days later, as Bushnell added one verbal caveat to the agreement and requested a favor from Hector. He notes "He asked me to make a desk for his catalyst building, the huge building that would become one of the first major incubators in Silicon Valley and ultimately had roughly 20 people working there on various projects. He had two requirements, "Make it futuristic and hide the damn phone!" I came up with this preliminary sketch, and after some tweaks, he approved and had the chrome legged and glass topped desk made." Also included in Roger Hector's original file are copies of the original want-ads for Videa engineers, developers and sales people. An original postcard from Bushnell's restaurant is also included. The Lion & Compass was a restaurant that Nolan has initially visited in London. He liked it so much, he purchased everything in the building and had it shipped to Sunnyvale, including the bar. The one addition he would make was a Wall Street style digital ticker display that would scroll in realtime and border the ceiling of the restaurant updating the power players of 1980's Silicon Valley as to where the stock prices for the day stood. From the personal collection of Roger Hector, former Atari Advanced Products manager. Accompanied by Roger Hector's signed letter of provenance.

Hector notes that after seeing Star Wars, "there was no greater motivation at the time to reproduce what I had just witnessed on screen in game form". He would go on to create many renderings and concepts, even actual wooden mockups of space shooter games as early as 1977, the same year of the movie's release. Here, he renders an idea for a primarily projection screen based multiplayer game that is incredibly advanced with battle stations for each player along with a large trackball inspired by the arcade game, Football. Even as a concept it invokes Syd Mead and his famous drawing of what gigantic walking, robotic mammoths, that look like one day in his 1960's works for US Steel. Roger notes "I have always been inspired by Syd Mead, a fellow alumnus of ArtCenter and many of my drawings show his influence." Paired with this is a concept for a space age desk that would have been planned for the lobby of the new Atari building after Warner bought them. According to Roger "The idea was to show off the capabilities of the computers at a special Atari Computer Desk that would have three projections screens for Music, Video Games, and a demo of some kind" From the personal collection of Roger Hector, former Atari Advanced Products manager. Condition: Fine condition.

Accompanied by Roger Hector's signed letter of provenance.

Original Videa proprietary development cartridge shell for Meltdown, initially developed under the working title Atom Smasher. The cartridge dates to the early years of Videa, the independent video game development company founded in 1982 by former Atari employees Roger Hector, Ed Rotberg, and Howard Delman.

Following their departure from Atari, the three established Videa to pursue new opportunities in arcade and home video game development. Among the company's early projects was Atom Smasher, programmed by David Ross for the Atari 2600. The game was licensed to 20th Century Fox, which renamed it Meltdown and demonstrated it at the 1983 Winter Consumer Electronics Show. However, amid the collapse of the North American video game market, Fox ultimately abandoned its planned release, and the rights reverted to Videa.

According to Roger Hector, he subsequently negotiated the sale of the game to Atari in a meeting with company CEO Ray Kassar. Hector recalls returning the following day to collect payment, only to discover that Kassar was no longer with the company. Nevertheless, the check was waiting for him. Hector remembers this as likely the final game he personally sold to Atari, marking an unusual conclusion to his dealings with his former employer.

Hector also recalls making minor refinements to the game's graphics as Videa continued pursuing commercial opportunities for the title. Following Videa's association with Atari co-founder Nolan Bushnell and its transition into Sente, Atom Smasher found another application as a demonstration game for Cumma Technology's MetaWriter, an experimental system designed to write video game software onto reusable cartridges at retail locations. The game was demonstrated with the system at the 1984 Winter Consumer Electronics Show.

The original cartridge shell, bearing handwritten development identification, survives as a tangible artifact of Videa's early work and the complicated commercial history of an unreleased Atari 2600 game.

Provenance: From the personal collection of Roger Hector, co-founder of Videa and former Atari Advanced Products manager.

Accompanied by Roger Hector's signed letter of provenance.

Original Electronic Arts packaging review mockup for Skate or Die!, accompanied by an original store advertising slick prepared for internal review.

Released by Electronic Arts in 1987, Skate or Die! was one of the defining early skateboarding video games, combining five events—including half-pipe, downhill racing, freestyle, pool joust, and downhill jam—with the irreverent visual style that became closely associated with the title. The game was originally developed by Michael Kosaka, Stephen Landrum, and David Bunch and first appeared for the Commodore 64 before being adapted to additional platforms.

The present piece is a pre-production sleeve mockup, created to review the game's retail presentation before final manufacture. Such mockups allowed Electronic Arts personnel to evaluate artwork, typography, layout, and shelf impact in physical form rather than from flat proofs alone. Also included is an original point-of-sale advertising slick prepared for review.

Both pieces were retained by Roger Hector, who served at Electronic Arts as Executive Producer overseeing all Sports, Action and Arcade titles during this period, including Skate or Die!, PGA Tour, and John Madden Football.

An appealing example of late-1980s Electronic Arts production material, preserving the visual-development process behind one of the era’s most recognizable action-sports titles.

Condition: overall fine, with some splitting and tape loss along the upper hinge/spine of the mockup; graphics remain bright and clear. Accompanied by Roger Hector's signed letter of provenance.

Original pre-production packaging mockup prepared for internal review by Electronic Arts for Power Play Hockey: USA vs. USSR, released in 1988 for the Commodore 64 home computer.

Developed by Dennis Kirsch and Mark Madland, with music by noted video game composer Rob Hubbard, Power Play Hockey recreated the intense international rivalry between the United States and Soviet Union national hockey teams. Released during the final years of the Cold War, the game drew upon one of the most recognizable rivalries in international sports, particularly following the American team's celebrated "Miracle on Ice" victory over the heavily favored Soviet Union at the 1980 Winter Olympics in Lake Placid.

Unlike conventional hockey simulations featuring professional league teams, Power Play Hockey focused specifically on competition between the two nations, offering one- and two-player gameplay. Its subject reflected the enduring cultural significance of international hockey during a period when athletic competition between the United States and Soviet Union carried considerable political symbolism.

The present mockup represents the pre-production packaging review process at Electronic Arts, documenting how the company developed and evaluated the commercial presentation of its software before final production. Such materials were prepared for internal consideration of a game's visual identity, marketing appeal, and retail presentation, rather than distribution to consumers.

Retained in the personal collection of Roger Hector, who worked with Electronic Arts during his career in video game development, this original packaging mockup offers a surviving example of the company's late-1980s software production and marketing practices.

Provenance: From the personal collection of Roger Hector. Accompanied by Roger Hector's signed letter of provenance.

Original Electronic Arts pre-production packaging mockup prepared for internal review for Dragon's Lair, the landmark fantasy video game originally introduced to arcades by Cinematronics in 1983.

Created by Rick Dyer and featuring animation directed by former Disney animator Don Bluth, Dragon's Lair represented a significant departure from conventional arcade games of the period. Using LaserDisc technology, the game presented animated sequences with a visual quality far beyond that of contemporary sprite-based graphics. Players controlled Dirk the Daring, a hapless knight attempting to rescue Princess Daphne from the dragon Singe, navigating a series of hazards through precisely timed directional commands.

The game's commercial success led to numerous adaptations for home computers and video game consoles. Electronic Arts participated in distributing the home-computer version developed by Software Projects, bringing the celebrated arcade property to the Commodore 64 market.

The present packaging mockup represents an intermediate stage in the commercial production process, when proposed artwork, typography, layout, and promotional presentation could be evaluated before approval for retail manufacture. Such materials were intended for internal examination rather than consumer distribution and provide an uncommon look at the development of video game packaging during the industry's formative years.

Retained in the personal collection of Roger Hector, who worked with Electronic Arts during his career in video game development, this mockup documents the company's involvement with one of the most recognizable titles in early video game history. It offers a connection between the pioneering animated arcade game and its subsequent adaptation for the home-computer market.

Provenance: From the personal collection of Roger Hector. Accompanied by Roger Hector's signed letter of provenance.

Original pre-production packaging mockup for Caveman Ugh-Lympics, the prehistoric sports-comedy video game developed by Dynamix and published by Electronic Arts in 1988. Retained by Roger Hector from his period of freelance work with Electronic Arts during the company's formative years.

Originally released for the Commodore 64 in 1988, Caveman Ugh-Lympics offered an irreverent interpretation of the Olympic Games, replacing traditional athletic competition with a series of absurd prehistoric contests. Players selected from a cast of cartoon cavemen and competed in events including clubbing, fire-making, dinosaur racing, saber-toothed tiger racing, mate tossing, and the appropriately named Dino Vault. Combining exaggerated animation, unconventional controls, and slapstick humor, the game became a memorable example of the inventive and frequently unconventional software produced during the late 1980s.

The game was subsequently adapted for MS-DOS in 1989 and the Nintendo Entertainment System in 1990, where it was released under the title Caveman Games.

The present mockup represents the packaging development process at Electronic Arts, when proposed box designs were assembled and evaluated before final production. During this period, Electronic Arts placed particular emphasis on the visual presentation of its software, treating packaging as an important means of distinguishing its products in the increasingly competitive home computer market.

Unlike commercially distributed retail boxes, pre-production mockups were prepared for internal evaluation of artwork, typography, layout, and overall presentation. These materials provide a record of the creative and marketing decisions involved in bringing a video game to market and were not intended for general consumer distribution.

