My first step in creating the animations for Prince of Persia in 1985 was to videotape my brother David running, jumping, and climbing. Step two posed a challenge: How to transfer the images from VHS cassette to the computer, since the Apple II had no video input?

I ended up importing and rotoscoping the frames one by one—a jerry-rigged solution involving a digitizer card and animation stand, plus a 35mm still camera, white-out fluid, and a Sharpie. I've described the process in an Ars Technica "War Stories" episode, and in comic form in my graphic novel memoir Replay. The retouched photo strips (seen on the wall over my desk in this 1989 photograph) are archived at the Strong Museum of Play.

Jules Maeght, of Imprimerie Arte in Paris, found the rotoscoped image sequence mysteriously compelling. Using a modern scanner and laser-cutter, we engraved my 1980s work materials on two copper plates, which we then inked and printed on Arte's 19th-century presses—an artisanal process that delightfully reminds me (in reverse) of the analog-to-digital creative problem-solving spirit of game development 40 years ago.

The result is "Run Jump," a limited edition of 50 signed and numbered prints on BFK Rives paper (40x60 cm). Here's a video of the two-color printmaking process.

Another animation—this one videotaped in 1989 in the Broderbund office, with rotoscope volunteers Tina La Deau and Brian Eheler (Prince of Persia's product manager)—inspired a second artwork, in a limited edition of 40. Gamers can guess why I've titled this one "The End."

Signed prints are available exclusively from my website and from Galerie Maeght (while supplies last).

If you're interested in my previous work with Arte, here's how it began. More artworks (and a Paris gallery exposition) are in the pipeline; watch this space for updates.