Bit by Bit: Inside the Rise of Retro Gaming

James Joel, Flickr // CC BY-ND 2.0
James Joel, Flickr // CC BY-ND 2.0

Two years ago, Shawn Long went to a Habitat for Humanity thrift store in North Carolina and walked out with a 36-inch Sony CRT television. It was the kind of television you can’t find anywhere but at a secondhand shop: A tube model accompanied by warnings that the front-heavy design and herniating weight (well over 200 pounds) could tip over and crush a small animal.

Long lived in a house with hardwood floors, so he set it on a piece of carpet and dragged it like a trophy animal to his game room. It had no HDMI ports and it couldn't display a high-definition picture. Those were selling points: Long wanted a monitor for his collection of classic game consoles that were designed to plug into TVs exactly like this one, with a limited color palette and a distinctive sound (something like chonk) when it’s powered on.

“I prefer the original hardware over everything else,” Long, a collector who reviews retro games on his YouTube channel, tells Mental Floss. “It’s the fact that it’s physical media. It’s tangible. You can hold it in your hand. It takes you back.”

Like audiophiles who prefer to drop a turntable needle over a piece of vinyl, retro gamers can spend considerable time, effort, and money trying to embrace an old-school gaming experience in an increasingly sophisticated—and digital—entertainment world. They brush off expensive consoles and photorealistic visuals for titles with blocky graphics and single-channel audio.

Last fall, when Nintendo tried to capitalize on its nostalgia factor by releasing a Nintendo Entertainment System (NES) Classic with 30 pre-loaded games, the company was totally unprepared for the demand: the units sold out across the country and were being marked up by as much as 10 times the $60 retail price on eBay.

Nintendo swears it’s ready to fill orders for the Super Nintendo (SNES) Classic hitting stores at the end of this month. If so, it’s likely that a game console released more than a quarter-century ago could become one of the hottest gifts of the 2017 holiday season. It’ll join a series of retro releases intended to evoke memories of the Sega Genesis, classic games like Street Fighter II, and even original titles meant to replicate the euphoria of digging into a brand-new NES game on the drive home from Toys "R" Us.

“As a kid, maybe your parents didn’t buy you every game you wanted,” Long says. “Now you can.”

A Retro-Bit startuip screen
Retro-Bit

It wasn’t nostalgia that birthed the first retro console. In 1983, Coleco—makers of the ColecoVision video game system—decided to manufacture an add-on module that could play games that ran on the Atari 2600 system that was first released in 1977. Atari, understandably upset, sued Coleco for $350 million for infringing on their patents. The two parties settled, with Atari agreeing to collect royalty payments.

They didn’t get many—the video game crash that same year decimated the industry. Overrun with a glut of poor-quality games, industry leader Atari collapsed. It would be several years before Nintendo reinvigorated the category with the NES, winning retailers over by referring to it as an “entertainment system” and not a video game console.

Nintendo and Sega went on dominate what would become a billion-dollar industry, releasing a stream of titles and increasingly sophisticated systems that turned video games from a bargain-bin staple to a massive entertainment force. Thirty years on, those early titles have morphed into retro collectibles—and collectors need something to play them on.

That’s where “clone” consoles come in. Made by third parties that usually have no affiliation with the original game company, clone consoles essentially level up vintage hardware by offering features that '80s gamers only dreamed about: HD graphics, the ability to save games, and a slot for media cards. Companies like AtGames, Retro-Bit, and others do brisk business selling equipment they didn’t invent. And it's perfectly legal.

“Hardware patents only last 20 years from the date of application,” Ma’idah Lashani, a lawyer specializing in the video game industry, tells Mental Floss. “You can rebuild the actual tech. It’s when you try to reproduce a game like Sonic without permission that you get into copyright and trademark issues, and those typically don’t expire.”