The original retail packaging artwork for Caveman Ugh-Lympics is credited to cartoonist Phil Frank, with packaging design credited to Woolward, Dickson & Company. The present mockup offers an opportunity to examine the game's packaging during its development, although the extent to which it differs from the final commercial design has not been established.

Preserved among Roger Hector's professional materials, this original Electronic Arts mockup documents an early stage in the commercial presentation of a distinctive late-1980s computer game.

Provenance: From the personal collection of Roger Hector, retained from his work as Executive Producer of Sports, Action and Arcade games with Electronic Arts. Accompanied by Roger Hector's signed letter of provenance.

Original sealed review copy of Earl Weaver Baseball, published by Electronic Arts in 1987 for home computers. Retained in the personal collection of Roger Hector, who worked with Electronic Arts during an important period in the company's early development.

Developed by Eddie Dombrower, with contributions from Don Daglow and legendary Baltimore Orioles manager Earl Weaver, the game was a significant advancement in computer sports simulations. Rather than simply reproducing the action of baseball, Earl Weaver Baseball combined arcade-style gameplay with detailed statistical modeling, sophisticated managerial strategy, and an unusually comprehensive set of customization features.

Weaver, a Hall of Fame manager who led the Baltimore Orioles to four American League pennants and the 1970 World Series championship, contributed directly to the game's development. His managerial philosophy was incorporated into its artificial intelligence, allowing players to compete against a computer opponent whose decisions reflected Weaver's actual approach to baseball strategy. The game even included an "Ask Earl" feature, offering strategic recommendations during play.

Among its innovations were customizable teams and players, detailed statistical tracking, season-long competition, and the ability to create and modify baseball stadiums. The game also incorporated animated players, ball-flight physics, and, in its Amiga version, digitized sound and commentary. These features helped establish a new standard for realism and depth in computer sports games.

Earl Weaver Baseball received considerable critical acclaim, including recognition as Computer Gaming World's 1987 Game of the Year. Its combination of real-time action and statistical simulation influenced subsequent generations of baseball video games and helped establish Electronic Arts' reputation for sophisticated sports software, preceding the enormous commercial success of the company's later EA Sports franchises.

The present example is identified as a sealed review copy, a designation associated with software supplied for evaluation by journalists, reviewers, or industry personnel rather than conventional retail distribution. Such copies provide a connection to the promotional and critical reception process surrounding early computer games. Preserved among Hector's professional materials, this sealed example represents an early title in the development of Electronic Arts' influential sports game catalog.

Provenance: From the personal collection of Roger Hector, former Electronic Arts executive and video game industry pioneer.

Condition: Overall fine condition and sealed. Accompanied by Roger Hector's signed letter of provenance.

Original review copy of Julius Erving and Larry Bird Go One-on-One, one of the earliest sports titles published by Electronic Arts and an important predecessor to the company's enormously successful EA Sports franchise. Accompanied by a period Commodore 64 magazine cover featuring Michael Jordan in his famous airborne pose, with an article discussing Jordan vs. Bird. The complete magazine is not included.

Released in 1983 for the Apple II and subsequently adapted for the Commodore 64 and other home computers, One-on-One was developed by Eric Hammond and produced by Electronic Arts during the company's earliest years under founder Trip Hawkins. The game featured two of professional basketball's most recognizable players: Julius "Dr. J" Erving of the Philadelphia 76ers and Larry Bird of the Boston Celtics.

Rather than simply licensing their names and likenesses, Electronic Arts enlisted both players to contribute to the game's development. Hammond consulted with Erving and Bird to study their playing styles, movements, and individual strengths, incorporating their feedback into the game's design. Players could select either athlete, with differences in speed, shooting ability, defense, and physical play reflecting their real-world counterparts athleticism in addition to their mentality as their perspectives provided key, revolutionary aspects of the gameplay being authentic. The game introduced a remarkably sophisticated approach to basketball simulation for its time, featuring animated athletes, realistic shooting and defensive mechanics, player fatigue, instant replays, and a memorable sequence in which an especially powerful dunk could shatter the backboard. These features helped distinguish One-on-One from earlier electronic basketball games.

The title also represented an important development in the use of professional athletes to market computer software. Its combination of recognizable sports personalities, individualized gameplay, and sophisticated presentation anticipated the formula that would later become central to the EA Sports brand, including the company's celebrated Madden NFL and NBA Live franchises. The accompanying Michael Jordan magazine cover provides an interesting connection to the next generation of basketball video games. Jordan's emergence as an international sports figure during the 1980s would eventually lead to Electronic Arts' Jordan vs. Bird: One on One (1988), a spiritual successor to the original Erving and Bird title.

The present review copy represents an example of the promotional and evaluation materials associated with Electronic Arts' early software releases. Retained in the personal collection of Roger Hector, who worked with Electronic Arts during his career in video game development, the group documents the formative years of a company that would become one of the industry's leading sports game publishers.

Provenance: From the personal collection of Roger Hector.

Condition: Overall fine condition. Accompanied by the original magazine cover page only; the complete magazine is not present.

Accompanied by Roger Hector's signed letter of provenance.

The primary oversized drawing is a Six Flags theme park 10 person concept ride. One of Roger's most ambitious multi-player video games with 10 players following both their own monitors and an oversized projection screen. Mixed medium with original photography, air brushed spotlighting, water color, marker and others. A fascinating study of light and everything needed to make a thoughtfully fun ride that tries to get as many racers together as possible for what looks like, a thoroughly exciting race! Also included are two other original period reference images of both Indy Racing and a multiplayer arcade race game as well.

From the Roger Hector Collection. Measures 30 x 20 inAccompanied by Roger Hector's signed letter of provenance.

Original Androbot material from the collection of Roger Hector, documenting the early personal robotics venture founded by Nolan Bushnell following his departure from Atari. Established in the early 1980s as part of Bushnell’s Catalyst Technologies group, Androbot developed a series of consumer-oriented robots including B.O.B. (“Brains On Board”) and TOPO, promoting them as educational, domestic, and entertainment-focused machines at the dawn of the home robotics market. Contemporary accounts describe Androbot as one of the earliest companies to seriously market “personal robots” for home use, while period coverage specifically identifies Bushnell as the company’s guiding force and names B.O.B. and TOPO among its principal products.

Included is a substantial Androbot promotional brochure beginning with the slogan “You’re in the Year 1 A.B.” and containing illustrated sections on the company, its “first generation Androbots,” and the models B.O.B. and TOPO. Particularly notable is the brochure’s technical spread titled “Andromotion: The Wheel Reinvented,” which discusses the wheel-and-drive concept used in the company’s robots. According to Roger Hector, he designed the wheel markings so an internal camera could read wheel motion, determine speed, and help the robot maintain balance—an especially interesting design note that directly connects the surviving printed material to Hector’s engineering contribution.

Also present are original photography that record the robot concept renderings, including a finished color presentation artwork depicting a compact personal robot holding a red balloon, and a signed concept sheet showing the same character with annotations regarding facial expressions, body details, and construction features. These drawings appear to relate to the visual development of Androbot’s consumer robot program and provide a rare glimpse into the aesthetic and functional thinking behind the company’s products. A further point of interest is Roger Hector’s signature within the brochure, reinforcing the material’s direct connection to him and to the company’s formative period while at the Catalyst incubator. Supplementing the robotics material is a Bally/Sente “Moonquake” promotional poster, included with the archive. While separate in subject, it reflects Hector’s broader career in advanced coin-op and technology-driven entertainment design and a very real application of robotics within the game itself. A unique and visually appealing group tying Roger Hector to Nolan Bushnell’s short-lived but ambitious robotics venture, preserving both the marketing language and original design work of an early attempt to bring personal robots into the home.

Provenance: From the collection of Roger Hector. Accompanied by his signed letter of provenance.

Original Atari arcade cabinet concept artwork by Roger Hector, accompanied by two vintage photographic transparencies depicting a constructed example of the modular cabinet design.

The large-format original rendering, signed “Roger Hector” at lower right, illustrates a proposed grouping of modular arcade cabinets, featuring two upright coin-operated video game units with individual monitors and controls, a centrally positioned stacked monitor arrangement, and an accompanying cocktail-table-style game cabinet. Executed in marker and mixed media, the drawing is annotated “Groupings of Modular Cabinets” and depicts the machines in a proposed commercial setting.

The two accompanying Kodak Safety Film transparencies depict a constructed white-and-black cabinet closely corresponding to the design illustrated in the rendering. The photographs show the machine with an elevated monitor, angled control panel, and coin-operated lower cabinet, with a video baseball game visible on the screen.

Hector was responsible for important developments in Atari's early commercial video game cabinet designs. Among these was his patented dual-game cabinet, which accommodated two independently operated video games within a single upright enclosure. Intended particularly for convenience stores and other space-constrained commercial locations, the arrangement allowed operators to offer two games in approximately the floor space ordinarily required for one machine.

Hector received U.S. Patent No. 4,084,194, granted April 11, 1978, for his dual-game cabinet invention. He was also awarded separate Atari cabinet design patents during this period. In a later interview, Hector recalled developing the two-game module and an accompanying cocktail-table cabinet, together with a series of interchangeable game kits permitting operators to change titles using compatible electronics, controls, and wiring.

