So far these semi-regular instalments have featured commentary and rumination on activities, projects and my general state of mind. Whilst all of the posts so far have been grounded in the present day, I’ve been surprised how retrospective they have become in some instances – drifting back as much as ten years or so. This isn’t necessarily how I planned it, but it’s been an interesting process to go through and oddly therapeutic at times. It’s also interesting given that I haven’t written on such a regular basis about a bunch of different things ever. At times it feels like I’m writing disparate sections of a future memoir. A common theme that I’ve identified across the six posts – which all deal with my creative practice – is seeking a contentment with what I’ve done so far whilst looking for some kind of pathway to lead me out of this protracted period of creative uncertainty and doubt. Therefore, in this instalment I’m not going to dwell on something I’ve done in the last ten years and instead interrogate a couple of things that interested me as a child. Increasingly I find I’m tracing lineage back to the early periods of my life and reflecting on just how critically things like geography, silence and space, technology and music informed many of my interests over the years.
This time around we’re going to pull anchor, catch the wind and slip back into the mists of the 20th Century. 1987 to be exact.
I was six years old at the time. We were living in my hometown of Normanville in a cottage at one end of Field Street. Our living room was made up of a pot belly stove and furnished with a couple of huge patterned velour armchairs. A similarly vintage lampshade hung from the ceiling, covered with a brown tapestry with long string tassels hanging down. Guitars hung on the walls. The carpet that covered the room is etched into my memory – an uneasy rhythm of lurid red, blue and green splodges floating on a black background. Our television was a small colour screen encased in a off-white plastic shell with various dials and knobs. I recall watching news footage of the Chernobyl nuclear disaster around this time, as well as episodes of The Goodies, Dangermouse and Doctor Who. To further reinforce this nostalgic onslaught, a Commodore 64 personal computer took pride of place next to the television.
Touted as being the ‘best selling computer in history’ the Commodore 64 was ever present in my childhood. Back in these days you could route such a computer into your television, so often I’d be seated a few inches from the screen steering clumps of pixels across the screen with a joystick. This could be my memory playing up, but I distinctly recall a couple of episodes of light sunburn from prolonged exposure to the screen.
When I wasn’t scorching my retina or getting flustered by a game designer’s tendency to not thoroughly debug a program (causing regular crashes), I was really into Cyclopedias, flags and maps. My parents had been purchasing a set of small volumes which came out every week; they were hard-bound with silver covers and a big circular image featuring anything from a camel, a test tube or a guy working on an oil rig. My favourite part of the volumes was the entries on countries, particularly European countries which I was fascinated by. Each of the entries in these volumes would feature a written description of the country, its flag and a map detailing cities, roads, rivers and symbols representing prominent industries (oil, manufacturing, agriculture, etc.) Think of this as the 1987 equivalent of Wikipedia. I also had a large world map with flags framing the border. I took pride of place on a desk in the front room of our house where I would often draw pictures of the Eiffel Tower and the Leaning Tower of Pisa.
LOAD “*”, 8, 1
Around this time, my mum bought me a new game on cassette which – in spite of the reservations she had with me spending so much time at the C64 – she thought would be vaguely educational. The artwork on the cassette case featured a cartoon of a mole leaping into a bi-plane whilst being chased by a couple of police officers.
By 1987, the Commodore 64 was still a leader in the low-end market, though the limitations of its 64 KB of RAM and 16-colour graphics palette restricted what was possible in a steadily expanding computer and videogames market, with the newly released Commodore Amiga already beginning to exceed the capability of the C64. In many respects, 1987-88 represents the bell curve of popularity and innovation for the C64, with many of the games from this period (The Last Ninja, California Games, The Giana Sisters) pushing the limitations of the C64 as far they would go in terms of handling content, gameplay, memory, graphics and sound. It’s remarkable just how well something like The Last Ninja (1987) holds up in this respect – a beautifully crafted game.
By virtue of attempting to keep up with the innovations led by Amiga, Nintendo and Sega, the bottom steadily fell out for the C64 as the limitations of the computer could not match the sophisticated gameplay and graphics of its peers and the computer gradually drifted towards niche-dom before being withdrawn completely in the early 1990’s.
