#historically important

Metal Gear

“Operation Intrude N313: Infiltrate the enemy fortress, Outer Heaven, and destroy Metal Gear, the final weapon!” By late 1980’s, Konami were a well known entity in the broad culture and industry that grew around the new medium of video games in Japan. Starting out making successful arcade games like Frogger, Time Pilot, and Contra, the company quickly jumped into the burgeoning world of home consoles, following the success of devices like the Famicom, Commodore 64, and MSX. More games needing to be made meant more people needed to make them, so the company staffed up quickly. College graduates were scooped straight from graduation and placed on projects, no matter their grasp of Assembly, C, or BASIC. These new hires were often handed a brief proposal for a game idea, often following some trend or demand, and given a short amount of time, sometimes only a handful of months, to put everything together. Hideo Kojima was one such hire, brought into Konami to develop for the MSX platform. After working as Assistant Director on Penguin Adventure, a sequel to one of the company’s early forays into console development, he was promoted to Director for his next project and handed a proposal for a war action game, a popular trend at the time. Only, the game materialized with a very different design, one that emphasized evasion rather than confrontation. Initially dubbed “Intruder”, the name that was eventually settled on was “Metal Gear“, after the bipedal mecha that is of central importance to the story, when it was released in July 1987 for the MSX2 in Japan.

Portopia Renzoku Satsujin Jiken

In a cutscene at the end of Metal Gear Solid V, a game set in the 1980s, a man is loading a cassette tape in MSX computer and the characteristic loading noises from a data tape are played. It did not take fans long to find out that the audio contained the header of the 1983 Japanese adventure game The Portopia Serial Murder Case, a game Hideo Kojima famously has quoted as one of the reasons he went into the video game industry. In fact, this by modern standards rather primitive graphical text adventure is often heralded as one of the most influential games in Japanese video game history. Similar to how Sierra’s King’s Quest (1984) shaped the direction western computer adventure games would take, Portopia has been instrumental to the development of the adventure (ADV) genre, but also to Japanese video game interface design in general. 

Dragon’s Lair

Full Motion Video Games; loved by few, scorned by most. Often considered a blight upon the early era of CD-ROM games, and sometimes even blamed for the death of early consoles using the technology (Sega CD, anyone?), the truth is that while they are in most cases pretty forgettable, there is a reason that so many were made: people were excited by them at first. After the start of the infamous hearings on video game violence in the mid-1990s, Night Trap, one of the flagship FMV games for the Sega CD, became a huge best-seller, and many other games were released in the wake of it. Once the novelty wore off though, people saw how boring and repetitive most of them were. 

Wing Commander

For most of the 1980s, Origin Systems was best known for their groundbreaking work in the Ultima series. Ultima defined the CRPG and broke ground with each new iteration, gaining Origin Systems, and especially its key figure, Richard Garriott, considerable fame within the industry. The history of Ultima can be found elsewhere on this site, but Origin released other games, of course, many of which were also RPGs. Its reputation as ‘the Ultima guys’ was well-earned.

All of that changed in 1990 with the release of Wing Commander.

Much like Garriott came to be defined by his creation of Ultima, so did Chris Roberts come to be known primarily for his magnum sci-fi opus. Wing Commander put space combat simulators on the map, causing a boom in the genre not seen since its apex in the 1990’s. Throughout multiple games, ports, and adaptations to other media from cartoons to novels to a Hollywood film, Wing Commander defined Origin’s ’90s just as much as Ultima had defined its ’80s.

King’s Quest: Quest for the Crown

Ostensibly Sierra’s flagship series, King’s Quest is practically the progenitor of the graphic adventure genre as we know it. Designed and conceived by Roberta Williams, it sought to break free of text adventure conventions by switching to a third person view, giving the player an avatar to guide around the game world. It was also at the forefront of their technological advancements. Every time Sierra introduced a new engine, with improvements to the graphics, sound and interface, King’s Quest was always the title leading the way. 

Dune II: The Building of a Dynasty

While Cryo Interactive Entertainment was already busy developing Dune, Virgin Interactive tasked Westwood Studios with the development of their own Dune-licensed game. The end result would be Dune II: The Building of a Dynasty, published as Dune II: Battle for Arrakis in Europe. Dune II: The Building of a Dynasty would be the foundation of many a later real-time strategy game, including Westwood’s own Command & Conquer series. Real-time strategy already existed in several forms when Westwood started their development on the game, most notably with titles such as The Ancient Art of War or Herzog Zwei. However, none of these games featured the defining trinity of base building, resource gathering, and army management. Interestingly enough, Westwood apparently took as much inspiration from their own Eye of the Beholder as they did from Herzog Zwei. While a dungeon crawler and not a strategy game, Eye of the Beholder does run in real time. Additionally, Populous is cited as an inspiration for the developers alongside the turn-based titles Military Madness and Civilization. 

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and realizing that the authors literally believe what theyre saying

& wondering just how much money / time / effort theyve spent