The original rendering and accompanying photographs document Hector's work in developing practical, space-efficient arcade cabinet configurations during Atari's formative years, reflecting the company's efforts to expand coin-operated video games beyond traditional amusement arcades and into a broader range of commercial environments.

Accompanied by Roger Hector's signed letter of provenance.

Early electronic shopping development archive from ByVideo, Inc., a company established under Nolan Bushnell's Catalyst Technologies venture incubator in Sunnyvale, California, during the early 1980s.

The group includes three period photographs of original concept renderings by Roger Hector, illustrating proposed ByVideo interactive shopping terminals and their placement in public commercial environments. One rendering depicts a seated customer operating a compact video terminal in a retail setting, drink in hand. Another illustrates a freestanding multi-sided shopping kiosk situated in a shopping mall, featuring a central display advertising “Shopping in Paris.” A third depicts a countertop ordering terminal displaying merchandise on a color monitor, accompanied by a dedicated keyboard and credit-card interface.

Also included is an original embossed ByVideo, Inc. business card identifying Nolan K. Bushnell as Chairman, with the company's Sunnyvale address at 1287 Lawrence Station Road.

ByVideo was among the early ventures established at Catalyst Technologies, the business incubator founded by Bushnell following his departure from Atari. Conceived before the advent of commercial internet shopping, the system allowed customers to browse merchandise presented electronically through interactive video terminals via LaserDisc and they could place orders for subsequent fulfillment. Product imagery was supplied through LaserDisc technology, while purchase information was transmitted electronically by modem to a central warehouse.

According to Hector, the ByVideo system was successfully developed into an operational demonstration capable of accepting customer orders, representing an early practical application of electronic retail purchasing. The surviving renderings illustrate the company's vision of making computerized shopping accessible to consumers in malls, retail stores, and other public locations.

Although ByVideo did not develop into a lasting commercial enterprise, its underlying concept anticipated important aspects of modern e-commerce, combining interactive product selection, electronic ordering, and centralized fulfillment years before internet-based retail became commonplace.

A particularly useful source is a 2017 Fast Company history of Catalyst, which confirms that ByVideo displayed merchandise through a LaserDisc-based kiosk and transmitted purchases to a central fulfillment warehouse by modem. This closely matches Hector's firsthand account that the system operated and accepted orders. Bushnell himself discussed ByVideo in his oral history for the Computer History Museum, describing it as a shopping venture that anticipated elements of Amazon's business model.

The material offers a firsthand record of an early electronic commerce venture involving two significant figures in the development of the video game and consumer technology industries, preserving Hector's design work alongside Bushnell during the Wild West period of Silicon Valley. Accompanied by Roger Hector's signed letter of provenance.

Roger Hector Original Atari Electronic Greeting Card Concept Drawings with Atari Employee Portfolio (c. 1979–1982)Original pencil concept drawings by Roger Hector illustrating an early electronic greeting card system utilizing Atari home computer technology. Preserved within a period Atari employee portfolio, the drawings propose a programmable greeting card capable of presenting a personalized electronic message, together with a retail kiosk for preparing and purchasing the cards.

The primary drawing, headed "Electronic Greeting Card – Atari Card!," depicts a foldout greeting card incorporating programmable LEDs and a replaceable paper battery pack. The proposed design combines traditional printed greeting card elements with electronic components, allowing customized messages and illuminated displays.

An accompanying concept sketch illustrates a dedicated point-of-purchase kiosk equipped with a CRT monitor, an Atari 400 computer keyboard, and storage compartments for electronic components. Handwritten annotations identify the display, keyboard, and storage areas, indicating a proposed retail system through which customers could create or select personalized greeting cards. The drawings also reference Atari 400/800 computers and suggest the possibility of completing the programming at home.

The concept anticipated aspects of modern electronic greeting cards by envisioning personalized, programmable messages distributed through a combination of home computing and retail-based electronic systems. The drawings document Hector's exploration of consumer applications for Atari technology beyond conventional video games and educational software.

The original drawings are housed in a period Atari employee portfolio finished in blue with brown leatherette trim, gold Atari insignia, and metal corner fittings. The interior retains an Atari-branded document pocket and an unused yellow ruled writing pad bearing Roger Hector's signature at the top.

A distinctive example of early Atari consumer electronics concept development, preserved with Hector's original artwork and contemporary company materials. Main concept drawing 22 in x 8.5 in. Accompanied by Roger Hector's signed letter of provenance.

Original 4 page oversized Atari promotional advertising slicks from the personal collection of Roger Hector, former Manager of Atari's Advanced Products Group, including an advertisement for the unreleased Atari Cosmos holographic game system, a double-page Atari 2600 game cartridge advertisement featuring Warlords, and a promotional advertisement for Atari's wireless Video Computer System controller.

The Atari Cosmos advertisement page, headed "Atari Introduces Holography. The Newest Dimension in Electronic Entertainment," features a large color illustration of the proposed Cosmos handheld game system. Developed by Atari's Advanced Products Group under Hector's direction, with Al Alcorn instrumental in assembling and championing the company's Holoptics research team, Cosmos combined interchangeable holographic images with an electronic LED playfield. The system reached the pilot-production stage and was exhibited at the 1981 Consumer Electronics Show and Toy Fair, where Atari received substantial advance orders. Despite this progress, Cosmos was canceled before commercial release. The advertisement represents a surviving example of promotional material prepared for a product that never reached consumers.

The double-page advertising slick, headed "Atari Presents New Ideas to Play With," promotes four additions to the Atari 2600 game library: Asteroids, Video Pinball, Othello, and Warlords, illustrated with their original retail packaging. The inclusion of Warlords is particularly relevant to Hector's career. In 1979, Hector conceived a multiplayer game called Kings in the Corner, in which players defended castles constructed from Breakout-style brick walls against a bouncing fireball. He presented the concept through an illustrated storyboard at an Atari brainstorming session. The idea was subsequently developed and commercially released as Warlords in 1981, although Hector was not involved in its final production he credits the title with his first of many storyboards that he proposed during one of Bushnell's early brainstorming sessions for employees at the beach in 1976.

The third advertising slick, headed "Atari Announces the VCS with Something Missing. Wires," depicts a player using a wireless handheld controller to operate an Atari game system. The advertisement promotes radio-controlled operation as an alternative to conventional wired joysticks and paddle controllers. Unlike Cosmos, Atari's wireless controller concept did ultimately reach the consumer market. Atari introduced the CX42 Remote Control Wireless Joysticks in 1983, manufactured by Cynex, allowing players to operate the Atari 2600 without a direct controller cable connection.

The three pieces document Atari's efforts to introduce new products and accessories during the early 1980s, ranging from commercially successful video game titles to experimental holographic technology and wireless control systems.

Individual single-page slicks measure approximately 11 × 17 inches, with the double-page advertisement approximately 22 × 17 inches when opened; dimensions to be verified. From the personal collection of Roger Hector, accompanied by his signed letter of provenance.

Original mixed-media presentation rendering, executed primarily in colored alcohol marker, with graphite pencil, and acrylic line work details on illustration board. The drawing depicts the inclusive gameplay Hector strived to provide through his entertainment ideas with each flaying cockpit having its own screen, com systems for each passenger and Star Wars inspired graphics, in addition to Syd Mead number styling on the central hub. Another immersive and exciting concept from Roger Hector laid out beautifully in this oversized format, and one of a few that were actually presented at Bally headquarters in Chicago to the board. The rendering presents the attraction within a landscaped amusement park setting, complete with spectators, pedestrian walkways, surrounding buildings, and distant amusement rides. The spacecraft-inspired vehicles, interactive-looking controls, and electronic targeting display reflect the integration of video game design elements into a traditional mechanical amusement ride.

During the 1980s, Hector and the Bally/Sente development team explored several new amusement concepts for Six Flags, then under Bally ownership. These projects included interactive attractions that sought to combine electronic gaming technology with large-scale theme park experiences. The Shooting Star proposal illustrates this broader effort to expand video game technology beyond the arcade cabinet and into physical amusement attractions.

The artwork is executed in marker and mixed media, with finely rendered mechanical details, architectural perspective, and atmospheric background elements characteristic of professional theme park presentation art of the period.

An original surviving presentation rendering documenting an ambitious proposed Six Flags attraction and the intersection of arcade game development, industrial design, and amusement park engineering during the mid 1980s.

Roger remembers when Sente was acquired by Bally with plans to open Six Flags; "They called us [Sente] their 'idea factory' and my personal plan was to build it for Bally like Imagineering is to Disney." Bally owned Six Flags from 1984 to 1987. And, they were correct in their assessment of Sente at the time, as it was led by Roger Hector, who would ultimately become a Disney Imagineer in addition to head of Disney's Consumer Products division only a few years after leaving Sente.

Measures 30 x 20 in. Accompanied by Roger Hector's signed letter of provenance.

Original photographic archive documenting Atari's Mobile Computer Van Project, an educational outreach initiative developed in cooperation with the Industry Education Council of Santa Clara County, California, during the early 1980s.