Released in 1987, Auf Weirdersehen Monty consisted of a flick-screen platform-style gameplay with its visual design carried across from the hugely successful Monty On The Run (1985) and Jet Set Willy (1984). Each of the screenshots would represent a section of European country, sometimes incorporating landmarks unique to the country into the screen’s architecture. The visuals were also really trippy too. I’m fairly sure that blinking eyeball in the screenshot below is a nod to the Spanish filmmaker, Luis Buñuel.
Nowadays we take story arcs for granted in videogames, but in 1987 I guess this was fairly unique. The action in Auf Weirdersehen Monty picks up from where Monty On The Run left off. Monty’s story began back in 1984 with Wanted: Monty Mole where following his intervention in the British Miner’s Strike (yes, really) he’s hunted by authorities and by the time of the following year’s Monty On The Run we’re guiding him through buildings and sewers, eventually culminating in a dangerous high-speed car ride to reach a boat in time. At the opening of Auf Weirdersehen Monty he’s beached himself at the Rock Of Gibraltar and we’ve got to help him cash up across Europe and avoid death so that he can buy a Greek island and live the rest of his life in sunny exile. Not bad for Thatcher-hating communist mole. The political overtones don’t end there. This was 1987 after all, so Germany is split down the middle – the glitzy West on one side and the otherside resembling the backend of a toilet. Very subtle. The game is memorable in so many other ways – by taking a bottle you become drunk and walk the wrong way, Monty breakdances in Luxembourg, there’s a chairlift to catch in Switzerland, you can repeatedly murder your evil doppelganger in a biplane and there’s a parade of surreal shit that makes no sense whatsoever from Italy to Greece (via Czechoslovakia). As was par for the course with a majority of sophisticated C64 games, Auf Weirdersehen Monty is ridiculously difficult. In certain parts of the game (especially in Italy and Greece) a lazy twitch of the joystick will lead to repeated death and it’s GAME OVER, BRO. Then you have to start all over again. Adding to this is the precarious requirement of taking various items back and forth across the continent in exchange for money – again and again. Saving progress is not an option. I have vivid memories of hurling the joystick across the room in frustration, breaking down into a pool of tears and being consoled by mum because I couldn’t deliver a football to Sweden.
I have no idea how many hours I spent playing this game. I could never finish it and in spite of engaging the help of friends to develop various strategies and carefully sketching out the screenshots to form a big guide map, it never came to much and more often than not we repeatedly checked out on our way to Greece with a trail of bloated dead moles in our wake.
It wasn’t just the futile and brutally Kafka-esque gameplay combined with a love of geography that kept me so engaged with this game. The soundtrack composed by the legendary Rob Hubbard (not the Scientologist) who, utilising all three-channels of the SID soundcard produced an absolute belter of a soundtrack that perfectly accompanied all the highs and lows of Monty’s traipses across Europe. Electronic drums clomped along beneath woozy synth textures with wailing bursts of (emulated) shred guitar. I’ve already mentioned just how innovative some of the C64 programming was around this period and this carefully composed soundtrack is just extraordinary in terms of its structure and sophistication.
Thirty years on
Out of the mists and back into the present. Nostalgia can be a foolishly naive enterprise sometimes; I’ve lost count of the recent things I’ve revisited lately (mostly films) only to walk away disappointed and – in some instances – appalled. Some things just shouldn’t be revisited later in life and should instead be left to dwell within the little universe they were first encountered and experienced. Memory tints, exaggerates and smoothens the edges and everything from here looks idyllic and appealing. Our past viewed through a vaseline smeared lens. Leave it there.
Rarely though, there are exceptions to this rule and Auf Weirdersehen Monty is a case in point. This is a game in recent years that I’ve revisited (via a C64 emulator) and become lost within all over again, whilst recalling my early fascination with geography, Europe and electronic music. Despite faithful attempts I couldn’t finish the game and instead applied a cheat mode (Jesus Mode!) to evade death, cash up, successfully deliver the football and land Monty on his island thirty years on from my first attempts. Sometimes you’ve just got to give a guy a break.