The Game: Two ships are locked in deadly deep-space combat, firing interplanetary ordnance at each other. Whoever survives the most confrontations within a set amount of time is the victor. In the game’s one-player variation, 
the machine controls one ship, and a two-player version was also made. (Nutting & Associates, 1971)
Memories: To go all the way back to the beginning of video games in the arcade is to go back to Computer Space - which is also arguably the first arcade flop.
The idea behind the game wasn’t exactly new - it was almost a decade old, in fact. Steve Russell’s college mainframe favorite Spacewar! had captured the attention of a college student named Nolan Bushnell. Having served his own apprenticeship as a carnival barker in his younger years, Bushnell was sure he could sell anyone on entertainment, and he knew a potentially exciting new medium for that entertainment when he saw one. (Read more about this game…)
The Game: Avoid missing ball for high score.
(No, really!) (Atari, 1972)
Memories: Which came first, the chicken or the egg? And who hatched that egg (or fried that chicken) first - Atari founder Nolan Bushnell or inventor Ralph Baer, who licensed to Magnavox his concept for a dedicated video tennis game that could be hooked up to a TV set? (Read more about this game…)
The Game: Two players each control a fearsome armored fighting vehicle on a field of battle littered with obstacles. The two tanks pursue each other around the screen, trying to line up the perfect shot without also presenting a perfect target if they miss. In accordance with the laws of ballistics and mass in the universe of Saturday morning cartoons, a tank hit by enemy fire is bounced around the screen, into nearby wall or mines, spinning at a very silly velocity, and battle begins anew. (Kee Games [Atari], 1974)
Memories: In the early 1970s, arcade distribution was a closely-guarded, exclusive thing. And to an ambitious guy like Atari founder Nolan Bushnell, this represented a problem. Atari wasn’t an old-school pinball outfit like D. Gottlieb & Co. or Bally, and was bucking the system just to land a deal with regional distributors across the country anyway. The distribution system - which allowed one distributor to represent Gottlieb games exclusively in his area, while a competitor would be the only game in town for Bally/Midway fare, for example - was created in the pinball era; many arcade operators would deal exclusively with a single distributor, and of course there were franchise arcades owned by companies like Bally, such as Aladdin’s Castle. It was entirely possible, and not uncommon, to see some manufacturers represented only at one or two arcades in a given area, and their rivals represented only at others. Which was fine with pinball manufacturers, but Bushnell wanted to place Atari’s video games everywhere. (Read more about this game…)
The Game: Grab yer guns and draw, sonny! You face off against another player, with only six bullets and plenty of obstacles in the way - a pesky cactus or two, a roaming covered wagon, and so on. Whoever lines his opponent’s belly with lead first wins the round, and the final victory goes to whoever wins the most rounds. (Midway, 1975)
Memories: Originated in Japan as Gunman, Gun Fight holds a very special place in video game history - it’s the first arcade game with a microprocessor chip at its core. But that innovation didn’t start in Japan - it started when Dave Nutting, the brother of Bill Nutting (whose Nutting & Associates took one failed shot at arcade success with the first coin-op, Computer Space, in 1971), licensed Gunman from Taito. When originally manufactured by Taito, Gunman’s guts were strictly analog, just like every arcade game that had come before in either country. Nutting had already been experimenting with implementing a game program through microprocessors, and decided to completely remake Gunman from the ground up. (Read more about this game…)
The Game: You control a dot making its way through a twisty maze with two exits - one right behind you and one across the screen from you. The computer also controls a dot which immediately begins working its way toward the exit behind you. The game is simple: you have to guide your dot through the maze to the opposite exit before the computer does the same. If the computer wins twice, the game is over. (Midway, 1976)
Memories: Not, strictly speaking, the first maze game, Midway’s early B&W arcade entry The Amazing Maze Game bears a strong resemblence to that first game, which was Atari’s Gotcha. Gotcha was almost identical, except that its joystick controllers were topped by pink rubber domes, leading to Gotcha being nicknamed “the boob game.” Amazing Maze was just a little bit more austere by comparison. (Read more about this game…)
The Game: Up to four players control markers that leave a solid “wall” in their wake. The object of the game is to trap the other players by building a wall around them that they can’t avoid crashing into - or forcing them to crash into their own walls. Run into a wall, either your own or someone else’s, ends your turn and erases your trail from the screen (potentially eliminating an obstacle for the remaining players). The player still standing at the end of the round wins. (Ramtek, 1976)
Memories: If you’re a fan of the “Light Cycle” concept made popular by Tron (both the movie and the game), this is where it all started, with an obscure game from a relatively obscure manufacturer. But that obscurity isn’t earned by a game that essentially launched and entire genre. (Read more about this game…)