The collection includes period color photographs and photographic transparencies depicting a specially outfitted Atari van, portable Atari 800 computer stations, and the equipment assembled for distribution to participating schools. Particularly notable is a photograph showing Atari engineer Harry Jenkins standing among approximately fifteen complete computer stations arranged outside the company's specially marked van. Additional photographs document the portable equipment configurations, including Atari 800 computers, monitors, Atari 810 disk drives, and custom transport platforms.

The archive also includes original presentation transparencies identifying the project as the “Atari IEC Mobile Education System,” with sections devoted to the mobile computer system and individual stations.

Developed in 1981, the project was a collaboration between Atari and the Santa Clara County Industry Education Council, intended to introduce students and teachers to personal computing at a time when access to classroom computers remained limited. The specially equipped van transported fifteen complete Atari 800 computer stations to participating schools, where the systems could be unloaded and installed for temporary classroom instruction.

According to Roger Hector, whose Advanced Products Group was responsible for developing the portable equipment system, Harry Jenkins designed and constructed the custom transport arrangements. Each computer station was secured to its own portable platform, facilitating rapid setup and removal, while the van was specially configured to accommodate the equipment.

The program was directed by Ernie Hickson of the Industry Education Council and began with a six-week pilot during the 1980–1981 school year. By the end of its first full semester in fall 1981, the project had visited 49 schools, served 165 classes, and introduced approximately 4,950 students to computer technology.

The surviving photographs provide a visual record of Atari's participation in early computer literacy education and an unusual application of the company's engineering resources beyond commercial video games and consumer electronics.

Roger is presently still using technology to provide educational opportunities to young people in the classroom with his award winning game application for students, Venture Valley. From the personal collection of Roger Hector, accompanied by his signed letter of provenance.

Electronic Arts Will Harvey's Zany Golf (1988) – Original Pre-Production Packaging Mockup and Complete Apple IIGS GameOriginal pre-production packaging mockup and complete retail example of Will Harvey's Zany Golf, developed by Sandcastle Productions and published by Electronic Arts in 1988, from the personal collection of Roger Hector, who served as a producer of the game.

The group includes an original full-color packaging presentation mockup featuring the distinctive Zany Golf cover design, with oversized golf ball, stylized lettering, and surreal miniature golf imagery against a yellow-to-turquoise background. The mockup preserves the proposed artwork in a separate presentation format, documenting the game's packaging development before commercial release.

Accompanying the mockup is a complete Apple IIGS retail edition in its original illustrated Electronic Arts packaging. The game includes its two 3.5-inch floppy disks, original instruction materials, registration card, and circular course-reference wheel. The principal blue disk is labeled Zany Golf by Sandcastle, copyright 1988, while the additional disk is labeled MS-DOS Version 5.x, Disk 1, bearing the VTech trademark.

Designed by Will Harvey while attending Stanford University, Zany Golf was an imaginative reinterpretation of miniature golf, featuring nine elaborate courses with unconventional hazards, animated obstacles, and arcade-inspired challenges. Developed by Sandcastle Productions, the game was originally released for the Apple IIGS in 1988 and subsequently appeared on other computer platforms and the Sega Genesis.

Roger Hector was credited as a producer alongside Rich Adam, with Happy Keller serving as associate producer. The surviving production credits also identify Ian Gooding for graphics, Jim Nitchals and Will Harvey for programming, and Douglas Fulton for music. The packaging artwork credits Kathy Oka with package design and Mercedes McDonald with illustration.

The original mockup, preserved alongside Hector's retail copy, documents both the commercial presentation and production of an early Electronic Arts title developed during the formative years of the company's personal computer game publishing operations.

Provenance: From the personal collection of Roger Hector, accompanied by his signed letter of provenance.

Interesting early computer group consisting of 3 key items: 1. Atari Personal Computer Systems Software Catalog (1980) — A detailed catalog of Atari's early software library, including educational, business, programming, and entertainment titles, with a software compatibility chart.2. Atari 400 Personal Computer System promotional brochure (1979) — A full-color publication featuring the “Touch the Future” campaign, product photography, applications, and specifications.3. Atari 800 Personal Computer System promotional brochure (1979) — The corresponding publication for the higher-end Atari 800, with matching advertising and technical content. A must have item for the Atari 400 or 800 fan, these are in nice, displayable condition also. Accompanied by Roger Hector's signed letter of provenance.

Nintendo Game Boy (DMG-01) with Kotobuki System Corporate Markings and Disney's DuckTales Cartridge, c. 1989–1990Original Nintendo Game Boy handheld console, model DMG-01, manufactured in Japan, bearing handwritten Japanese identification for Kotobuki System, the video game developer and publisher known internationally as Kemco. The upper rear housing is inscribed Kotobuki System, No. 2, while an adhesive label along the top edge reads Kotobuki System Co., Ltd). A second numeral “2” appears beside the console's serial number, G01083178.

Accompanied by an original North American Nintendo Game Boy cartridge for Disney's DuckTales (DMG-DT-USA), developed and published by Capcom and released in November 1990. Adapted from Capcom's 1989 Nintendo Entertainment System game, DuckTales was among the early Disney-licensed titles released for Nintendo's handheld platform.

The console was received by Roger Hector during his tenure at Disney, where his responsibilities included oversight of licensed video game development. Its Japanese corporate markings are consistent with a unit identified for company use.

The console and accompanying game offer an example of the hardware and software associated with the early international development and licensing of Disney video games during the Disney Renaissance. The original DuckTales, which followed Capcom's acclaimed 1989 NES game places among the early Disney-licensed Game Boy games and one that Roger would have approved before publishing. Provenance: The Roger Hector Collection. Accompanied by Roger Hector's signed letter of provenance.

Original hand-painted Videa corporate logo study by company co-founder and president Roger Hector, dating from the formative period of the independent game-development company established by Hector, Ed Rotberg, and Howard Delman after their departure from Atari.

The artwork consists of the Videa name hand-painted on paper, accompanied by a fitted transparent overlay carrying a geometric “bit” block pattern. When placed over the painted logo, the clear sheet allows the additional graphic element to be viewed in precise relationship to the underlying design. This type of transparent acetate overlay was a standard pre-digital graphic-design and industrial-design presentation method, allowing designers to develop, compare, and register separate visual elements without altering the original artwork beneath.

The construction is particularly appropriate to Videa's identity. The overlay's regular block-like forms evoke the pixels or digital building blocks of early video-game graphics, visually linking the company's corporate identity to the medium in which its founders were working.

Videa emerged directly from Atari's early coin-operated engineering culture. Hector, programmer Ed Rotberg, and hardware engineer Howard Delman left Atari together in 1981 and formed Videa shortly thereafter. Hector served as president, but has recalled that he was also the company's principal artist during much of its early history, producing game art and graphic design in addition to his executive responsibilities.

During its brief but influential existence, Videa developed projects including the unreleased arcade game Gridlee and the Atari VCS titles Lasercade and Meltdown. The company's personnel and technology would subsequently become central to Sente Technologies, and the hardware developed for Gridlee provided the technological foundation from which the Bally/Sente SAC-I arcade system evolved.

As an original corporate identity study executed by one of the company's three founders, the present artwork offers an unusually direct artifact from the creation of Videa itself—not a later reproduction of its logo, but a working design object from the period in which the company was establishing both its visual identity and its place within the emerging independent video-game development industry. Accompanied by Roger's original Videa card with the logo he created, signed. From the Roger Hector Collection. Accompanied by Roger Hector's signed letter of provenance.

Roger Hector's Original Walt Disney Company “The Disney Way” Orientation Binder, c. 1990Original Walt Disney Company employee orientation binder, titled The Disney Way, retained by Roger Hector from his tenure as Vice President and General Manager of Disney's software and music operations in the early 1990s. Also contains his Disney business card with a pixelated version of Mickey Mouse. The binder contains internal orientation and training materials associated with Disney's distinctive corporate culture, introducing employees and executives to the company's history, traditions, philosophy, and expectations. Disney's employee orientation programs were designed to establish a common understanding of the company's identity, emphasizing creativity, attention to detail, professional conduct, and the importance of maintaining a consistent Disney experience across its many divisions.

Of particular interest is the extensive orientation schedule, which Hector embellished with his own hand-drawn sketches of Mickey Mouse. These informal drawings provide a personal connection to Hector's introduction to the company and distinguish the binder from a standard example of Disney corporate training material.

The Walt Disney Company placed considerable emphasis on employee education through Disney University, an internal training institution whose origins date to the early years of Disneyland. Its orientation programs familiarized new employees, known within Disney as "cast members," with the company's history and operating philosophy, regardless of their particular department or responsibilities. This approach extended beyond the theme parks and reflected Disney's broader commitment to maintaining a recognizable corporate identity throughout its entertainment businesses.

Hector joined Disney during a period of significant expansion into interactive entertainment and consumer software, overseeing projects associated with the company's growing presence in computer and video games. His responsibilities included Disney's software development and licensing activities during an important period in the development of titles for home computers and video game consoles.

Preserved among Hector's personal career materials, this binder documents the corporate environment into which he entered as Disney expanded its involvement in interactive entertainment. Its combination of internal training documents, an extensive orientation schedule, and Hector's personal Mickey Mouse sketches offers an uncommon perspective on Disney's corporate culture at the beginning of the 1990s.

