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
In October 2017, I had the chance to be at The Strong National Museum of Play as a research fellow collecting data for my Dolls in Focus project aimed at revisiting and expanding the findings of my previous linguistic investigation on dolls’ language. Surprisingly, what I thought would primarily be an exploratory incursion into dolls’ universe from an academic perspective turned out to be a rather touching and personal experience that allowed me to revisit my own childhood memories.
For a whole week, I had a wide variety of dolls coming in my direction, from old Jumeau Bébé dolls, walking and talking baby dolls, to Barbie dolls, of course. The Strong curators carefully selected more than 70 dolls for my examination, as well as seminal books I had requested. The museum’s staff proved to be extremely efficient in providing me with all information regarding the artifacts I was analyzing, such as their production date by the toy manufacturer. They also supplied me with instructions regarding the use of museum images in my future academic publications.
As an academic from the area of linguistics, I’ve been conducting toy research for almost 15 years, but I had never enjoyed the chance to engage with such a large collection of artifacts. My previous work had concentrated on language and images, notably the verbal and visual features of web advertisements for dolls. For this reason, being at The Strong gave me the opportunity to carry out a thorough analysis of dolls mainly as three-dimensional objects, which ended up enlightening my view of dolls’ material configurations.
From a linguistic perspective, my research and data collection experience at The Strong confirms that examining toys such as dolls as actual three-dimensional objects opens up possibilities for a broader analysis. The analysis can deal with the toys’ meanings as supported by design features such as their iconography, composition, material qualities, and the degree of realism of their representations. Such multimodal properties can lead to a deeper interpretation of their given motifs—or visual pointers—as clues to the meanings that their symbolic, somehow “unnatural” features convey. Observation on toys’ kinetic design perceived at the tactile level can also lead to relevant findings on their attached gendered meanings. In other words, a linguistic analysis that privileges not only a two-dimensional perspective but also a three-dimensional investigation of the visual, tactile and kinetic properties of toys like dolls might help to capture the essence of the social view on men’s and women’s roles in contemporary society.
These are only some of the reasons that made my research period at The Strong such a happy and productive one. This will certainly reverberate throughout my future academic productions on the language of toys, both in national and international contexts.
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.
In addition to collecting video and other electronic games and materials that document how these games are made and sold, the staff at The Strong's International Center for the History of Electronic Games (ICHEG) is also interested in preserving evidence of player culture.
Video games have a common—and increasingly outdated—image of appealing primarily to males. This misperception is perhaps due to the tendency of the media to focus on the “triple A” market—high-budget games, produced by established game corporations, that highlight violence and sex to appeal to a straight, male audience. At least one company, however, was aware of the potential for a female market for video games in the 1980s.
It seems that now, perhaps more than ever, people everywhere are constantly on the go. Traveling to work or school, the gym, or the grocery store—the list goes on and on. We eat on the run, drink coffee on the run, and even get our information on the run thanks to smartphones that make emails, news, and calls available wherever we are. Today, many folks would tell you that life on the go is hectic but necessary. For a moment, let’s set the necessary aside and look at the more playful side of “things that go!” as children so frequently phrase it.
Growing up in Pennsylvania, my parents frequently looked for family excursions within a few hours’ drive from our home near Pittsburgh. Lancaster County, Pennsylvania, became a frequent destination for the Novakovics, thanks in part to my younger brothers. Both Bobby and Billy loved reading the Thomas the Tank Engine series by Reverend W.