Don Bluth's laserdisc hit Dragon's Lair (1983) and the CD-ROM boom of the early 1990s briefly created a hybrid profession: designers who directed film shoots — actors, sets, branching scripts — for interactive movies like Night Trap. Real-time 3D graphics after Doom (1993) made filmed footage look rigid and quaint, and the discipline collapsed within five years, surviving only in occasional revivals.
Full-motion-video game director no longer exists as a living trade. Here is what erased it, and which profession took on the work.
The authored game
The nineteenth century invented the game author twice: von Reisswitz's 1824 Kriegsspiel made rule design a military science, and industrial lithography made parlor games a business — Milton Bradley's The Checkered Game of Life sold some 45,000 copies in its first year, 1860–61. Yet authorship rarely paid: Lizzie Magie's $500 for the patent behind Monopoly, against Charles Darrow's millions, showed exactly how little the industry valued the person who designed the rules.
What else was happening then
Physicist William Higinbotham wired an analog computer to an oscilloscope for visitors' day at Brookhaven National Laboratory, New York, letting the public bat a glowing dot over a net. Queues formed around the exhibit. Higinbotham never patented it, considering it a trivial use of laboratory equipment.
Steve Russell and fellow MIT students wrote Spacewar!, a two-ship dueling game, on a PDP-1 minicomputer. Passed freely between university computer labs, it became the common ancestor of the arcade generation: both Nolan Bushnell's Computer Space (1971) and the industry that followed began as attempts to sell Spacewar! to the public.
Ralph Baer's Magnavox Odyssey, the first home console, and Atari's Pong — built by engineer Allan Alcorn as a training exercise — both shipped in 1972. Pong's prototype at Andy Capp's Tavern in Sunnyvale famously stopped working because its milk-jug coin box had jammed full of quarters, the moment coin-operated video games proved themselves a business.
Namco's Toru Iwatani designed Pac-Man deliberately to draw women and couples into arcades dominated by shooting games; it became the era's biggest hit. A year later Nintendo's Shigeru Miyamoto, a staff artist with no engineering training, turned roughly 2,000 unsold Radar Scope cabinets into Donkey Kong — and games acquired stories, characters and named designers.
Where that work lives now
The architect of play — the person who decides what a game asks of its players, from Senet's ancient board to Tetris and today's three-billion-player industry.
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