Provenance: From the personal collection of Roger Hector, former Vice President and General Manager of Disney's software and music operations. Accompanied by Roger Hector's signed letter of provenance.

Original Walt Disney Company Imagineering and creative development folder containing internal correspondence, planning materials, and a handwritten list of prospective Disney video game concepts prepared by Roger Hector during his tenure as Vice President and General Manager of Disney's software and music operations in the early 1990s.

Of particular interest is Hector's handwritten response to a request from David Koch for a "Hot List" of potential video game projects based on Disney's extensive library of characters and entertainment properties. Hector's notes identify and explore prospective opportunities for adapting Disney properties into interactive entertainment, documenting an early stage of the creative and commercial evaluation process.

During this period, Disney was expanding its presence in home computer and console gaming, working with outside developers and publishers while seeking to maintain greater creative oversight of its intellectual properties. Hector played an important role in these efforts, helping guide software development and licensing during a period that saw Disney characters become increasingly prominent on platforms including the Sega Genesis and Super Nintendo Entertainment System.

Unlike finished game design documents or commercial marketing materials, this folder offers a look at the preliminary discussions and ideas that preceded formal development. Hector's handwritten list is particularly interesting for its direct connection to the decision-making process, documenting how existing Disney properties were considered for new applications in the rapidly growing video game industry.

The materials also reflect the broader creative environment associated with Disney Imagineering, where storytelling, character development, visual design, and emerging technologies frequently intersected. As Disney explored new forms of interactive entertainment, executives such as Hector were tasked with identifying opportunities that could translate the company's established characters and stories into engaging electronic experiences.

Preserved among Hector's personal professional papers, this collection provides a firsthand record of Disney's early-1990s approach to interactive entertainment, including the exchange of ideas between company personnel and the evaluation of potential projects before production commitments were made.

Provenance: From the personal collection of Roger Hector, former Vice President and General Manager of Disney's software and music operations.

Condition: Overall fine condition, with some surface creasing to documents from long-term storage. Accompanied by Roger Hector's signed letter of provenance.

Sealed Disney Animation Studio, Consumer Products head Roger Hector's award winning passion project. in order to bring the magic of Disney animation to families homes and inspire kids towards creating their own animation and art. At the time an expensive game, the original high quality color proof for the packaging review is present in addition to the original advertising slick. Accompanied by Roger Hector's signed letter of provenance.

Uncommon early-production example of World of Illusion Starring Mickey Mouse and Donald Duck for the Sega Genesis, released in 1992. The game remains factory sealed and is signed in the lower left by Roger Hector, former Vice President and General Manager of Disney's software and music operations. Accompanied by an original factory packaging flat.

Developed by Sega in cooperation with Disney, World of Illusion was a follow-up to the successful Castle of Illusion Starring Mickey Mouse (1990). The game featured Mickey Mouse and Donald Duck in a colorful fantasy adventure, incorporating cooperative two-player gameplay, elaborate animation, and environments inspired by classic Disney films. It became one of the more highly regarded Disney titles produced for Sega's 16-bit Genesis console.

Of particular interest is this example's early-production packaging, which represents an important distinction for collectors. The earliest North American copies were distributed in Sega's molded plastic clamshell cases, before subsequent production shifted to cardboard packaging. These earlier clamshell examples are less frequently encountered, particularly in factory-sealed condition. They represent the game's initial retail presentation rather than its more commonly encountered later packaging format.

The game also reflects an important period in Disney's expansion into interactive entertainment. During his tenure at Disney, Roger Hector oversaw software development and licensing activities, helping establish standards for the presentation and use of Disney characters in video games. His signature and the accompanying factory flat provide a direct connection to the corporate and promotional history of the title.

Retained in Hector's personal collection, this sealed early-production example combines the collectible appeal of an original Sega Genesis release with the provenance of a Disney executive involved in the company's early video game business.

Provenance: From the personal collection of Roger Hector, former Vice President and General Manager of Disney's software and music operations.

Condition: Game remains factory sealed in fine condition, with Roger Hector's signature in the lower left. Accompanying original factory flat also appears in fine condition. Accompanied by Roger Hector's signed letter of provenance.

Mickey Mouse: Castle of Illusion for the Sega Game Gear, accompanied by its original plastic case and instruction manual, with the manual and case signed. Retained by video-game executive Roger Hector.

Released for the Game Gear in North America in 1991, Castle of Illusion Starring Mickey Mouse was part of Sega's important early relationship with The Walt Disney Company and brought one of the company's flagship Genesis-era Mickey Mouse properties to Sega's new handheld system. Developed and published by Sega under license from Disney, the Game Gear version appeared only months after the launch of the handheld in North America.

Although sharing its title and basic premise with the celebrated Genesis game, the 8-bit Castle of Illusion developed for the Master System and Game Gear was not simply a reduced version of the 16-bit release. It featured its own level designs, enemies, items, graphics, and gameplay mechanics, following Mickey as he entered the Castle of Illusion to rescue Minnie from the witch Mizrabel.

The title became one of the more recognizable early releases for Sega's color handheld and helped establish Mickey Mouse as a recurring presence on Sega hardware. Its success was followed by additional Sega-developed Disney titles, including Land of Illusion Starring Mickey Mouse and a continuing series of Mickey and Donald Duck games during the early 1990s.

The present example is particularly appealing for its provenance. Roger Hector was closely associated with both sides of the Sega–Disney relationship during his career, serving in a senior role in Disney's software operations before later heading Sega Technical Institute. The game was retained in his personal collection and is accompanied by its instruction manual bearing a signature.

Includes Game Gear cartridge, original plastic case, and signed instruction manual. Overall fine condition, with surface scratches to the cartridge case and an extraneous white sticker apparently acquired during storage, as photographed.

From the Roger Hector Collection. Accompanied by Roger Hector's signed letter of provenance.

Disney's Toy Story – Factory-Sealed Sega Genesis Game, Signed by Roger Hector, 1995 Original factory-sealed copy of Disney's Toy Story for the Sega Genesis, signed by Roger Hector, former Vice President and General Manager of Disney's software and music operations and later Vice President and General Manager of Sega Technical Institute.

Based on Pixar's groundbreaking 1995 animated feature film, Toy Story was developed by Traveller's Tales and published by Disney Interactive. The film, directed by John Lasseter, was the first entirely computer-animated feature film and marked an important milestone in the history of digital animation.

The Sega Genesis adaptation was an ambitious late-generation release for Sega's 16-bit console. Featuring 32 megabits of cartridge memory, the game incorporated detailed character animation, digitized imagery, and a combination of traditional side-scrolling action and technically demanding visual effects. Players assumed the role of Woody, navigating environments inspired by the film, including Andy's bedroom, Pizza Planet, and Sid's house, while encountering Buzz Lightyear and other familiar characters.

Among the game's notable technical achievements were its pre-rendered character graphics and three-dimensional sequences, which sought to translate the appearance of Pixar's computer animation to the considerably more limited hardware of the Sega Genesis. Developed near the end of the console's commercial lifespan, Toy Story demonstrated the sophistication that developers had achieved after years of working with Sega's 16-bit platform.

The present example is signed by Roger Hector, whose career included senior leadership positions at both Disney and Sega during the early 1990s. At Disney, Hector helped oversee the company's expanding involvement in computer and video game software, including licensing and development initiatives involving established Disney properties. He subsequently directed Sega Technical Institute, where his teams developed titles including Sonic the Hedgehog 3, Comix Zone, and The Ooze. Although Toy Story was developed by Traveller's Tales rather than Sega Technical Institute, Hector's ownership and signature connect this example to an executive whose career spanned both companies during a significant period in the development of licensed video games.

Provenance: From the personal collection of Roger Hector, former Vice President and General Manager of Disney's software and music operations and Sega Technical Institute.

Condition: Fine factory-sealed condition, signed by Roger Hector. Accompanied by Roger Hector's signed letter of provenance.

Roger Hector's Early Sega Technical Institute Sonic the Hedgehog 3 CES Demonstration Prototype Cartridge and Factory Box Flat, December 1993An original, pre-production Sonic the Hedgehog 3 Sega Genesis development cartridge, dating to December 1993, from the personal collection of Roger Hector, Vice President and General Manager of Sega Technical Institute (STI). Accompanied by an original factory box flat.

Developed at Sega Technical Institute under the direction of Yuji Naka and with oversight from Roger Hector, Sonic the Hedgehog 3 was among Sega's most important titles of the early 1990s. Released in North America in February 1994, the game introduced new characters, expanded gameplay mechanics, and elaborate special stages that pushed the capabilities of the Sega Genesis hardware.

This prototype contains a particularly demanding version of the game's now-famous “Get Blue Spheres” special stage, configured to run at an exceptionally high speed and advanced level of difficulty. Unlike the game's conventional side-scrolling stages, the Blue Spheres sequence places Sonic on a rotating, checkerboard-like three-dimensional playing field, where the player must collect blue spheres while avoiding red spheres, which immediately end the attempt. The challenge increases as the playing speed accelerates, requiring increasingly precise timing, rapid directional control, and memorization.

