The Strong’s historians, curators, librarians, and other staff offer insights into and anecdotes about the critical role of play in human development and the ways in which toys, dolls, games, and video games reflect cultural history. Learn even more about the museum’s archival materials, books, catalogs, and other ephemera through its Tumblr page.
Play Stuff Blog
How do you tell the history of video games?
For more than a decade, The Strong has been collecting, preserving, and interpreting the history of video games. Over that time our collection has grown to more than 60,000 video games and related artifacts, as well as hundreds of thousands of video game-related items in our archives. We’ve showcased them in exhibits, featured them in online content like our timeline of the history of video games, and made them available to scholars from around the world who have come to The Strong to do research.
Now we’re highlighting this amazing collection with a new book from The Strong’s World Video Game Hall of Fame: A History of Video Games in 64 Objects.
The book uses 64 items from the museum’s collection to tell the story of how video games have changed, and how they’ve changed society. For me, one of the most challenging aspects of producing the book came at the very beginning—choosing which items to include and which to exclude.
Some choices were easy. We knew we wanted to represent each member of the World Video Game Hall of Fame. Will Wright’s design notebooks for The Sims? Check. A Pac-Man Halloween costume (anytime something becomes a Halloween costume it’s probably of some cultural significance). A Pong arcade cabinet? Obvious. But after accounting for the games inducted into the first three classes of the World Video Game Hall of Fame, there were only 48 slots remaining in the book. How to pick 48 objects from the hundreds of thousands in the collection?
We chose some because they represented the work of pioneers. Humpty Dumpty, the first pinball with flippers, offered useful historical perspective about the development of the playfield. John Burgeson’s baseball game from 1961 was the first computer version of the nation’s pastime. Jordan Mechner used rotoscoping techniques to fluidly render human movement on a computer, and so it was natural to feature the photo prints he had originally created for that purpose.
Other objects represented milestone games or symbolized an era. Thus anyone who grew up in the late 1970s and early 1980s probably played a handheld game like Mattel’s Football, owned a Texas Instruments Speak & Spell, traveled the Oregon Trail, or matched wits with Simon.
Some artifacts, our curators knew to be historically compelling. The Digi-Comp 1, which came out in 1963, billed itself as the “first digital computer in plastic” and offered kids the chance to write simple programs in binary, such as a rocket countdown and the game Nim. Produced at the height of the space race between the United States and the Soviet Union, it showed how grand geopolitical concerns often filtered their way into kids’ play.
The Magnavox Mini Theater, the first retail display for a video game, opens a window into how manufacturers tried to make video games understandable to audiences who had trouble even conceiving what it meant to play a video game on a television. A game like Densha De Go, a Japanese train simulation game, shows how tastes in video games vary from place to place.
We easily could have filled a book with another 64 artifacts, but we’re excited that these selections provide not only an introduction to many of the games in the World Video Game Hall of Fame but also an introduction to gaming history as a whole.
So we hope you enjoy the book, available online from HarperCollins or in the museum shop.
Reading reports about some retail store closings, it’s hard to ignore that many of us often prefer shopping online with millions of products at our fingertips to navigating a shopping cart through the aisles of our local retailers.
Labor Day weekend will be filled with the lighting of grills, the balancing of over-filled paper plates on knees, and the splashing of feet in lakes and pools. It’s prime picnic time in America! People have been picnicking for more than 500 years. The French term “pique-nique” first appeared in print in 1694, referring to an indoor, potluck-type affair. Outdoor dining most likely has its roots medieval hunting feasts as documented in paintings and tapestries from the period, and the French term was adopted and adapted by the British to refer these outdoor affairs.
“Are you a child or a teetotum?” a creature asks Alice in Lewis Carroll’s Through the Looking-Glass (1871). The bewildered Alice can’t think what to say in reply. Spun from one mad adventure to another, she might well resemble the iconic “teetotum,” or spinning top, that was used in 19th-century board games.
“Summer just opens the door and lets you out." Deb Caletti, Honey, Baby, Sweetheart The front of a school building shimmers in the sun. A loud bell rings. The doors burst open and a flood of children spills out, cheering and tossing papers into the air. This image, used to the point of cliché, signals the start of summer and the freedom (albeit temporary) from the restrictions of school, the expectations of parents, and the anxieties of peer relations. In those precious ten weeks, an awkward misfit can shed his skin and emerge a swan, a hero, or a man.
I grew up in a small town with a population of roughly 5,000. It may not look it now, but it was once booming with activity and businesses. A basket factory and a canning factory ranked among the major employers. Then the train quit making stops in town. Without convenient access to supplies, factories slowly closed and the population dwindled. But what became of the train station and the hotel attached to it? That is a key part of my childhood.
Carol Shaw, the first widely recognized female game designer and programmer, has donated to The Strong a collection of console games, printed source code, design documents, sketches, reference materials, and promotional objects representing games she created for Atari, Inc.
Since last summer, you may have noticed small groups of millennials walking briskly toward landmarks surrounded by people staring intently at their smartphone screens. Every now and then, cries of delight or disdain erupt from the gatherers. “Oh good, a Snorlax!” someone murmurs appreciatively. “Just another Rattata!” another person groans.
The recent decision by the producers of Call of Duty:WWII to return the game’s setting to World War II—after a detour into modern warfare and futuristic science fiction—reflects not only the franchise’s success with this period but also the fact that no other war has so captured the imagination of playmakers and players.