Retro-Bit, which kicked off its business in 2007 by producing an NES clone, now has an assortment of consoles priced anywhere from $25 to $70 that can play original Nintendo, Super Nintendo, and Sega Genesis cartridges. (Their Super Retro Trio can play all three.) According to Richard Igros, marketing manager of Retro-Bit’s parent company, Innex, gamers prefer clones over vintage hardware for a number of reasons. “Newer TVs don’t even have audio and video ports anymore,” he tells Mental Floss. “Old console cables can wither over time. They just want something to plug in and use for classic games.”

Oddly enough, something like the Super Retro Trio may even be a little easier on cartridges than the original, front-loading NES unit. Cartridges are inserted from the top, which reduces the chances of connector pins getting bent. “Front loaders were kind of faulty,” Igros says. “You had to do it just right. If you inserted the game at an angle, it might not play.”

Reasonably-priced and easily available, clones are a popular alternative to hunting down a vintage console that may or may not have operational problems. But there’s a curious irony to running older games on brand-new devices, and it’s one gaming purists are quick to notice. “I’ve run the same game on three different clone consoles and each ran the game differently,” Long says. Sometimes the colors might be off, and Sonic could take on a curious purple hue instead of his familiar blue; frame rates, which affect how smooth the game’s visuals are processed, might be stuttered. “I’ve even noticed a difference in sound, the bass,” Long says.

As a result, some clones take on a release schedule similar to that of a smartphone line, with new hardware released every year or two to reflect improved compatibility. With each product, companies make sure they’re mimicking only the inner workings of old hardware: Making an NES clone look exactly like an NES would be inviting a cease-and-desist letter at best and litigation at worst. According to Lashani, hewing too closely to the classic look and feel of hardware can invite accusations of trademark design infringement.

“Some companies have put out clones that look exactly like a Nintendo and they get shut down pretty quickly,” Igros says. “You need to find ways to do workarounds.” Color schemes are chosen to avoid comparison; controllers are often shaped differently.

One thing clone manufacturers have little control over is how the end user treats their product. While companies like Retro-Bit will sometimes license games for bundling with their systems, a devoted subculture of gamers will take advantage of their SD card slots to “hack” the console and allow it to run hundreds or thousands of ROMs—downloadable, illegal copies of copyrighted games.

“I’m not sure why people feel that’s legal,” Lashani says. “Companies like Nintendo are continuing to release old content and want to keep that control.”

For some gamers, Long included, ROMs and hacked clones are a little like movie trailers: They’re used to preview games to see if they’re worth tracking down. “If I like it, I’ll pursue the [actual cartridge],” he says.

Not everyone in the retro community is preoccupied with downloading grey-market copies of classic games. Some of them are more interested in creating—and buying—brand-new games that have the look, feel, and gameplay of a 30-year-old title. But how can you evoke nostalgia over a game that never existed?

The box art for 'Haunted Halloween 1986'
Retrotainment

Mindful of Atari’s mistakes in saturating the video game market in the early 1980s, Nintendo initiated a clever—if maddening—method of corralling third-party licensees. Companies like Capcom (Mega Man) would have to buy the cartridges directly from Nintendo, which could ration the supply as they saw fit. If bootleg game producers thought they could strike out on their own, they were out of luck. The NES was built to look for a software "key" for their hardware chip in each cart. If it wasn’t there, the system wouldn’t boot up.

More than 30 years later, that “lockout chip” has been rendered obsolete. Some unlicensed carts can simply force their way past it, overloading the circuit. But it’s easier to simply buy the code from a wholesaler, along with the circuit board and blank cartridge. And that’s where the home brew community shines.

Home brews are games conceived and produced for play on vintage consoles like the NES. From their pixel-heavy 8-bit graphics to their glossy-papered instruction manuals, they’re designed and produced to look like something you’d have plucked off a shelf in 1985.

“It was always something we dreamed of doing,” says Greg Caldwell, the co-owner of Retrotainment, a small software shingle that has produced two NES games—Haunted Halloween 1985 and Haunted Halloween 1986—after picking up programming and manufacturing tips from the NintendoAge.com community of home brewers. “We always had a soft spot for Halloween,” he says, “and thought it would make for a cool NES game.”