The cartridge dates to December 1993, immediately preceding the Winter Consumer Electronics Show, held January 6–9, 1994, in Las Vegas. As Vice President and General Manager of STI, Hector would have brought such a demonstration prototype to CES to showcase the speed, difficulty, and technical sophistication of Sega's forthcoming release. Its unusually challenging configuration would have provided an immediate demonstration of the game's responsiveness and the demanding special-stage mechanics. The CES connection is consistent with the cartridge's December 1993 dating and Hector's responsibilities at STI, although its actual exhibition at the show has not been independently documented.

Of particular interest is the cartridge's development hardware, featuring visible jumper wiring and hand-modified electrical connections. These modifications distinguish the cartridge from a conventional production release and are characteristic of prototype electronics used during software development. Jumper wires were frequently employed to reroute electrical signals, accommodate memory configurations, correct circuit-board connections, or adapt development hardware as software evolved. Without a complete circuit analysis, the precise functions of the individual connections cannot be established. Nevertheless, the modified circuitry provides physical evidence of the engineering and testing processes undertaken before the game's commercial release.

The prototype was recently tested in an original Sega Genesis console and successfully ran the accelerated Blue Spheres special stage for approximately five minutes. The cartridge therefore demonstrated functionality during a brief test, although its complete contents and long-term reliability have not been established.

Accompanying the cartridge is an original Sonic the Hedgehog 3 factory box flat, providing an interesting comparison between the developmental stage represented by the prototype and the finished game's commercial packaging.

Preserved by Hector from his tenure at Sega Technical Institute, this early cartridge represents a surviving piece of the technical development and pre-release promotional history of Sonic the Hedgehog 3. Its unusually accelerated Blue Spheres gameplay, modified circuit board, and December 1993 dating distinguish it from a standard retail cartridge and provide a direct connection to the final months of development of one of the Sega Genesis's most recognizable titles.

Provenance: From the personal collection of Roger Hector, former Vice President and General Manager of Sega Technical Institute.

Condition: Prototype cartridge with visible jumper wiring and development modifications. Though successfully tested for approximately five minutes there is no guarantee of continued functionality.

Accompanied by Roger Hector's signed letter of provenance.

Disney Sound Source Development Archive — Hector's development material surrounding Disney's Sound Source hardware/software initiative and associated computer-entertainment projects and games. According to Roger, it was imperative that the fidelity of the characters and Disney voice actors’ dialougue in games was heard as best as possible. Hector set out to protect the integrity of Disney’s classic character lineup by ensuring that an affordable, high quality single-speaker (in the shape of Mickey Mouse’s ears no-less) peripheral was designed and built by Disney. The consignor notes that a lot of effort went into the design in order to be something that would look nice next to a family’s workstation computer area in the early 90’s. The original patent, naming Roger as inventor, is included. Archive includes the following:Roger Hector’s personally owned and used Sound Source - signed on the underside by Roger Hector, this example is missing one rubber foot pad, retains a 9v battery and comes with its original cable and silver “Sound Converter” module embossed with the famous Mickey Mouse outline. Roger notes that this was utilized to test various games and was a piece of hardware that was imperative in in his office in order to approve voice character accuracy such as Mickey Mouse, Roger Rabbit, Donald Duck and others to be utilized in Disney’s groundbreaking computer and home entertainment. A crucial piece of both astetically pleasing software and a peripheral that didn’t require a sound card, actually created by the original patent holder and designer, Roger Hector. Original The Sound Source speaker unit by Disney Software: Sealed in original plastic and signed by Roger Hector, like new. Annotated patent file copy issued to Roger Hector of Disney Co. with diagrams8 x 10 Original internal marketing photo of The Sound Source UnitFollow the Reader PC game, complete in box, signed by Roger Hector. Hare Raising Havoc : Who Framed Roger Rabbit? PC Game, complete in box, signed by Roger Hector.

Accompanied by Roger Hector's signed letter of provenance.

Original concept artwork by acclaimed comic-book artist Tony DeZuniga for the box cover of Comix Zone, developed by Sega Technical Institute and released for the Sega Genesis in 1995. The finished game's credits identify DeZuniga, together with Alex Niño, for conceptual artwork, and DeZuniga was also responsible for the published North American and European box-cover artwork and for the original comic artwork appearing in the game manual.

Comix Zone originated with Sega Technical Institute designer Peter Morawiec, who in 1992 created an Amiga animation entitled Joe Pencil Trapped in the Comix Zone. Morawiec presented the concept to STI head Roger Hector in December of that year. Hector immediately recognized its potential and encouraged Morawiec to present it to Sega of America president Tom Kalinske, who approved the concept. Development was temporarily placed on hold while STI completed Sonic Spinball, before returning as one of the studio's principal projects.

The finished game retained the central idea of Morawiec's original demonstration: a character physically transported into the pages of a comic book, fighting enemies while moving from panel to panel. The original protagonist, Joe Pencil, evolved during development into Sketch Turner, with the game's environments, speech balloons, panel transitions, and hand-drawn aesthetic deliberately blurring the distinction between comic-book illustration and interactive gameplay.

Tony DeZuniga was particularly well suited to the project. A major figure in American comics and co-creator of DC Comics' Jonah Hex, DeZuniga brought a professional comic-book illustrator's hand directly into the visual development of a video game built around the medium itself. The present artwork represents a developmental treatment for the game's package imagery, offering a direct look at the process by which Comix Zone's comic-book identity was translated into commercial presentation.

Released late in the life of the Sega Genesis, Comix Zone became one of Sega Technical Institute's most distinctive original titles. Although its initial commercial performance was limited by the changing console market, its unusual presentation and panel-based gameplay subsequently earned the game a substantial cult following and repeated reissues on later Sega and digital platforms.

Also included are two original Sega business cards retained with the artwork: Roger Hector's double-sided English/Japanese Sega Technical Institute business card, and a business card for Shinobu Toyoda, then Executive Vice President and Chief Operating Officer of Sega of America. Both Hector and Toyoda are specifically acknowledged in the original Comix Zone credits. From the Roger Hector Collection. Measures 17 x 11 in Accompanied by Roger Hector's signed letter of provenance.

Factory shipping carton containing six copies of Comix Zone for the Sega Genesis, sent to Sega Technical Institute as review copies during the game’s original release period.

Developed by Sega Technical Institute and released in 1995, Comix Zone became one of the studio’s most distinctive original titles, built around the concept of comic-book artist Sketch Turner being pulled into the panels of his own creation. Its unusual visual presentation, panel-based gameplay, and hand-drawn comic aesthetic have since made it one of the most recognizable late-era Genesis releases.

This group is notable for surviving in its original factory carton, preserving the games as they were distributed internally to STI rather than as individually dispersed retail copies. The carton retains six examples together as a single period shipment, giving the group an especially strong connection to the studio that created the game.

The present group is particularly appealing for surviving together in its original factory shipping carton. Review and internal distribution copies were ordinarily separated once received, making an intact six-copy carton a tangible record of how finished games moved through Sega Technical Institute at the time of release. The repeated “1569” markings further distinguish the copies as a matched internal group.

An unusual production-era artifact associated directly with the studio that created Comix Zone, combining collectible Genesis software with documented Sega Technical Institute provenance.

Carton and contents have been opened; overall fine condition, as photographed.

An appealing production-era artifact from Sega Technical Institute and a rare opportunity to acquire a complete internal carton associated directly with the release of Comix Zone. From the Roger Hector Collection. Accompanied by Roger Hector's signed letter of provenance.

Sonic The Hedgehog Prototype SURFMORE Day-Glo Neon Game Cartridge Carrying case review item. As "Sonic's Boss" it was Roger's responsibility to approve every item that was licensed and produced with the likeness of Sega's mascot. Every one of these items passed his desk and had to be approved. Accompanied by Roger Hector's signed letter of provenance.

Sonic The Hedgehog 1993 12 Sealed Wax Pack Trading Cards for inside review prior to being released by Sega. Accompanied by Roger Hector's signed letter of provenance.

Rare hand-painted “Blue Gale” Sonic the Hedgehog leather bomber jacket, presented to Roger Hector during his tenure at Sega Technical Institute and retained by him in unworn condition.

The jacket is based on the elaborate fictional backstory Sega Japan developed around Sonic the Hedgehog in the early 1990s. In that story, “Blue Gale” was the code name of an experimental aircraft flown by a test pilot nicknamed “Hedgehog,” whose wife decorated his leather flight jacket with a blue hedgehog mascot. The imagery tied Sonic’s identity to speed, aviation, and the breaking of the sound barrier, and the resulting flight-jacket motif became one of the more unusual pieces of early Sonic promotional iconography. Contemporary Sonic collectors continue to refer to surviving examples as “Blue Gale” jackets.

The present jacket is a substantial leather bomber-style example with hand-painted Sonic artwork, rather than conventional screen-printed licensed apparel. It was presented directly to Hector while he was heading Sega Technical Institute, the internal Sega studio responsible during his tenure for projects including Sonic Spinball, Comix Zone, The Ooze, and the early development work that led toward Sonic X-treme.

According to Hector, only a very small number of these jackets were produced, with approximately three or four believed to have been made. This example was stored rather than worn or used and upon in-person inspection, the excellent condition reflects this. An unusually personal Sega presentation piece combining early Sonic mythology, hand-painted artwork, and direct Sega Technical Institute provenance. Unlike mass-produced Sonic apparel, the jacket represents the kind of limited internal or executive presentation material created at the height of Sega’s 16-bit era. From the Roger Hector Collection.

