by [redacted]
What can I say about Space Invaders that you don’t already know? Not a lot, I reckon, so I’m not going to go into too much depth on the facts. If you need more, there’s the Internet. Rather, I mean to frame the available information within the discussion we’ve been having, with an aim to highlighting its greater relevance.
You will recall we talked about Pong, and the easy introduction it provided into that alien space on the other side of the TV screen. Although there wasn’t much meaning to be had, the passive control the game provided over that one packet of information, bouncing around its tiny gameworld according to discernible laws acting on their own, allowed the player to mentally map out the game’s reality.
There was a whole new, bottled system of cause and effect for the player’s mind to lock into and understand. And as minimally involving as the laws and interface were, they were novel and fascinating, and simple to digest — to the extent that Pong became a cultural sensation.
Then, as we discussed, four years later, Breakout came along and reframed Pong as a solitary experience, as a complex space, and as a distinct narrative. Now the player’s focus was entirely on the gameworld, rather than the gameworld acting as a catalyst for two players to entertain each other. In turn, the gameworld had more to focus on.
The player’s every action — as indirect as the interface remained — resulted in a tangible effect, or consequence, within the world. A tile would break, the board would be a little more open, and the surfaces to bounce off of would be a little different. The interaction was suddenly more meaningful, at least within the narrow scope provided. And then when the board was clear, twice over, the game was over. There was a distinct goal to achieve, entirely within the parameters of the game’s bottle universe.
Well, all those changes were significant. Different designers took away different lessons by how they balanced those changes in their heads, and ran off to extrapolate further — leading us to at least two distinct schools of game design and a new focus on a single player’s causal relationship with the gameworld, as compared to videogames as a mere game or social tool.
For now let’s jump the Pacific, and ride the narrative train for a while.