The Game: You’ve got a mobile paddle and - well, frankly, balls. But you don’t have a lot of balls at your disposal (am I the only one becoming a little bit uncomfortable discussing this?), so you have to make the best use of them that you can to knock down the rows of colorful bricks overhead. Missing one of your precious balls - and we all know how painful that can be - forces you to call another ball into play. Losing all of your balls, as you’ve probably guessed by now, ends the game. So, in essence, Breakout is a metaphor for life from the masculine perspective. (Atari, 1976)
Memories: The year was 1976, and Atari’s founder, Nolan Bushnell, had an idea to revive the overmined “ball and paddle” genre: turn Pong into a single-player game, almost like racquetball, in which players must smash their way through a wall of bricks with a ball without missing that ball on the rebound. Bushnell was sure the idea would be a hit. (Read more about this game…)
The Game: Two players control one car each, careening freely around an arena filled with zombies. Faced with zombie-fication at the pedestrian crossing of the undead, the drivers have only one option: run over their opponents! Each zombie that’s squashed leaves a grave marker behind that becomes an unmovable obstacle to zombies and cars alike. Whoever has run over the most zombies by the end of the timed game wins. (Exidy, 1976)
Memories: Death Race, which didn’t even come within shouting distance of having anything to do with the movie of the same name, was the arcade game that sparked the very first protests about violence in video games. Those protests go on to this very day, with games like the latest iteration of Grand Theft Auto and Bully drawing fire for depicting various kinds of real world violence. Compared to those much more recent games, it’s almost laughable to think that the abstraction of Death Race was where some parents first drew the line. Why? Because Death Race was the first person to put stick figures - a representation of a human being - on the screen and let you do something nasty to them. (Read more about this game…)
The Game: You’re racing the Formula One circuit by the glow of your headlights alone - avoid the markers along the side of the road and other passing obstacles…if you can see them in time. (Atari, 1976)
Memories: Aside from the very cool cockpit cabinet of the sit-down version of Night Driver, there’s a reason why it earns a spot in video game history. Go ahead and see if you can guess what it is. Give up? It’s the first time that a representation of depth appeared in the graphics of a video game. Until this point, home and arcade video games had presented their playing fields as strictly two-dimensional spaces: they were seen from straight overhead, or from a side-on view. (Read more about this game…)
With the same trio of games as the Odyssey 400 - Tennis, Hockey/Soccer and Smash - the Odyssey 500, released in 1976 by Magnavox, would appear to not be much of an upgrade, but in fact, it’s an absolutely critical turning point for home video games: the Odyssey 500 did away with squares and rectangles to represent the player, and introduced character sprites - hardware-generated characters that roughly mimicked the shape of a human being. (Read more about this game…)
Back in the heady days of Nolan Bushnell-managed Atari, when the home versions of games like Pong and Stunt Cycle were making decent money, and the sky seemed to be the limit, and the 2600 was nothing more than a promising idea on the horizon, anything could’ve been the next big thing. And not even necessarily anything that was a video game. Despite all of the legendary stories of executive meetings in hot tubs, on-the-job marijuana use, and blue-jeans-as-businesswear, it may just be that nothing provides as much concrete evidence of the heady, psychedelic early days of Atari as one of their most obscure products: Atari Video Music. (Read more about this game…)
The Game: Up to four players control markers that leave a solid “wall” in their wake. The object of the game is to trap the other players by building a wall around them that they can’t avoid crashing into - or forcing them to crash into their own walls. Run into a wall, either your own or someone else’s, ends your turn and erases your trail from the screen (potentially eliminating an obstacle for the remaining players). The player still standing at the end of the round wins. (Midway, 1977)
Memories: Any classic gamer worth his weight in pixels will recognize Checkmate as one of the inspirations for the Light Cycle sequence in both the movie and the game adaptation of Tron - but that doesn’t mean that Tron had to be behind the wheel for this concept to be a lot of fun. (Read more about this game…)
The Game: Up to two players control markers that leave a trail of dominos in their wake. The object of the game is to trap the other players by laying a wall of dominos around them that they can’t avoid crashing into - or forcing them to run into their own walls. Coming into contact with a line of dominos, either you own or someone else’s, collapses your own trail and ends your turn. The player still standing at the end of the round wins. (Atari, 1977)
