A game might begin with a coin, a tape or a cartridge. We explore games, genres and communities to understand what made those experiences distinctive and how they are remembered today.
Readings to help you find your bearings.
In 1962, Steve Russell and others in the MIT community created Spacewar! for the PDP-1. Its duel between two ships made the university computer more than a calculating tool: it also became a gathering place for competition and experimentation with digital play.
Open storyResearch on historical strategy-game mods, gender, and video-game memory helps frame what can be documented about gaming communities—and what should remain an open question.
Open storyPreserving a video game does not end with keeping its program. Manuals, magazines, hardware and documents help reconstruct its editions, circulation and presentation, while keeping surviving objects distinct from players’ memories.
Open storyVideo games make more sense when their rules, presentation and playing environments are considered together. Magazines, manuals and personal accounts help distinguish what a game offered from the memories we have built around it.
This section explores games and gaming culture. Consoles brings together the machines, while Arcade looks at the arcade and the ways people played there. A game can connect those worlds without turning their home pages into copies.
Three perspectives on the archive.
Mechanics, genres and design choices that changed the experience of playing.
Spacewar!: how the PDP-1 became a place to play Pong left the arcades and began changing the way people played at homeMultiplayer, sharing tips and the communities that form around a game.
Modding communities interpret the past, too Video Games in the 1990s: New Ways to Play, Tell Stories, and ConnectManuals, versions and documentation for researching a game without confusing memory with evidence.
Video Games as Archives: Preserving Versions, Objects and Ways of Playing The Breathing Archive: The Console as a Cultural SystemThe 1990s transformed video games without replacing one platform with another overnight. 3D graphics, CD-ROMs, personal computers, and early networked communities broadened the medium, while arcades retained experiences that were difficult to reproduce at home.
Read articleAccording to the company’s own history, Nintendo began its journey in 1889, offering leisure products and experiences.
Read articleSteve Russell and other MIT members developed Spacewar! for the PDP-1 computer, a two-player space combat game using vector graphics.
Read articleThe Universitat Politècnica de Catalunya source identifies 1971 as the year Nolan Bushnell began commercializing Computer Space, described there as a version of Spacewar!.
Read articleComputer Space, an arcade adaptation of Spacewar! associated with Nolan Bushnell, began commercial distribution in November 1971. The machine operated with coins; its status as the first commercial video game is not unanimously established.
Read articleMagnavox put the Odyssey on sale in 1972. The exact launch date is not documented in the sources.
Read articleThe 1990s transformed video games without replacing one platform with another overnight. 3D graphics, CD-ROMs, personal computers, and early networked communities broadened the medium, while arcades retained experiences that were difficult to reproduce at home.
Antoni Marín Amatller examines how movement and duration make composition, framing and lighting dynamic—and why video is built through sequences and editing.
Photography and video share composition, framing and lighting, but organize them differently. Drawing on Antoni Marín Amatller’s analysis, this article explores how movement, duration and editing turn static visual tools into a temporal, rhythmic construction.
Launched in 1983, the Famicom did not just overcome the industry crisis; it established a business model based on strict licensing and support chips that transformed the relationship between hardware and software.
Preserving a video game does not end with keeping its program. Manuals, magazines, hardware and documents help reconstruct its editions, circulation and presentation, while keeping surviving objects distinct from players’ memories.
A photograph can present a product on its own; a video arranges shots, movement and duration over time. That formal difference also changes how images are planned for a catalogue or a product launch.
In 1962, Steve Russell and others in the MIT community created Spacewar! for the PDP-1. Its duel between two ships made the university computer more than a calculating tool: it also became a gathering place for competition and experimentation with digital play.
Storing hardware does not guarantee access to software. Projects like KEEP and the work of specialized museums demonstrate that emulation, technical documentation, and contextualization are essential for consoles and their games to remain readable and interpretable.
Video game history is more than a succession of increasingly powerful machines. Shared computers, arcades, home systems, and networks encouraged different rhythms and rules, from text-based exploration to repeatable action and persistent multiplayer worlds.
Pong’s story is often compressed into the beginning of an industry. The available evidence supports a more specific account: how a game associated with arcades came to represent the possibility of playing in front of a home television too.
Launched in 1972, the Magnavox Odyssey helps explain a period when playing at home meant working with simple rules and visual elements. The history of this first generation also shows why it matters to distinguish consoles with built-in games from systems that let players change cartridges.
The Magnavox Odyssey (1972) was not just the first console, but a design experiment that solved technical limitations through physical overlays, establishing the foundations of home electronic entertainment.
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