When you take one of the most beloved and informative games of all time, jack up the difficulty somewhere just past sane, and hold it back from an adoring public for the better part of a decade, you can cause an ostensible adult to go airborne.
People were decrying the influence of video games on popular culture way before Mortal Kombat came onto the scene. Arcades were time-(and money-)wasters. Tetris rotted your brain. Portable gaming systems destroyed kids’ patience (or tried that of their parents, really). If you’re a gamer who grew up in the ’80s, you know what I’m talking about.
These were just the typical portents of the doom of civilization through technology that proved to be almost entirely without base, and most people knew it. How dangerous could dumping block after block on top of one another really be? Were Mario Mario and his brother, Luigi Mario, really that much worse than the A-Team? Hadn’t people heard the same kind of arguments about film, television, and rock n’ roll? Despite a couple busts, video games got more and more popular every year with little-to-no outside intervention regarding their content.
… that is, until 1992, when a gamer could finally rip the still-beating heart out of an opponent’s chest. At that point, everything changed.
I’m fresh back from my brother’s wedding, so I’ve been thinking a lot this week about some of the games that we played together when we were small. Indeed, a lot of my early video game meories are tied to my big bro, and although each of these really could deserve their own pixelthèque post, I’ll run down a few of them here. Brian had a friend who “borrowed” DuckTales for the NES and took two years to return it. It was worth the wait, but I must have bugged my brother weekly about why he wouldn’t get my game back (it was his game). There were the times when he would scream at me for cheating at Duck Hunt by sticking the tip of my light gun against the television screen, and then moments later order me to bang my fists on the back buttons of the Power Pad while he ran the races in World Class Track Meet. I remember sitting on the family futon in the living room of our old old old house when he came running in with the box containing our first toaster loading Nintendo Entertainment System, and started this whole mess. Thinking about some of the dates here, and doing the math, it’s probably one of my earliest memories. He says he remembers me forcing him to beat every dungeon in my save game of The Legend of Zelda in order to keep up with his save game, but I can neither confirm nor deny this happening. I remember sitting on the floor of his bedroom for two hours holding down the right arrow on the D-Pad so that he could have super jump all the way through Mega Man 3. And I remember the babysitter who brought over Super Mario Bros. 3, and let us both play, and the anticipation and the wonder being greater than anything I had experienced at that point. There are others, but maybe none so fond as when we used to stay up late in the bed we shared and go through the Nintendo PowerFinal Fantasy strategy guide and plan out every weapon we’d buy, every spell we’d learn, and where we would grind. Thanks for those memories, GaGa.
I have not been much of a racing gamer for a while. I certainly respect how much the genre has evolved from its early days; both the Gran Turismo and Forza Motorsport series are an ever-improving apotheosis of racing at home, giving a simulation that is, in some cases, literally good enough to train us for driving on the real-life tracks the games represent
I learned a lot more about driving from these games than it is probably safe to publicly admit. Because of simulation racers, I think about lines and acceleration and vehicular physics in a way I maybe never would have grokked on my own. They were crucial to my skilled-but-not-necessarily-legal driving style.
Losing is a part of life. This is not being in second place, either. This is last-place, giving-up-your-dreams, never-going-to-play-professional-sports kind of losing. For every person born on third base (and thinks they hit a triple), there are eight guys at bat who strike out and ten bench warmers. Being a Pittsburgh Pirates fan taught me that, among other things.
Those lovable losers (who are, incidentally, NOT-so-lovable losers; this will come back later) also taught me some other things. It’s the persistence, the journey, and the experience that matter. If you deal with the losses, it makes the victories all that much more precious. “Character” is real. Know all those assholes who can’t handle life without an umbrella? They’re the ones who had everything handed to them and can’t handle a little bit of rain.
Right. Everybody happy? Great. Because here’s a bombshell (note the sarcasm). It’s also nice to win.
You don’t see too many arcades anymore. Most are flagging dinosaurs, nostalgia fuel, or on fire. These days, the best arcades are made of cardboard. But there was a time when arcades were the place to go if you wanted to get your gamer on. They were the land of giants, sleek and sexy arenas where women wore evening dresses and men took their martinis shaken, not stirred.
Bill Watterson is akin to a cartooning god for many people of my generation. His comic strip, Calvin & Hobbes, is justifiably considered one of the greatest achievements in his medium. It had wit, a deft touch of whimsy, and social commentary that still rings true to this day. It also mechanically changed how a Sunday comic strip could be drawn/displayed. The hermit-like artist, through his comic strip, sparked the imaginations of a generation of kids while indirectly making himself an anchor for Generation Y’s youth.
He was also wrong about a lot of things. Comic books can be stupid, but that doesn’t mean he’s not hypocritical for disparaging an entire medium (which is more a less a brother to his own) by blaming the content for the delivery mechanism. It’s also naive to want one’s art to reach as broad an audience as possible while remaining anonymous. This is no knock against his creation, of course, but rather a reminder to my fellows that Watterson was a man rather than a prophet
One of the most interesting aspects of art is how it can serve as commentary “after the fact.” That is, it can speak for itself at the time and then gain additional meaning as the context of its place in history becomes fixed. Casablanca is a great film not just because it had a great script, but because it is a film about Nazis produced and released before the climax of World War II. It’s easy for us to look back and see how Rick and Ilsa will probably survive the conflict, but imagine the true anxiety that audiences must have felt on their behalf with VE Day still over two years away. The film, like so many others in so many other contexts, survives because it has resisted any possible attempt to pigeonhole it. Its meaning changes every year and for everyone who watches it.
The same can be said for Dragon’s Lair. Though Dirk the Daring’s quest to rescue Daphne from the clutches of the dragon, Singe, seems rather quaint compared to the hundred-hour epics of today, it is impossible to overstate its importance to the growth of its medium. One could write a book on all of its pros and cons, but I’ll stick with just three for now…
There is no question that Mega Man is one of the most iconic characters in the history of video games, deserving of a place in the highest echelon, alongside Mario, Link, and Sonic the NoLongerRelevant. His quiet and heroic demeanor, slick blue suit, and awesome weapon acquisition method all contribute to his status as the very best.
The structure of Mega Man games pretty much remains unchanged from the first installment – Mega Man fights his way through a series of stages in any order, defeating Robot Masters and taking their powers, then battles the evil Dr. Wily across multi-level final dungeon (WITH AWESOME MUSIC), and saving the day. It’s a comforting and familiar formula, like Pringles “potato chips;” they all look the same, taste the same, and when you finish one, you immediately want another.