Memories: Another variation on the game concept that the movie (and game) Tron would later popularize as Light Cycles, Dominos is one of the few attempts anyone made to try to couch the concept in non-abstract, real-world terms (well, real-world if you can imagine someone having an infinite number of dominos to build a wall, but that’s neither here nor there). (Read more about this game…)
The final member of the Odyssey stand-alone console family tree, the Odyssey 4000 boasts more games than any of its predecessors since Ralph Baer’s original Odyssey, and was only the second of the dedicated Odyssey consoles to feature color (after the experimental Odyssey 500). And for those who have ever held the joystick of a Magnavox Odyssey2 in their hands, the Odyssey 4000 offers another familiar element - its joysticks are exactly the same mold as those of the Odyssey2, only rotated 90 degrees, and sporting some major differences in internal mechanisms. Though multidirectional, the joysticks are designed to favor vertical movement and offer some resistance to horizontal movement. (Read more about this game…)
The Game: Two players each control a fearsome armored fighting vehicle on a field of battle littered with obstacles (or not, depending upon the agreed-upon game variation). The two tanks pursue each other around the screen, trying to line up the perfect shot without also presenting a perfect target if they miss. In accordance with the laws of ballistics and mass in the universe of Saturday morning cartoons, a tank hit by enemy fire is bounced across the screen - sometimes right off the egde of the screen and into a corresponding position on the opposite side of the field - spinning at a very silly velocity, and battle begins anew. Other variations include biplane and jet fighter dogfights. (Atari, 1977)
Memories: Chances are, anyone who’s my age who is asked to remember their first video game console will tell you it was the Atari VCS - and their first game? Naturally, the one that came with the VCS: Combat, based on the 1974 arcade hit Tank! by Kee Games.
Kee Games? (Read more about this game…)
The Game: Watch for falling rocks - because it’s your job to catch them. You control a series of containers arranged in a vertical row, and your task is to catch all of the rocks, without fail, not letting a single one of them hit the ground. The more rocks you catch, the more containers you’ll fill, and you’ll be left with fewer, and smaller, containers. If you let a rock through your defenses too many times, the game’s over. And you’ll probably be hit in the head with a lot of rocks. Neither outcome is really a good thing. (Atari, 1978)
Memories: Avalanche is a relic of the early days of videogaming, where no idea was left untried. It’s a fiendishly simple and surprisingly tense little number for what appears to be such a simple game. (Read more about this game…)
The Game: Piloting a mobile cannon around a cluttered playfield, you have but one task: clear the screen of mines, without blowing yourself up, in the time allotted. If you don’t clear the screen, or you manage to detonate a mine so close to yourself that it takes you out, the game is over. If you do clear all the mines, you get a free chance to try it again. Two players can also try to clear the minefield simultaneously. (Gremlin, 1978)
Memories: It may not look terribly entertaining if you’re accustomed to graphics even on the Atari 2600’s level, but Blasto is quite addictively entertaining when you get right down to it, and its decidedly lo-fi graphics are just part of its charm. (Read more about this game…)
The Game: Trade those pads in for pixels and get ready to hit the gridiron. Each player controls a football team represented by Xs or Os, and uses a keypad to select offensive and defensive maneuvers - and the trakball to tear across the turf as fast as the player can move it. Additional quarters buy additional playing time (each quarter gets two minutes of play). Whoever has the highest score at the end of the game is the winner; later four-player variations sported additional trakballs so the offensive player could control his team’s quarterback and another could control the receiver for passing plays, while there were now two independent players on the defensive team. (Atari, 1978)
Memories: The only serious rival for Space Invaders‘ arcade affection in 1978, Atari’s Football almost beat those crafty aliens to the punch by a couple of years. (Read more about this game…)
The Game: Long before Frogger and Frog Bog, there were simply Frogs, the original arcade amphibians. One or two frogs hop along a lily pad at the bottom of the screen, scoping out tasty flies to eat. When you’ve got a morsel in your frog’s reach, jump and try to activate your frog’s tongue at just the right time. (You’ll know if you’ve snared a meal because your frog will seem to ascend the screen in heavenly bliss.) Whoever has the most points at the end of the timed game is the supreme frog. (Gremlin, 1978)
Memories: Though the game concept would be more widely popularized by Frog Bog several years later on the Intellivision, this is where the two-frogs-catching-flies game began. If you’re wowed by the amazing graphics on this early game, don’t be - the colorful background was a piece of artwork set into the arcade cabinet, onto which the game’s graphics were “projected” by laying the monitor flat on its back and reflecting the computer-generated graphics of the frogs and flies toward the player via a mirror at a 45-degree angle. (The game’s graphics were actually generated and shown backward, so the mirror reflection would show letters and numbers properly.) (Read more about this game…)
