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The Atari VCS CXintroduced in Octoberis an 8-bit system that uses interchangeable cartridges; this was an innovation in the s, because as the cartridge replaced the dedicated console, gamers could play the latest games without purchasing a new system.

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As one of its strategies for marketplace dominance, Atari actively pursued s for successful arcade games, beginning with its home version of the popular shooter Space Invaders. When the market re-stabilized in the second half of the decade, the Japanese company Nintendo took center stage.

Unlike Atari, Nintendo instituted a very strict licensing system for third-party game developers and heavily controlled advertising, distribution, production, and pricing in an effort to control quality and profit. My knowledge of the varied third-party Atari titles that I did not own in my youth is primarily gleaned from emulation and ROM sites. The role of the emulator is to mimic hardware functionality with software, while the ROMs themselves circulate freely on the Internet as image files, which contain the actual data and code read from the original cartridge.

Scattered throughout various ROM sites are a of adult titles deed to play on theextracted from game cartridges produced by three companies—Mystique, Playaround, and Universal Gamex. While I am not the first enthusiast 8 bit sex games sketch out the basic lineup of adult titles deed to play on consoles, what most of the fan sites do not consider is the role these games may have played in larger industrial and cultural discourses about gaming.

Most discussions focus on the rather crude graphics and underwhelming game play of these titles, many of which simply rework the basic functionality of more popular mainstream games, and replace the regular cast of characters with the grossly pixilated bodies of naked men and women; perhaps to ensure the legibility of these characters, the pixel-based construction birthed rather absurd anatomical distortions.

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Other discussions focus on the obvious sexism written into the gendered biases of these games; most of the rudimentary narratives climax with the requisite frenzied pushing of the joystick fire button, a gesture that produces on-screen penetration and its off-screen thumb-pulsing corollary. Mystique produced a of adult video games for the Atari in the early s.

The game prompted complaints from a of groups at the time of its release; a product demonstration at the New York Hilton in October attracted protestors from the National Organization for WomenWomen Against Pornography, American Indian groups, and the Racial Justice Committee of the National YWCA ; the game received scathing criticism for denigrating women and offering rape as a reward. Not surprisingly, Atari sued Mystique over the game, claiming that its releases were tarnishing the brand; Atari argued that American Multiple Industries had failed to adequately disassociate itself from Atari and was capitalizing on the name and trademark.

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Screen shot from Gigolo. Playaround, a spin-off company that continued the adult game line, acquired the rights to the Mystique games.

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In addition to manufacturing double-enders, or extra-long cartridges of Mystique titles 8 bit sex games had a different game on each end, Playaround created re-gendered versions of several games, reversing the gender roles of the central characters, presumably in an attempt to attract male and female game players to parallel titles while minimizing rede costs. Playaround also produced its own internal pairings, releasing the dual demographic combinations of Knight on the Town and Lady in Wading as well as Burning Desire and Jungle Fever.

A third company, Universal Gamex released only one title, X-Manin Get the picture? In the s, the advent of home video revolutionized the adult film industry, which was quick to respond to changes in the media landscape and capitalized on the move to a more intimate viewing format it had everything to gain as titles began to circulate into the home market.

In a report, the market research organization International Resource Development, estimated that home video games would prove a ificant threat to Hollywood box office receipts by Companies such as Mystique and Playaround seemed to acknowledge the interpretive powers of their adult audience. Such a gesture may have been necessary, for the gaming graphics themselves do not invoke transparency; falling far from the codes of classic realism, the games seem to consciously address hypermediacy as they attempt to recoup the only pleasure possible—one of a glaring self-reflexivity that borders on the absurd.

Consider their awkward repurposing and perhaps defamiliarization of the console used in a solitary masturbatory fantasy and the pixel, and the pointed example supplied by the threat of castration writ 8 bit sex games in the Gamex title X-Man.

The jarring disjuncture between realistic box art and rudimentary game art was an all-too common experience in the world of 8-bit gaming. How many kids were disappointed once they got beyond the package of Raiders of the Lost Ark or E. Screen shot from X-Man. Despite the warranted concern about the conflicted gender politics of most of the adult titles produced during the s, the early years of the decade do illustrate the potential for gaming prior to licensing restraint, and the liberatory possibilities of such a gesture—taking gaming out of the hands of children and understanding play as a necessary component of adulthood though still something that can be colonized by the culture industries.

As a distinct axis of convergence, adult and childhood fantasies could be ritualistically played out on the same system. The adult entertainment industry responded to a decided shift in the media landscape at a time when gaming was a more open playing field.

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In more recent years, adult content has been relegated to the producers of more centralized industries, as hardware developers have taken back control of their platforms, perhaps acknowledging the vitality of adult players looking for both sex and violence, and sex has become one trademark offering of diversified content developers who produce titles across ratings.

In the early eighties, the concept of the supersystem was just gaining momentum.

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In the face of several nascent transmedia enterprises, a new paradigm of intertextual possibilities was emerging, though it had hardly been perfected. As a case in point, despite the box office success of E. My goal in revisiting the erotic games of yesteryear is to open up a dialogue about the potential of an incoherent supersystem, of a console in crisis, in search of narrative synthesis. The plot lines of most of the adult titles created for the Atari follow a simple trajectory; the player must overcome duress to achieve momentary sexual satisfaction, only to return to a state of duress.

And we must be suspicious of the moments where its possibility is sealed over, where the hack or infringement is rendered obsolete.

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It is in this latter state, when the supersystem has successfully coalesced, that narrative openness has been delimited, and loss has given way to economic security and ideological fixity. Notes i. Computer World article ii. Please feel free to comment.

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Wow, the pictures are great! I was intrigued by the comment that the gaming system companies learned from this experience with Atari so that they locked down their consoles from playing unofficial, third-party games.

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With the gaming companies constantly trying to develop the next best way to make more robust, faster, etc. Thanks for ideas to think about!! Great flash from the past. You should do a write up of some of the adult titles they made for other early systems like the Commodore Pingback: Harry, der Fensterputzer Superlevel. Makes you wonder how many games might have super hidden content. Save my name,and website in this browser for the next time I comment.

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