The video game is now a ubiquitous part of American pop culture but pinball still holds a cachet of cool. Pinball went through a few lean years during the early years of the video boom, when designers tried to cram as much stuff onto the playfield as possible, perhaps feeling the clutter was needed to replicate the video game experience. In recent years, however, designers appear to have concluded--and rightly so--that pinball cannot be a video game, nor should it want to be.
A great game of recent vintage is the 1997 Bally release "Cirqus Voltaire". The theme is sort of a 'Cirque du Soleil" on acid, and the iconography of the circus that they cram into the design and play of the game is amazing. The ultimate object of the game is to "join the cirqus", which, of course, is a classical American archetype of freedom and escape.
The game play offers many Williams/Bally standards, with sweeping ramp shots, clever uses of time-worn features (like the disappearing pop bumper, reincarnated here as a balloon. This feature dates back to the 1950's and appeared on Williams "Gusher" among others), and multi-ball a-plenty.
At its nadir, pinball companies were cranking out games featuring themes and subjects that offered little, if any, synergy with game play. The low point might have been some of the celebrity tie-in games of the early eighties (which gave the world debacles like a Dolly Parton and Roy Clark tie-in). "Cirqus Voltaire" may represent a high point of thematic unity between game subjects, aesthetic design and play experience. It offers an otherworldly interpretation on a circus, with subtext, nuance and detail.
The really great thing about the game is the multiple levels of contextual awareness it offers. A slack jawed yokel can play it and just think its a nice game about the circus. To a cleverer player, it alternately provides a celebration and condemnation of the circus and, deeper still, of the popular culture that spawns and embraces them.
A great game of recent vintage is the 1997 Bally release "Cirqus Voltaire". The theme is sort of a 'Cirque du Soleil" on acid, and the iconography of the circus that they cram into the design and play of the game is amazing. The ultimate object of the game is to "join the cirqus", which, of course, is a classical American archetype of freedom and escape.
The game play offers many Williams/Bally standards, with sweeping ramp shots, clever uses of time-worn features (like the disappearing pop bumper, reincarnated here as a balloon. This feature dates back to the 1950's and appeared on Williams "Gusher" among others), and multi-ball a-plenty.
At its nadir, pinball companies were cranking out games featuring themes and subjects that offered little, if any, synergy with game play. The low point might have been some of the celebrity tie-in games of the early eighties (which gave the world debacles like a Dolly Parton and Roy Clark tie-in). "Cirqus Voltaire" may represent a high point of thematic unity between game subjects, aesthetic design and play experience. It offers an otherworldly interpretation on a circus, with subtext, nuance and detail.
The really great thing about the game is the multiple levels of contextual awareness it offers. A slack jawed yokel can play it and just think its a nice game about the circus. To a cleverer player, it alternately provides a celebration and condemnation of the circus and, deeper still, of the popular culture that spawns and embraces them.
About the Author:
Ross Everett is a widely published freelance writer and highly respected authority on NFL football betting. His writing has appeared on a variety of sports sites including sports news and sportsbook directory sites. He lives in Las Vegas with three Jack Russell Terriers and a kangaroo. He is currently working on an autobiography of former interior secretary James Watt.
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