To get the games launched, Caldwell had to immerse himself in an old programming language for the Ricoh 6502 chip that powered the NES in order to replicate the system’s relatively primitive aesthetic. (He also hired a programmer versed in the code, which is not unlike learning a foreign language.) Along with co-owner Tim Hartman, Caldwell teamed up with a supplier, Infinite NES Lives, that works with home brewers to source cartridges and manufacturing.

An old-school beat-‘em-up, Haunted and its 2016 sequel were modest hits relative to their small target audience. (Retrotainment doesn’t release sales numbers, but one home brew, 2014’s Star Versus, sold around 300 copies.) And while it may have been more profitable to simply release the game as a downloadable file, Caldwell knew the physicality of the product was a key selling point.

“There’s something about pushing the cart in and feeling that click,” Caldwell says. “And about feeling that rectangular controller in your hands, with the D-button hurting your thumbs. People want to have that experience.”

And not just gamers who were around in the ‘80s. “We’ve had young people in their teens and twenties buying the games,” Caldwell says. “They just have a general interest in that pixel art, which is unique, and in seeing the history of games. They want to see how it got to where it is now.”

Caldwell and Hartman toyed with the idea of another Haunted Halloween game for 2017 to join their other new NES release, Full Quiet, but a chance meeting at a software convention earlier this year pointed them in another direction. “Some guys from [nostalgia retail site] iam8bit.com saw our carts and asked if we’d be interested in doing something with an existing intellectual property,” Caldwell says. Soon, Retrotainment was working on a 30th anniversary re-release of Street Fighter II for Capcom, an officially licensed retro collectible playable in SNES units that will be limited to 5500 units.

Street Fighter II is not a rare game, but getting one in a box can cost $100,” Caldwell says. The new version, also priced at $100, comes in either red plastic or glow-in-the-dark green in honor of the monstrous game character Blanka.

Caldwell says game “purists” chafe a little bit at transforming games into purposeful collectibles, but nostalgia is a powerful incentive to keep the line going. Set for release in November, Street Fighter II has already sold out.

An Atari Flashback clone console with joysticks
AtGames

For years, Nintendo and other marquee game companies have largely left the retro community to flourish on its own. Like most tech industries, gaming is about innovation, and revisiting ancient hardware for a small segment of consumers didn’t seem financially viable.

The controversial launch of the NES Classic last fall was a disruptor. Underestimating demand, Nintendo failed to produce enough units and ultimately ceased production until it could figure out a way to meet expectations without inviting the ire of video game bloggers. (It’s set to be re-released in summer 2018.)

“They severely underestimated how big that would be,” Long says, slightly incredulous. “You’d think they’d know by now they could take a dump in a bag, write ‘Nintendo’ on it, and people would want it.”

The ensuing hysteria has led to a groundswell of interest in retro devices. AtGames, which has been marketing clone consoles since 2007, is releasing new versions based on the Sega Genesis and Atari 2600 this month and expects unprecedented attention for both. “The NES Classic put a whole new spotlight on us,” Ray Attiyat, marketing coordinator for AtGames, tells Mental Floss. “There’s a big opening in the market for licensed and fully supported consoles.”

Like the NES Classic, these machines are dubbed plug-and-play. Rather than having to hunt down ROMs or original games, they come pre-loaded with dozens of titles. Their $79 Sega Genesis Flashback carries 85 of them, including Sonic the Hedgehog and the Mortal Kombat series. Attiyat believes these types of all-in-one products attract interest across demographic lines. “Vintage game collectors want something they can just pick up and play rather than put wear and tear on their old games,” he says. “And your everyday person may not want to go through the expense of collecting.”

At Retro-Bit, products like the Retro-Bit Generations come installed with games that go through quality testing to try and reduce the chances games will run or “feel” different than the originals. “Sometimes they might run too fast or the sound might be off,” Igros says. If one game out of 50 is glitchy, it might turn gamers off the entire system. “It could run two frames too fast and someone will say, ‘I don’t like it.’”

