There are few places more deserving of a visit from the currently touring Game Masters exhibition, created by the Australian Centre for the Moving Image, than Scotland. Some of gaming history’s most influential titles were born here, including Lemmings and Grand Theft Auto, the latter of which is now one of the most lucrative franchises in all media and is still developed in Edinburgh today, only a short walk from the National Museum of Scotland, where Game Masters is currently on show.
The rationale behind exhibiting a history of video games is easy to see. It gives an institution the ability to provide a rich and varied, yet at all times fully immersive hands-on experience. There are not many interactive exhibit types that boast such equally high levels of “holding” and “attracting” power as video games. They are also, of course, massively popular these days and have an ever-broadening appeal, providing ideal foil for attracting new audiences to the museum.
A cynic therefore may feel justified in claiming they are an easy and unimaginative option, however the presentation of Game Masters far from evokes a curatorial team of such a mind-set. The trouble with an exhibition about gaming is catering for this aforementioned broad-spectrum audience. Despite what my dad would like the world to believe, video games are not just for children; the content of some of the earliest games in unspeakable (read up about Custer’s Revenge, if you dare), Grand Theft Auto certainly isn’t for children and even Lemmings requires constant user intervention to stop them from walking to their own increasingly grizzly demises.
If anything, there are more games for children nowadays than there ever were when I was one. The introduction of the hugely popular Nintendo Wii opened up the industry to a whole new audience and has seen massive emphasis placed on family friendly video game products. These days video games are truly for everyone, but not everyone views “gaming” in the same way, so I have more and more frequently heard the use of “casual” and “hardcore gamers” as differentiating labels. Creating an exhibition that appeals to these two subsets equally is therefore no mean feat, and the curators of it have done an excellent job. There is a huge and varied range of both populist and obscure game types to suit any and all visitors, and this is supported by detailed and informative ephemera, retrospectives on influential game designers and characters, and a clear historical narrative to “play” your way through. Just as video games are for everyone, this exhibition has something for everyone too.
I can only rate the exhibition from within my own subset however, which I would describe as “casual gamer” and even that is a stretch. My flatmate and I regularly struggle to a 0-0 draw on this year’s instalment of FIFA before he beats me on penalties, but that is the extent of my current immersion in the gaming world. In fact the only video games I have extensively played since leaving home 8 years ago are the Assassin’s Creed titles and only really because through sheer chance they have all been set within the same time periods as my History MA and I found it perversely therapeutic to be able to hunt down and punch in the face the same historical figures who had spearheaded countless weeks of essay-related stress and despair. I had hoped to visit the exhibition with a friend who would define himself as a member of the “hardcore” team so we could compare our experiences however time has not allowed for me to do so. Having said that, as an individual with more of an interest in exhibition planning and design than gaming I was actually more interested in the ephemeral exhibits and interpretation than the games anyway. I do of course appreciate that I’m a difficult breed of visitor, as it’s not exactly easy to cater to an audience that insists on spending half their time staring at the fourth wall, nor should you.
Predictably in keeping with this position, the thing that fascinated me most about the exhibition was actually nothing intentionally exhibited at all. Instead, surrounded by the sounds and flashing lights of over a hundred playable games, my attention was gripped by the sight of a distinct and notable role reversal in the child/guardian museum visit dynamic. There were of course adult visitors at the exhibition too, as I said earlier, games aren’t just for kids, but likely given that it was Christmas eve, the ratio of younger visitors was heavily skewed in its favour. As these visitors traversed the exhibition with whomever their responsible adult may be, it was fascinating to see them discover and then engage with the fact that, possibly for the first time in a museum, they were the authoritative side of the pairing.
It struck me though that this role reversal can only function if said responsible adult upholds a “responsibility” to facilitate an educational and entertaining exhibition experience for their charge, and if this can’t be in the role of “teacher,” then maybe it should be as the “student” instead. I remember as a child, my grandmother taking me to visit Edinburgh Castle and marvelling at her incomparable knowledge of Scottish monarchic history. Had I been in possession of the facts that day instead, I believe our enjoyment of the experience would have been no different, because we were both positively engaged with the exhibitions and their content, and this is the key.
Some parents at Game Masters got this, while some took a little encouragement. It was incredibly heart-warming to watch adults take and interest in the interests of children, and likewise to watch these youngsters revel in the role of educator within the exhibition. So too was it wonderful to see people, initially unenthused by the Game Masters concept, take the time and effort, despite not having a vested interest in the games, to read some of the information panels and interpretation, and spark for themselves an enthusiasm for the content that they could share with their young companion.
This is one of the exhibitions strengths. The curatorial team have done an excellent job of highlighting that games, especially nowadays are more then simply just “games.” Those who read the interpretive material discovered that the history of games is a rich tapestry of attention to artistic and stylistic themes, of morality and decision making, problem solving, and storytelling, to name but a few. They realised, imperatively, that games are universal and can be fun for everyone, and in doing so, improved their experience of the exhibition, and that of their child. In the time I spent at the exhibition, I witnessed only one parent who refused to embrace it, who stood stony faced as his trusts fiddled with control pads and touch screens in silence. This was a responsible adult who had shirked his responsibility, and I fear that the children in his “company” may have lost out because of it.
I would love to see more exhibitions utilise themes that can bring about this fascinating role reversal, and it would be interesting to ponder what these could be. The content of Game Masters lends itself very well to this because of the universal nature of games, and that it is well placed within a time when the younger generations are increasingly literate to the subject while many of their elders lacked the opportunities to become so at their age. For this reason I would implore everyone, especially those sceptical of games and gaming to give this exhibition a visit. But those doing so with young charges must absolutely remember that as much as young visitors to the National Museum of Scotland must be accompanied by a responsible adult, these little game masters must be accompanied by a responsible apprentice too.