The Game: It’s like pinball, but not quite. Not only are the bouncing-ball physics and bumpers of pinball present, but so are walls of bricks which, when destroyed, add to your score and sometimes redirect your ball in unpredictable directions. Pinball meets Breakout. (Namco, 1978)
Memories: If you’re wracking your brain trying to remember this game, don’t spend too much time - not that many gamers actually got to play it first-hand. It is, in fact, only in retrospect that Gee Bee’s true historical significance has been revealed. (Read more about this game…)
The Game: Two ships are locked in deadly deep-space combat, firing interplanetary ordnance at each other. Some variations include a sun whose gravity well will draw the immobile or the unwary to their destruction, or a roaming asteroid which can be a handy shield one moment and a killer obstacle the next. Whoever survives the most confrontations within a set amount of time is the victor. (Cinematronics, 1978)
Memories: Packaged in a mammoth, industrial-fridge-sized cabinet, Space Wars may be imposing, but it’s hardly original. Larry Rosenthal, creator of the so-called “Vectorbeam” technology, picked a well-worn computer gaming icon that was fun, strategic…and in the public domain. (Read more about this game…)
The Game: It’s quite simple, really. You’re the pilot of a ground-based mobile weapons platform, and there are buttloads of alien meanies headed right for you. Your only defense is a trio of shields which are degraded by any weapons fire - yours or theirs - and a quick trigger finger. Occasionally a mothership zips across the top of the screen. When the screen is cleared of invaders, another wave - faster and more aggressive - appears. When you’re out of “lives,” or when the aliens manage to land on Earth… it’s all over. (Midway [under license from Taito], 1978)
Memories: Three buttons, three colors (if one includes black), all for 25 cents. And thus began the video game boom that made Taito a major manufacturer, with dozens of other companies - Atari, Bally/Midway, Namco, Nintendo, Sega, you name it - riding the large wave launched by Space Invaders. There was indeed an invasion underway…but it didn’t originate from space. It was launched from Japan and Silicon Valley, and for a while…it did take over the world. (Read more about this game…)
The Game: You’ve got a mobile paddle and - well, frankly, balls. But you don’t have a lot of balls at your disposal (am I the only one becoming a little bit uncomfortable discussing this?), so you have to make the best use of them that you can to knock down the rows of colorful bricks overhead. In some games, there may be other, free-floating balls trapped in “cavities” in the bricks, and setting them loose will mean you’ll have several balls - and not all of them necessarily yours, disturbingly enough - to handle. Missing one of your balls - and we all know how painful that can be - forces you to call another ball into play. Losing all of your balls, as you’ve probably guessed by now, ends the game. So, in essence, Super Breakout is a metaphor for life from the masculine perspective. (Atari, 1978)
Memories: The sequel to Atari’s original Breakout coin-op, which actually enjoyed greater success at home on the Atari VCS than in the arcades, Super Breakout added some minor innovations to the original game, including the cavities (and their rogue balls) and the double-paddle (and the paddle length shortening by half when you knock a ball into the top of the playing field). Still fundamentally a black & white game, Super Breakout’s colorful bricks were achieved the old Magnavox Odyssey way: colored overlays on the screen itself. (Read more about this game…)
The Game: A virtual pinball machine is presented, complete with flippers, bumpers, and the ability to physically “bump” the table to influence the motion of the ball. Per standard pinball rules, the object of the game is to keep the ball in play as long as possible. (Ralph Baer, 1978 - unreleased prototype)
Memories: Ralph Baer’s Pinball, released to the public on cartridge at the 2001 Classic Gaming Expo, was never intended to be a commercially released title. Instead, it’s a tech demo of sorts, a “rough sketch” example of what kind of games Magnavox’s still-in-development Odyssey2 system would be capable of. There are no special graphics to represent the various elements of the game; the bumpers are simply the letter O, and the flippers are forward and backward slashes. (Read more about this game…)
The Game: War is pixellated, blocky hell on the Odyssey2! In Armored Encounter, two combatants in tanks circumnavigate a maze peppered with land mines, searching for the optimum spot from which to blow each other to kingdom come. In Sub Chase, a bomber plane and a submarine, both maneuverable in their own way, try to take each other out without blasting any non-combatant boats routinely running between them (darn that civilian shipping!). In both games, the timer is counting down for both sides to blow each other straight to hell. (Magnavox, 1978)
Memories: Armored Encounter! is a somewhat standard-issue variation on Atari’s Tank coin-op (which that company later used to launch the Atari VCS under the name of Combat), only with a vastly simpified map. (Read more about this game…)