AtGames and Retro-Bit work with classic game developers for these bundles, but consumers are sometimes tempted by unauthorized systems that promise hundreds of games shipped from China that seem almost comically infringing. Often, they perform poorly. “The market is saturated with them,” Igros says. “They look like an NES and have 300 games like Mario 10 and you can buy them on Amazon.”

For retro gamers, cheap isn’t necessarily the point. Even though emulators can run free ROMs and industrial gamers can craft and sell consoles complete with thousands of ready-to-play games, that kind of all-you-can-eat gaming buffet takes some of the fun out of the nostalgia trip. For fans like Caldwell, the satisfaction is in using the NES aesthetic to come up with something completely new; for Long, it’s remembering a time when buying and playing a game was an event, not something so easily obtained.

“It plays on your psyche,” Long says of his sessions in front of the Sony Trinitron. “It takes you back to a time you could play games for hours on end. No bills, no responsibilities.”

21 Facts About The Nightmare Before Christmas

Walt Disney Pictures
Walt Disney Pictures

Christmas is a time for donning festive garb, singing holiday songs, festooning your home in decorations, and giving thoughtful gifts. Of course, all those tasks turn out a bit more twisted when assigned to the denizens of Halloween Town. The Nightmare Before Christmas, which arrived in theaters 25 years ago, mixes light and dark with jolly and macabre with great success. Even if this Halloween/Christmas movie mash-up movie is part of your regular holiday tradition, we'd roll Oogie Boogie's dice that you don't know all of these secrets from behind the scenes.

1. TIM BURTON DID NOT DIRECT The Nightmare Before Christmas.

It is a common misconception spurred by the film's alternate title: Tim Burton's The Nightmare Before Christmas. Burton was busy with Batman Returns and handed this hefty responsibility to his old Disney Animation colleague Henry Selick, who made his feature directorial debut here. Burton's name goes above the title for serving as producer, creating the story, and coming up with the look and the characters for The Nightmare Before Christmas. It probably doesn't hurt that his name was much bigger than Selick's at the time, thanks to the success of Pee-wee's Big Adventure, Beetlejuice, and Batman.

2. JACK SKELLINGTON RESURFACED IN HENRY SELICK'S LATER FILMS.

1996 saw the release of Selick's follow-up, a stop-motion/live-action adaptation of Roald Dahl's James and the Giant Peach. It also saw the resurrection of The Nightmare Before Christmas's bare bones protagonist, who appears in one spooky scene as a skeletal pirate captain. He's much harder to spot in Selick's 2009 translation of Neil Gaiman's Coraline, but if you look closely as the Other Mother makes breakfast, you'll see Jack's smiling skull hidden in the yolk of a cracked egg.

3. THE PLOT WAS INSPIRED BY THE RECURRING COLLISION OF HOLIDAY STORE DECORATIONS.

In the film's DVD commentary, Burton explains that his childhood in ever-sunny Burbank, California was not marked by seasonal changes, so holiday decorations were an especially important factor in the year's progression. When it came to fall and winter, there was a melding of Halloween and Christmas in stores eager to make the most of both shopping seasons. This, he claimed, planted the seed for his tale of the king of Halloween intruding on Christmas.

4. A Tim BURTON POEM PREDATED THE NIGHTMARE BEFORE CHRISTMAS.

While Burton was working as an animator at Disney on productions like The Fox and the Hound and The Black Cauldron, he began toying with cartoon projects of his own. This eventually led to animated shorts like "Vincent," as well as the penning of a poem called "The Nightmare Before Christmas." A sort of parody of Clement Clarke Moore's "A Visit from St. Nicholas" (also known as "The Night Before Christmas"), this poem focused on Jack Skellington's inescapable ennui and featured his ghost dog Zero as well as Santa.