Accompanied by Roger Hector's signed letter of provenance.

Original factory-sealed Sega Mega Drive 16-bit edition of Comix Zone (1995), accompanied by the Roadkill soundtrack CD. The game retains its original Sega security seal and is signed by Roger Hector, former Vice President and General Manager of Sega Technical Institute (STI), the studio responsible for its development.

Released in 1995, Comix Zone was one of the most visually distinctive games developed for the Sega Genesis/Mega Drive. Conceived by Peter Morawiec and developed at Sega Technical Institute, the game follows struggling comic book artist Sketch Turner, who is transported into the pages of his own comic by the villain Mortus. Players guide Sketch through a series of illustrated comic panels, with action unfolding across the pages as enemies tear through paper, characters move between panels, and the familiar conventions of comic book storytelling become integral to gameplay.

The game's innovative presentation, hand-drawn artwork, and unconventional combat mechanics distinguished it from other side-scrolling action titles of the period. Its distinctive visual style and rock-influenced soundtrack have contributed to its enduring reputation among Sega collectors.

Of additional interest is the accompanying Roadkill soundtrack, featuring six arrangements of music from the game composed and performed under the direction of Howard Drossin. Named after Sketch Turner's pet rat, Roadkill, the soundtrack incorporates guitar-driven rock arrangements and vocals, reflecting the game's alternative comic book aesthetic. Roger Hector is credited as executive producer of the soundtrack, providing a further personal connection between this example and the game's original development.

The European Mega Drive release was accompanied by the six-track Roadkill soundtrack, while the North American Genesis release featured a different promotional music compilation associated with American Recordings. This example brings together the sealed Mega Drive game and the Roadkill soundtrack from the personal collection of the executive who oversaw its development.

Preserved by Hector following his tenure at Sega Technical Institute, this signed example represents a direct connection to one of the studio's most original productions and one of the final notable releases of the Genesis/Mega Drive era.

Provenance: From the personal collection of Roger Hector, former Vice President and General Manager of Sega Technical Institute.

Condition: Overall fine condition. Game remains sealed with its original Sega security seal intact.

Accompanied by Roger Hector's signed letter of provenance.

Original Sega Genesis Model 2 home video game console in its original retail packaging, the 6-Pak edition (Model MK-1969), dating to approximately 1995. From the personal collection of Roger Hector, former Vice President and General Manager of Sega Technical Institute (STI), where he oversaw development of several notable Sega Genesis titles, including Sonic the Hedgehog 3, Sonic Spinball, Comix Zone, and The Ooze.

Introduced in North America in 1989, the Sega Genesis became one of the defining home video game consoles of the 1990s, establishing Sega as a major competitor to Nintendo. The redesigned Model 2 console, introduced in 1993, featured a smaller, streamlined housing while retaining compatibility with the original Genesis software library.

This later 6-Pak edition was packaged with a special compilation cartridge containing six of Sega's established Genesis titles: Sonic the Hedgehog, Golden Axe, Streets of Rage, The Revenge of Shinobi, Super Hang-On, and Columns. The compilation represented Sega's successful early Genesis library and was marketed during the latter part of the console's commercial lifespan.

The present example retains its original illustrated retail box and accompanying materials, including the Genesis console, 6-Pak cartridge bearing its original "Not for Resale" designation, instruction manual, Sega's "Welcome to the Next Level" promotional foldout featuring Eternal Champions, parts and ordering information, Sega Visions subscription card, and associated cables and accessories. The original protective bag for the AV cable is present; the console's original protective bag is absent.

Of particular interest is the console's provenance from Roger Hector, whose tenure at Sega Technical Institute coincided with an important period in the development of the Genesis software library. Under Hector's leadership, STI developed original titles and contributed to the continued success of the Sonic the Hedgehog franchise, helping extend the commercial life of Sega's 16-bit platform.

Retained among Hector's personal Sega materials, this boxed console provides a connection to the hardware platform for which he and his development teams created some of their best-known games.

Provenance: From the personal collection of Roger Hector, former Vice President and General Manager of Sega Technical Institute.

Condition: Console and accompanying materials in overall fine condition. Original retail box exhibits wear from handling and opening, including corner bumps and surface rubbing. Minor rippling to the cartridge label. The original console protective bag is absent. Please refer to photographs for contents and condition. Accompanied by Roger Hector's signed letter of provenance.

Pair two of boxed Sega Genesis examples of The Ooze, including a factory-sealed copy signed on the front by Roger Hector. Developed by Sega Technical Institute and released by Sega in 1995, The Ooze was one of STI's more unconventional original productions during Hector's tenure as Vice President and General Manager. An original signed factory flat is included as well. The game originated from an experimental programming concept and placed the player in control of scientist Dr. Daniel Caine, transformed into a mass of toxic green ooze. Rather than relying on a conventional humanoid protagonist, gameplay was built around the fluid movement and changing mass of the character itself. Hector later recalled that the project had not originally been conceived as a traditional character-driven game, observing that, in this instance, “the character…was an algorithm.”Developed alongside STI's better-known work on the Sonic the Hedgehog series and Comix Zone, The Ooze was released late in the Genesis lifecycle and remains a distinctive example of the studio's experimental approach to original game design. The title was later revisited by Sega in compilations including Sonic Mega Collection Plus.

The examples offered here were retained in Hector's personal collection; the signed sealed copy provides a direct association with the executive who oversaw Sega Technical Institute during the game's development. Accompanied by Roger Hector's signed letter of provenance.

Sealed and signed PC edition of Sega’s Comix Zone, accompanied by the Roadkill / Sega Tunes soundtrack CD associated with the game’s original release and music campaign.

Developed by Sega Technical Institute and released in 1995, Comix Zone was one of Sega’s most distinctive late-era 16-bit titles, built around the unusual premise of comic-book artist Sketch Turner being pulled into the pages of his own creation. Its panel-to-panel structure, hand-drawn presentation, speech balloons, and comic-book action gave the game an identity unlike virtually anything else on the Genesis.

Music was an unusually important part of that identity. Composer Howard Drossin created the game’s soundtrack around the alternative-rock and grunge aesthetic of the mid-1990s, matching Sketch Turner’s characterization as a musician and comic artist. Sega subsequently expanded several of the game’s musical themes into full studio recordings performed under the name Roadkill, taken from the name of Sketch Turner’s pet rat and in-game companion.

The resulting six-song recording included “Into the Zone,” “Feed My Disease,” “10,000 Knives,” “Seen It for Days,” “Woe Is the World,” and “Last to Follow,” each derived from music heard within the game. The recordings were produced by Howard Drossin, Tim P., and Philip Stevenson, with Roger Hector credited as executive producer. The soundtrack was included with certain releases of Comix Zone and was later issued separately in North America as part of the Sega Tunes series.

The present group pairs a sealed PC copy of Comix Zone, signed by Roger Hector, with the Roadkill soundtrack material connected directly to the game’s musical production. Together they document both the commercial release of one of Sega Technical Institute’s most inventive original properties and Sega’s unusual effort to extend its fictional rock-music aesthetic beyond the game itself into an actual studio-recorded album.

The Roadkill recordings have remained closely associated with Comix Zone and were later incorporated into officially licensed soundtrack releases alongside Howard Drossin’s original Genesis score. From the Roger Hector Collection. Accompanied by Roger Hector's signed letter of provenance.

Sega Technical Institute Wool Embroidered Jacket, XL by Holloway with a stylized Sega logo on the front in variations of pink and purple stitching, and a high quality STI Lightbulb Logo embroidered on the back. Roger Notes he liked this jacket very much and wore it often to the Sega offices. Under Roger Hector's leadership, Sega Technical Institute (STI) operated with an unusual degree of independence within Sega's corporate organization. Although STI answered to both Sega of Japan and Sega of America, Hector maintained considerable autonomy over the studio's creative direction and development activities. Following the release of Sonic the Hedgehog 2, STI relocated to Redwood City, California, bringing it closer to Sega of America's headquarters. Despite concerns that the move might compromise the studio's independence, Hector preserved its distinctive operating arrangement, reporting directly to Sega of America executive Shinobu Toyoda and even learning Japanese while remaining largely outside the company's conventional project approval and review processes. This freedom allowed STI's developers to experiment with new ideas and pursue projects in an environment that Hector and several former employees later recalled as unusually creative and collaborative. Accompanied by Roger's English and Japanese dual sided Signed STI business card in the pocket. Accompanied by Roger Hector's signed letter of provenance.

Sega CDX multimedia system in its original retail box, accompanied by controller, power supply, and two Sega CD games.

Released in North America in 1994, the Sega CDX was one of Sega's most ambitious pieces of 16-bit hardware: a compact all-in-one unit combining a Sega Genesis, Sega CD, and portable audio CD player in a case only slightly larger than a conventional portable CD player. Unlike the standard Genesis and Sega CD combination, which required two separate pieces of hardware, the CDX integrated both systems into a single compact chassis while retaining compatibility with Genesis cartridges and Sega CD software. Sega's own 1994 specifications described it as compatible with Genesis cartridges, Sega CD titles, audio CDs, and CD+G discs.

