Wrestling Game

   Fun Centre

This correspondence between the history of form and the games we are interested in here is a strong feature of these moneys. Their common point is to be “average” objects, strongly determined by the economic and technical developments in the history of arcade play, rather than at the forefront of it. Again, on a generic level, the era of the success of arcade hand-to-hand fighting games began around 1984, with significant milestones in 1987 and 1992 (Loguidice, et al., 2009). pp. 242-54), paving the way for WWF games. The same observation applies on a technical level. A game like WWF ┬áSuperstars Bears the mark of its development period, with a fairly low resolution compared to current standards (456×336 pixels) but a graphic supported by a palette and lively enough, and even some elements of speech synthesis. There is no technical revolution, even if it is an accomplished game, with effective animations in their specific register.

At this determinism by the form is added the constraint of adaptation. Here again, a strong historical determination takes place. Since the Jaws By Steven Spielberg (1975), arcade kiosks have had multiple transpositions of films, although they have been surprisingly out of touch with television programs. Alexis Blanchet, in his book devoted to the issue, points out that nearly 10% of all video games fall into this category of film adaptation. They also experience a peak in 1989 and 1990 across all platforms (Blanchet, 2010 p.358). Added to this are numerous sports licenses, although these are more particularly present on so-called “domestic” platforms: consoles and microcomputers. If WWF was created in 1982, it was in 1985 that its founder and lucrative show, the first edition of Wrestlemania, was organized.WWF Superstars is therefore released at a time when the WWF brand has become recognized, installed nationally and internationally, making it possible to create a video game that can also be exported to the international market, since it exists in American, Japanese and European editions (identical, with the exception of the home screen). If Technos wins the license, four wrestling games in all are produced in 1988 and 1989 for the arcades, attesting to the need for the popularity of this sport-show during this period.

Again, the games that interest us appear as strongly determined by an exogenous story, that of wrestling as a sport show. The singularity of these games, if it is one, is therefore due to their status of adaptation of a specific genre, coming from a different medium. It is by their subject and by it alone that these four games are distinguished.