5. RANKIN/BASS WAS THE INSPIRATION FOR THE STOP-MOTION APPROACH.


Walt Disney Pictures

In the same DVD commentary, Burton admits the animated Christmas specials from Rankin/Bass Productions were hugely influential.

6. Tim BURTON ORIGINALLY IMAGINED The Nightmare Before Christmas AS A TELEVISION SPECIAL.

Like Rankin/Bass's Rudolph The Red-Nosed Reindeer or Santa Claus Is Comin' To Town, Burton envisioned his take on Christmas could play well on television annually. This turned out to be true, but in a way he had not expected. He initially pitched the animated effort to TV studios. When that failed, he tried book publishers. No one bit until he pitched it as a full-length feature film. On the commentary track, Burton estimates that roughly 20 years passed between the project's earliest inception and its theatrical debut on October 29, 1993.

7. RONALD SEARLE AND EDWARD GOREY WERE ALSO INFLUENTIAL.

In a behind-the-scenes video about The Nightmare Before Christmas's backbreaking creation, a narrator notes that the production design team took a page from the pen and ink drawings of these two memorable artists, aiming to create in the physical set designs the kinds of cross-hatching and textures found within their works. Selick explains that they'd smear sets in plaster or clay, then scratch lines into this material "to give it that sort of etched texture or feel to make it look like a living illustration."

8. SHOOTING BEGAN BEFORE THE SCRIPT WAS COMPLETED.

Stop-motion demands a great deal of time, so when Danny Elfman had mastered most of the film's songs, Selick plus a team of 13 specially trained animators and an army of prop makers, set builders, and camera operators got to work without a final screenplay. Animators began by crafting Jack's big moment of discovery with "What's This?" Shooting 24 frames per second meant the animators had to create unique motions for 110,000 frames total. One minute of the movie took about a week to shoot, and The Nightmare Before Christmas took 3 years to complete.

9. SELICK IS RESPONSIBLE FOR JACK'S SIGNATURE SUIT.

In Burton's original sketches, Jack was dressed all in black. It is revealed in the film's commentary track that it was director Selick who gave Jack a marvelous makeover that added white stripes to his slim-fit suit. More than a smart sartorial choice, the addition of the pinstripes was needed to help Jack pop. In early camera tests, it became a major concern when Jack's flat black suit blended in to the dark backdrops of Halloween Town.

10. DISNEY FOUGHT FOR JACK TO HAVE EYES.

Because of the dark and deeply weird nature of Burton's Nightmare Before Christmas, Walt Disney Studios decided it was too off-brand to be released under their banner. So the film was made through their branch Touchstone Pictures. But this didn't keep Disney from dropping some serious studio notes, including the insistence that Jack Skellington's empty sockets be filled with a pair of friendly eyes. A common guideline in animation and puppet-creation is that eyes are crucial to having an audience connect to a character, but Selick and Burton wouldn't budge, and ultimately proved their anti-hero didn't need oculars to connect.

11. THE MOST DIFFICULT SHOT WAS OPENING A DOOR.


Walt Disney Pictures

Because of the filmmakers' dedication to be as true to shooting like live-action as possible, one Nightmare Before Christmas shot proved especially challenging. When Jack discovers the part of the forest with pathways to other holiday worlds, he looks longingly at the Christmas tree door. A close-up of its shiny golden knob reflects this mournful skeleton as well as the trees behind him as he advances to open it. Getting the reflection just right took a great deal of time, care, and attention.

12. VINCENT PRICE WAS NEARLY NIGHTMARE'S SANTA.

Burton had previously worked with the renowned horror icon on Edward Scissorhands and "Vincent." From there, Price had agreed to give voice to the plump and flustered Santa who is kidnapped by treacherous trick 'r treaters Lock, Shock, and Barrel. However, this plan was derailed when Price's wife Coral Browne passed in 1991. Selick explained in the commentary track that the actor was so grief-stricken that the director felt he sounded too sad for Santa. Edward Ivory was then brought in to replace him.