The system could also function as a portable music player using two AA batteries, with a built-in LCD track display and headphone output, although AC power was required for game play. Sega originally packaged the CDX with a six-button controller and three discs—Sonic CD, Ecco the Dolphin CD, and Sega Classics Arcade Collection—and positioned it as a premium multimedia version of its Genesis platform.

Introduced late in the commercial life of the Sega CD, the CDX had a relatively brief market presence and is today among the more sought-after first-party Sega hardware variants, particularly when retaining its original packaging and accessories.

The present example includes the original box, controller, power supply, and two Sega CD games, which appeared to have remained with the system when the box was opened. The console is in working condition. The box exhibits rubbing and general wear, and the top of the unit shows some scuffing. From the Roger Hector Collection.

Accompanied by Roger Hector's signed letter of provenance.

Prototype or pre-production review example of a Sonic the Hedgehog duffle bag, dating to approximately 1993 and retained from the Sega Technical Institute era. Features period Sonic graphics and construction consistent with licensed Sega merchandise of the early 1990s. An unusual piece of developmental promotional merchandise, produced for internal review of Sega's mascot during commercial release consideration. From the Roger Hector Collection. Accompanied by Roger Hector's signed letter of provenance.

Oversized UK promotional comic book produced for Sega’s Comix Zone, dating to the game’s original 1995 release period.

Created as a promotional extension of Sega Technical Institute’s comic-book-themed action game, the publication translates the world of Comix Zone back into the medium that inspired it, following the same visual language of illustrated panels, exaggerated action, and comic-book storytelling that defined the game itself.

The comic was distributed in the United Kingdom as a promotional premium associated with Mean Machines Sega, with surviving references identifying it as a free insert with issue 38. Unlike conventional game advertising, it was produced as a stand-alone comic presentation, making it an unusually direct piece of period marketing for a title whose entire concept revolved around a character becoming trapped inside a comic book.

The artwork has been attributed by collectors and Sega historians to Brian Williamson, known for his work on Sonic the Comic, with coloring believed to be by Steve White, although the publication itself does not appear to carry any copyright information or formal creator names/credits.

Developed by Sega Technical Institute and released in 1995, Comix Zone became one of the most visually distinctive titles of the late Genesis/Mega Drive era, with contemporary reviewers particularly noting its comic-panel presentation and graphic style.

An appealing and comparatively uncommon piece of original UK Comix Zone promotional material, especially relevant to collectors of Sega Technical Institute ephemera, Genesis/Mega Drive advertising, and the broader visual development of the game.

From the Roger Hector Collection.

Accompanied by Roger Hector's signed letter of provenance.

Lively rendering featuring a Sega Sports Zone idea while Roger was General Manager asked to come up with some interesting rides for a Japan based, Sega themed amusement park. Mixed media on oversized presentation art board. Sega easter eggs of Sonic's face in the grandstand and his likeness near the F1 racing simulator are present. The exciting imaging features a bungee-jumping dunk challenge participant getting extreme air, a ticket kiosk and line with patrons waiting for their turn in the touchdown zone, and the aforementioned F1 Racing center above that. With his extensive background at this point of knowing what gets young people engaged with entertainment, Roger held nothing back on this rendering and really brings some timely and classic ideas to the new and likely extremely well-funded idea of a Sega/Disney partnership. After 20 years out from being asked to design rides for Bally/Six Flags, he still manages to come up with some innovative ideas that are perfect for mid-90's thrill seekers. From the personal, professional art portfolio of Roger Hector. Measures 30 in. x 24 in. Accompanied by Roger Hector's signed letter of provenance.

Sealed Sonic the Hedgehog 2 Blu-ray presented to Roger Hector by Sonic Team, accompanied by a printed note affixed to the front recognizing those who played an important role in bringing Sonic to life and inspiring fans around the world over the franchise’s first 30 years. The note concludes, “Your friends at Sonic Team!” with a small color image of Roger's former muse. Hector served as Vice President and General Manager of Sega Technical Institute during a formative period for the Sonic franchise, overseeing development teams responsible for major Sega titles including Sonic the Hedgehog 3, Sonic & Knuckles, and Sonic Spinball. The presentation copy provides a later, personal acknowledgment from Sonic Team of Hector’s place in the history of his favorite franchise. Retained by Hector from the time of presentation and offered here from his personal collection of select Sonic keepsakes. Accompanied by a letter from Roger Hector.

Original professional video game development presentation for Stargate Warlord, an apparently unrealized Stargate game concept prepared by Volatile Games, the mature-games division of British developer Blitz Games Studios.

Spiral-bound presentation book with black covers, the front incorporating a striking Stargate graphic, containing a substantial illustrated proposal laying out the concept for a new game set within the Stargate universe. The presentation combines finished graphic design, character and environmental imagery, diagrams, interface concepts, and written development material addressing the proposed game's characters, worlds, gameplay systems, progression, and overall creative direction.

A working industry pitch document—the type of presentation assembled by a development studio to communicate a proposed title to a publisher or intellectual-property holder before full production. As such, it preserves a stage of video-game development that normally remains internal and,in the case of an unrealized project, can represent the principal surviving record of what was envisioned. In this case, the graphics are vivid and according to Roger, it was kept as an example of a high quality and very expensive one as only a few would have been published.

Volatile Games was established in 2005 as a division of Blitz Games devoted to more mature, action-oriented titles. Its released work included Reservoir Dogs for Eidos and Dead to Rights: Retribution, published by Namco Bandai for PlayStation 3 and Xbox 360 in 2010. The studio therefore had direct experience developing established entertainment properties and presenting large-scale action projects for contemporary consoles.

Stargate itself has had a notably complicated history in video games. Following the successful 1994 feature film and the subsequent Stargate SG-1 television franchise, numerous game projects were proposed, but relatively few reached commercial release. Among the best known casualties was Stargate SG-1: The Alliance, a separate project developed by Perception for PlayStation 2, Xbox, and PC that progressed substantially before being cancelled. Stargate Warlord appears to represent a different, later development proposal by Volatile Games and should not be confused with The Alliance.

The present book is particularly interesting for documenting an otherwise obscure branch of the franchise. Its polished production and extensive visual and written content show that Stargate Warlord had advanced beyond a simple title or one-page concept into a developed presentation intended to communicate the proposed game's world, mechanics, and commercial identity. In this case for the PS3, Xbox and Windows PC. Retained by Roger Hector, whose work with Namco Bandai Games America was during the same general period in which Volatile Games was developing Dead to Rights: Retribution.

An unusual artifact of both cancelled video-game development and the Stargate franchise, preserving a professionally developed concept for a game that apparently never proceeded further into commercial production. From the Roger Hector Collection. Measures 16.5 x 12 inAccompanied by Roger Hector's signed letter of provenance.

Universal Studios Monster Game – Original Development Artwork by Bernie Wrightson and Tony DeZuniga c. 1996 An extensive archive of original production artwork and development materials for an unrealized Universal Studios video game featuring the studio's legendary horror characters, including Dracula, Frankenstein's Monster, the Wolf Man, and the Mummy. The project was developed during Roger Hector's tenure as President of Universal Digital Arts in the 1990s.

The collection includes original illustrations and storyboards by two prominent figures in comic book and fantasy art: Bernie Wrightson (1948–2017) and Tony DeZuniga (1932–2012).

Wrightson, celebrated for his extraordinary horror illustrations, co-created DC Comics' Swamp Thing and produced the acclaimed illustrated edition of Mary Shelley's Frankenstein. His atmospheric compositions and meticulous pen-and-ink work made him a particularly fitting artist for a project drawing upon Universal's classic horror films.

DeZuniga, the Filipino-American comic book artist best known as the co-creator of DC Comics' Jonah Hex and Black Orchid, contributed extensively to the project's visual development. His career included work for both Marvel and DC Comics, as well as illustration and concept design. The archive includes 15 original "villain" and monster idea sketches and more than 46 original background, setting and scene drawings assembled in a binder labeled "DeZuniga Originals," though some of these may have been accomplished by Wrightson in addition to the 14 oversized Wrightson illustrations, primarily variations on Dracula, measuring up to 17 x 14 inches, and additional production materials, including a treatment and scene breakdown. Also present are original scene and environmental concept illustrations attributed to Bernie Wrightson, with associated materials retained in an envelope bearing his name.

Together, these materials document an ambitious attempt to reinterpret Universal's classic monster properties for an interactive entertainment format. The artwork offers a look at the visual development of a project that never reached commercial release, bringing together two established comic book artists whose work was closely associated with horror, fantasy, and imaginative storytelling.

Provenance: From the personal collection of Roger Hector, former President of Universal Digital Arts, retained from his involvement in the project's development as Art Director. Condition: Overall fine condition.

Oversized formats inside the Wrightson signed envelope include: 7 Bernie Wrightson Dracula studies (4 pencil): 14 x 11 in, (1) 17 x 14 in, and (1 color) 17 x 11 in. 4 Wrightson Dracula's Castle studies (3 pencil + 1 colored in) 17 x 14 in 4 Wrightson Hero studies (3 color): 14 x 11 in and (1 bw) 17 x 14 inAccompanied by Roger Hector's signed letter of provenance.