Revitalizing Dead Culture: Why Game History Matters

One of my guilty pleasures is in retro gaming and retro computing. My basement storage room is filled with arcane devices and hundreds of games: a venerable Commodore 64, an Apple ][e rescued from a garage sale, a local family's Apple ][gs that was donated to me, a MAME arcade cabinet, a Mattel Intellivision II - the list goes on indefinitely. I just can't bear to see these things tossed out. Lately I've found myself playing Ultima VII: Serpent Isle on my 486 DX2/66 (now with a Roland MT-32!), and my 360 has sat untended for months.

But does playing these old games matter? Does writing about them matter? What value is there in sweatin' to the oldies? Is it only for reminiscence or nostalgia? In this article I make a few arguments about retro gaming/computing that outline the meaningfulness of tying together the past and the future in the present..

Earlier this week I was listening to the 1 Mhz Apple ][ podcast (which I highly recommend!) and its host, Carrington Vanston, mentioned that his interest in retro computing isn't just for the sake of reminiscing about old stuff or waxing nostalgic about the good ol' days. Rather, Carrington's interest lies in showing how the Apple ][ is a fun, exciting, system that has found new uses in the present. His inaugural episode includes a review of Tass Times in Tonetown – a classic graphical text adventure set in a wacky re-imagining of the 1980s new wave culture. In the review Carrington focuses upon his current-day experience of the game and the ways in which it stands out as something different from the usual fare, such as the inclusion of a feelie newspaper included in the box called “The Tonetown Times” which the player must read to discover the names of characters s/he can talk with in-game.

But why should this matter? Isn’t this just like digging through your old box of hockey cards and marveling at your memory of opening the first pack? Here’s where we get into the nitty-gritty of understanding history.

Understanding what History Means

First, let’s correct a false assumption that often undermines this kind of historical exploration: it does not involve living in the past, it involves living through the past. In history we look at ourselves in the present through the past, and come to understand ourselves as standing in a long genealogy of meaning that pre-exists us. Now that’s a lot to swallow for the modernist who sees him/herself as largely being self-made and sees the past as a sequence of barbaric events that are thankfully left far behind her/him. That kind of modernist philosophy still persists today: we see it in people who cannot understand why Yar’s Revenge, Chrono Trigger or The Faery Tale Adventure are still compelling games. They simply stare blankly at the screen and think to themselves, ‘these graphics sure suck!’.

A corollary of this is that every game we’ve ever played, whether it be Wonder Boy in Monster Land or Mass Effect, all bear some kind of relation to the games, films, novels, poems, myths, paintings and other art media that came before it. Not only do they stand in artistic relation (in terms of the genres, styles, inspirations) but they stand in phenomenal relations. That is, when I say that I “enjoyed” Mass Effect yet “found the gameplay repetitive”, I try to tug at the entire web of language implicit in the meaning of enjoyment or repetition. Put differently: we experience enjoyment and repetitiveness in different ways, depending upon the way we are able to use those words to describe different games. If we’ve only played 10 console games in our lifetime we are going to have a very empty idea of what repetitiveness means, because we’ve only experienced the kind of repetition associated with level-based japanese RPGs. However, the gamer who has played hundreds of games understands that calling Windows Solitaire repetitive is a fundamentally different meaning than calling the battles in every Square-Enix RPG repetitive.

History for Gamers and Game Writers

The current bemoaning of the state of video game reviewing can almost be completely attributed to a problem of language. Reviews are superficial and empty typically because the people who review games typically do not engage themselves with games as standing in a history of meaning. Saying that, “I found the gameplay repetitive” is for all intents and purposes a meaningless statement. If the reviewer says that “the battle scenarios are not unlike the random battles found in all Final Fantasy games prior to XII” we have a fundamentally different meaning, one that breathes life into the doldrums of using the word “repetitive” to describe gameplay.

Now, here’s the big leap that I’d like you to take with me: changing our understanding of words changes our very experience of them. This stands in long relation to the certain forms of philosophy (if you’d like, look up folks like Herder, Goethe, and Charles Taylor). But the point here is that when I make comparisons of repetitiveness between Solitaire and Final Fantasy I actually come to experience the gameplay differently because I can see how each game I play comes to re-shape just what I mean by repetitive. History is about breathing new life into the present and future through the past.

But that’s not possible without actually playing, and writing and talking about, the thousands of games that came before us. Without making the miniscule distinctions between the qualities of the text parser in Tass Times in Tonetown and later Infocom text adventures that on the surface seem petty and redundant, we lose the chance to enrich the language of video/computer games, and in doing so, our experience of modern day gaming!

History Matters for Developers: Any Good Writer is a good reader

I should make one thing clear: understanding history won’t stop anyone from making an unsuccessful game. You can spend your life reading all the works of Shakespeare and still write poetry that nobody reads. But, like a good game, your poetry can be rediscovered decades or even centuries later because it managed to tap into the eternal – the long history of poems, stories and myths that preceded it. Although digital gaming is a medium in its infancy, we can still draw from the deep well of history to fill our games with meaning.

Whether plumbing the depths of The Hobbit on a Sinclair ZX Spectrum or reading Dumas’s The Count of Monte Cristo a good developer hones her/his craft through immersing her/himself in history. The very idea of playing a game through the eyes of a protagonist, themes of friendship and betrayal, or the story of the journey home, have been around for over a thousand years. The way that these themes were became typified in the great (and not so great!) works of art of human history all bear upon the way that people experience computer and video games now.

The developer, as artist and creator, can only make their creation compelling for an audience by steeping it in a vast ocean of meaning. Without a historical engagement the developer both re-invents the wheel and turns what could have been a deep, compelling work, into a hackneyed consumer product that lasts a week in a gamer’s stomach. The great works, the games that we come back to after 20 years and wonder to ourselves how the game still feels current, are the ones that withstood the test of time because they managed to capture the infinite wisdom of a thousand years of storytelling and poetry on humor, sadness, or friendship – and to a lesser degree at least 30 years of gameplay.

Conclusion

What I tried to suggest here is an alternative to the disappointment that we face when we pick up our dusty copy of The Legend of Zelda: A Link to the Past and find out that the game just isn’t as compelling now as it used to be when we were 12 years old. Nothing can be more traumatic for the gamer than finding out that their favorite game just didn’t grow with them – and if that’s the case it’s even more important to understand why it didn’t grow. If we try to live in the past through our “rose tinted memories” of games we surely can learn nothing new about them, or ourselves.
 

This post is included as part of a Blogs of the Round Table discussion on our ‘favorites’ and ‘least-favorites’ in video games. Follow the below drop-down list for other April ’08 Round Table entries. The list below links to other blogs who participated in this month’s Round Table – I strongly suggesting visiting them.. these articles are all particularly good reads.