13. PATRICK STEWART WAS CUT FROM THE FILM.

Early on, The Nightmare Before Christmas planned to rely heavily on its poetic inspiration. As such, Star Trek: The Next Generation star Patrick Stewart was called in to read poetry that was intended for the film's opening and closing narration. The lengthy monologues were eventually pared down to a few lines, and those were reassigned to the film's Santa, Edward Ivory. However, Stewart's version can be found in full on the film's soundtrack.

14. TIM BURTON WAS SUPPOSED TO HAVE A CAMEO.

Unearthed in cut footage is an alternate version of the vampires playing hockey. In the theatrical and all subsequent releases, the ice-skating vampires swat a jack-o-lantern. However, the original version of this scene had them batting about a recognizable decapitated head. With its ghostly pallor, black spiky hair, angular shape, and deep bags under its eyes, the creepy creation is clearly Burton. But this seems to have been deemed too grisly for a kids' movie.

15. THERE ARE SOME HIDDEN MICKEYS.


Walt Disney Pictures

Since the film became a success, Disney has become less shy about their association with Nightmare Before Christmas. But the commentary track reveals that, despite their reluctance, Disney allowed Selick and Burton to include a hidden Mickey in the form of a menacing toy. In the scene where Jack's Christmas gifts attack, there's a flying stuffed animal with a sharp-toothed grin that's meant to be the Burton version of Mickey Mouse. Also, the girl it attacks is wearing a Mickey print nightgown, while her brother's pajamas are covered in Donald Duck faces.

16. THERE'S A HIDDEN ED WOOD REFERENCE.

While The Nightmare Before Christmas was in production, Burton not only completed Batman Returns but also dug into pre-production on Ed Wood, a biopic about the notoriously untalented filmmaker. A nod to Wood's works is found tucked into the fearsome folk of Halloween Town—the burly, bald Behemoth is a sweet-natured brute who bears a striking resemblance—down to the scars on his face—to Swedish wrestler Tor Johnson as seen in Wood's Plan 9 From Outer Space.

17. THERE'S A HIDDEN DANNY ELFMAN CAMEO.

The former Oingo Boingo front man began collaborating with Burton back in the early 1980s when he composed the score for Burton's feature directorial debut, Pee-wee's Big Adventure. The pair re-teamed for Beetlejuice, Batman and Edward Scissorhands before Elfman was called to write the music and lyrics for The Nightmare Before Christmas. He also lent his singing voice to Jack Skellington, and for all this he gets the dubious distinction of a cameo as the redheaded corpse tucked away in the upright bass of the ghastly Halloween Town band.

18. Tim BURTON CALLED ON OTHER PAST COLLABORATORS TO BE HEARD.

Aside from Jack's singing voice, Elfman also lent his pipes to mischievous Barrel as well as the menacing clown with the tear-away face. Filling out the trio of trick 'r treaters was Pee-Wee's Big Adventure star Paul Reubens as Lock, and Beetlejuice's Catherine O'Hara as Shock. O'Hara also voiced the stitched up and besotted Sally, while her former co-star Glenn Shadix played the two-faced mayor of Halloween Town.

19. DELETED SCENES INCLUDED BEHEMOTH'S SOLO AND AN ALTERNATE OOGIE BOOGIE REVEAL.

On the DVD, storyboard presentations reveal deleted scenes that never made it to production. One of these has Behemoth belting beautifully about "pretty" presents during "Making Christmas." Another shows an abandoned concept of Oogie Boogie boogeying with the bugs that fill his stitched up form, and a third clip displays a very different finale. Instead of Boogie being torn up and reduced to bugs, he's unmasked to be evil scientist Dr. Finkelstein in disguise! In this version, his whole scheme was revenge-fueled because Sally loved Jack, even though Finkelstein made her to be his mate.

