Despite the increasing amount of games hardware and software being preserved in dedicated archives both nationally and internationally, it has been noted that histories of computer games have largely been ignored in current discussions of both game analysis and design (Guins 2014). Conferences and conference strands have started to emerge in order to facilitate discussions surrounding methods, game histories and the preservation of games yet these events only offer a small percentage of a vast area of study. Recent documentaries, such as From Bedrooms to Billions (Caulfield and Caulfield 2014), alongside books written by game journalists, including Replay (Donovan 2010), and Grand Thieves & Tomb Raiders (Anderson and Levene 2012), all expose British histories of game development in the 1980s. However, there is a tendency to focus on well-known game titles and developers thus masking other prominent developments during this time. The 1980s in particular marks a significant starting point for the development of the British computer game industry. A significant legacy of 1980s UK computing and gaming cultures is the do-it-yourself (DIY) ethos created through microcomputing magazines and books that printed listings of software code for users to type in and run in order to create and play their own games. These printed program listings now exist in memory institutions such as The British Library and The National Museum of Computing. Here the software code is preserved as a written text and not as an immediately playable artefact. This raises questions about the role of the program listing as software, source code, game object and process as modes of analysis for historical game research. The aim of this study is to analyse the different facets of game production and cultures from the 1980s by further examining the role of typing in program listings from magazines to emulate what these games once were. The research will be extended by tracing writers of these program listings in order to undertake oral histories as a way of recognising those involved in this industry and to provide a legacy of cultural memories for future researchers. Finally, interviews with those who worked in the games industry in the 1980s and 1990s, as well as those that continue to work in the industry today, will be undertaken as a way of tracing the legacies of 1980s DIY cultures and the drive for national computer literacy. These interviews will include developers and artists who worked for companies such as Automata, Martech, Virgin Interactive, Rabbit Software and BITS studios. This early career fellowship will facilitate career development through an international collaboration with the project partner, The University of Montreal. This collaboration will result in the co-chairing of the 2016 Annual Game History Symposium that will run alongside a co-curated exhibition of creative uses of computer game hardware and software from the 1980s and 1990s around the globe. The research will also be disseminated in a series of workshops in London and Nottingham and at an exhibition of magazine program listings from The National Museum of Computing archives. An experienced project mentor and an interdisciplinary, international advisory panel consisting of academics from various disciplines, curators, archivists and the games industry, will support the research. This will allow for these emerging networks to be consolidated during and beyond the life of the project. The panel will be able to further advise and support the dissemination of the research to their respective disciplines in order to ensure impact beyond the academy.