The video game is now a ubiquitous part of American pop culture. Pinball, however, is still much cooler. Though there’s been a lot of consolidation in the pinball industry in recent years, the quality of modern games keeps improving. This is due, in part, to improvements in technology–though not at the expense of first rate playfield design. 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. Yet this „Cirqus“ is not a Norman Rockwell vision of juvenile fun–there are a lot of sinister undertones as well, including evil ringmasters and an almost palpable feeling of sleaze. The clowns here have more in common with the Simpsons‘ ‚Krusty the Clown‘ than with Emmett Kelly.

The game play offers a lot of what we’ve come to expect from Williams/Bally, 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. As is very common with pinball games today, the game’s ultimate object is to work your way through a variety of ‚modes‘. Sometimes this is a confusing endeavor, but here is very easy to understand–yet still very challenging to the player.

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“ on the other hand is an almost perfect synergy of subject and gameplay experience.

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. This is not a new notion for a pinball machine to offer different levels of interpretation of seemingly innocuous events (it dates back to the pioneering artist Roy Parker, if not before) but in recent years it may not have been done more deftly than in Cirqus Voltaire.

Ross Everett is a freelance sports writer and respected authority on NFL football betting. His writing has appeared on a variety of sports sites including sportsbooks and sportsbook directory sites. He lives in Las Vegas, Nevada with three Jack Russell Terriers and an emu. He is currently working on an autobiography of former energy secretary Donald Hodell.

Having survived a couple of World Wars, countless recessions, the indignation of lifestyle police, and most recently the video game phenomenon it appeared that pinball was just too tough to kill. That’s why it was a surprise when WMS Industries, the dominant player in the industry for the past decade and the maker of Williams and Bally machines, announced that it was getting out of the business several years ago. Shed no tears for WMS, who is making money hand over fist with their video poker and slot machine division. In fact, following the announcement that they were getting out of the pinball business the company’s stock experienced a small but substantial gain.

At one point, pinball dominated the arcade. During the mid to late 1970s and on the heels of the movie version of the Who pinball themed rock opera Tommy arcades nationwide featured row upon row of gleaming new machines from one of over a half dozen US manufacturers (with many others made worldwide). The first salvo of the video game industry was fairly innocuous“Pong didnt do much to dent pinballs popularity since it didnt exactly offer the same immersive challenge. Besides, it took two to tango when it came to Pong, so that game and its progeny had more of an impact at the home level (and paved the way for what would become a huge industry). The first challenge to the popularity of the pinball machine in the arcade began with Midways Space Invaders and Ataris Asteroids. These games could be played alone, and offered the same sort of escapism that pinball provided. For the arcade owner, these games took up less space, required less maintenance, and offered a higher customer turnover.

Pinball hung in there, however, and through the early eighties continued to make some solid games. The ones that come immediately to mind are games like Firepower (which helped launched the now ubiquitous multi-ball feature), Black Knight (offering an early version of the looping ramps found on many modern machines) and a couple of fun machines from Bally Paragon and Flash Gordon. Several games were spun off from video games, including a couple of good ones“Spy Hunter and Space Invaders and a number of not so good ones based on the Pac Man video games. Bally even made a game called Baby Pac Man that was a video/pinball hybrid. For awhile, the choice between pinball and video games was similar to the choice between Pepsi and Coke: both were equally pervasive and it was simply a matter of personal preference.

It was the late 1980s“when video games became more technologically advanced and began to offer superior play experiences“that pinball lost its way. Depending on the manufacturer, they did it in different ways. Gottlieb and others made simple, traditional games that just couldnt compete with their video counterparts. Bally and other manufacturers went the opposite route“by cramming so much onto a playfield that the game hardly resembled traditional pinball. Some of Ballys late 1980s games“with so much playfield gimmickry going on“were nearly unplayable. By this point the video game had taken over the arcade. Some larger arcades continued to offer a few pinball machines to placate hardcores, while some eliminated pinball altogether. In the 1970’s most decent arcades would feature over a dozen machines, with large facilities having several dozen. By the mid 1980’s, it was rare to see more than three or four pinball machines in one location.

Pinball began to experience a bit of a comeback in the 1990’s driven by well designed, enjoyable games that finally got the balance between traditional gameplay and modern technology right. Williams and Bally (whom WMS later acquired), along with Data East, were making the majority of new games and some would become classics. Pin-Bot, Earthshaker The Adams Family and Diner are among my favorites of this era. Articles started to appear in the traditional media about the durability and timelessness of pinball, about how the average pinball machine received much more repeat business than the average video game and about the devotion of the pinball player.

With the century drawing to a close, it seemed that the Williams/Bally outfit had found a niche and would be able to grind out pinball machines for the aficionados forever. The final nail in the coffin, however, was a lot of societal changes beyond their control. For one, video games and video arcades became less profitable as companies like Sony and Nintendo were able to transform a lot of the high end gameplay to the home platform. Meanwhile, trends like new urbanism,which saw a return to downtown storefronts and the growth of online shopping combined to hurt traditional shopping malls. Fewer people were going to malls, and they werent staying as long when they did. Mega-malls like the Mall of America and the Forum Shops at Caesar’s were the exception to this, but there just werent enough to these to sustain demand. As the century ended, the WMS corporate braintrust decided to pull the plug on pinball and concentrate on their highly profitable gambling machine business. From a business standpoint, it probably made sense but that didnt make it any easier for lifelong pinball enthusiasts to reconcile with.

Pinball still soldiers on, with something of a hipster revival of the games in cities like Seattle and Portland where lovingly restored machines sit alongside new offerings by Stern Pinball, the only remaining manufacturer in the world. At this point, it appears that the only hope for pinball players is that some effort will be made to preserve the machines that already exist.

Ross Everett is a freelance sports writer and noted authority on NFL football betting. His writing has appeared on a variety of sports sites including sportsbooks and sportsbook directory sites. He lives in Las Vegas with three Jack Russell Terriers and an emu. He is currently working on an autobiography of former energy secretary Donald Hodell.

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