20. THE SET WAS BUILT WITH SECRET PASSAGES FOR ANIMATORS.

Reminiscent of the cut-out pathways used by Muppeteers, the animators behind and beneath The Nightmare Before Christmas had special trapdoors cut into the 19 sound stages worth of 230 model sets so they could more easily reach in and manipulate their peculiar puppets. From these vantage points, they can move the armatures hidden within the creatures or swap their faces out for one of hundreds made to allow for a wide range of emotion. Jack Skellington alone had more than 400 heads.

21. Tim BURTON REJECTED A CGI SEQUEL.

Though Disney has found success pumping out straight-to-DVD sequels of their animated hits, Burton has no interest in making The Nightmare Before Christmas 2. He told MTV, “I was always very protective of [Nightmare Before Christmas], not to do sequels or things of that kind. You know, ‘Jack visits Thanksgiving world’ or other kinds of things, just because I felt the movie had a purity to it and the people that like it. Because it’s not a mass-market kind of thing, it was important to kind of keep that purity of it. I try to respect people and keep the purity of the project as much as possible.”

7 Fast Facts About RollerCoaster Tycoon

Amazon
Amazon

For Windows gamers, 1999 was dominated by RollerCoaster Tycoon, a now-classic strategy and building game that tasked users with erecting an amusement park and gauging the popularity of rides while maintaining a profit margin and keeping patrons from barfing all over the landscape. For the game’s 20th anniversary, check out some facts about its origins, its association with pizza, and how it became a pinball machine.

1. The first RollerCoaster Tycoon sold 4 million copies.

RollerCoaster Tycoon was the brainchild of Scottish programmer Chris Sawyer, who had enjoyed success with his line of Transport Tycoon games in the 1990s that allowed players to build and operate their own railroad, truck, and ship lines. Sawyer decided to marry that concept with his love of roller coasters. An independent effort—Sawyer enlisted only two collaborators, artist Simon Foster and musician Allister Brimble—the first Tycoon game that was released in 1999 sold a staggering 4 million copies.

2. RollerCoaster Tycoon came free with frozen pizza.

In the early 2000s, packaged food companies offered products that came with promotional offers for CD-ROMs. In 2003, Pillsbury offered a free copy of RollerCoaster Tycoon to anyone who sent in proof of purchase barcodes from specially-marked boxes of Totino’s Pizza Rolls or Pillsbury Toaster Strudel.

3. There’s a RollerCoaster Tycoon pinball machine.

A pinball machine released to coincide with 2002’s RollerCoaster Tycoon 2 took the spiraling coasters of the game and put them under glass. Players could try and direct the pinball—a substitute for the park guest—around and through coasters like The Flying Ghost and The Rocket.

4. RollerCoaster Tycoon helped inspire Minecraft.

If you or a loved one has spent countless hours absorbed in the popular world-building game Minecraft, you have RollerCoaster Tycoon to thank. Minecraft creator Markus Persson was a fan of Tycoon for the way it allowed players to construct elaborate designs. He also enjoyed Dungeon Keeper, which had a fantasy element. Together, the two games encouraged him to develop Minecraft. The game debuted in 2009 and went on to become one of the biggest interactive success stories of all time.

5. RollerCoaster Tycoon inspired real roller coaster designers.

The laborious construction undertaken by players of RollerCoaster Tycoon weaned a number of players on the excitement of the amusement industry. Park designers hoping to break into the industry have used screen shots from the game as examples of their design prowess at trade shows.

6. You can get a spooky update of RollerCoaster Tycoon in time for Halloween.

Atari distributes an Android and iOS version of RollerCoaster Tycoon for mobile phone users. For 2019, the company is offering a Six Flags Fright Fest update to the game that adds a Halloween component. Players can add Skull Mountain, an actual Six Flags coaster, as well as a Demon Rock statue.

7. A RollerCoaster Tycoon fan spent 10 years building a park.

In 2017, a Reddit user declared he was finished building out his own custom park on RollerCoaster Tycoon 2. The 34 coasters and 255 attractions were all minutely detailed, offering a sprawling virtual park with themed areas covering everything from Egyptian attractions to a forest. In comparison, it took only four years to build the actual Disney World in Orlando, Florida.

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