1997 Bally Cirqus Voltaire: Underrated Classic Of Modern Pinball
Though there’s been a lot of consolidation in the pinball industry in recent years, the quality of modern games keeps improving. This is due, in part, to improvements in technology–though not at the expense of first rate playfield design. Pinball went through a few lean years during the early years of the video boom, when designers tried to cram as much stuff onto the playfield as possible, perhaps feeling the clutter was needed to replicate the video game experience. In recent years, but, designers appear to have concluded–and rightly so–that pinball cannot be a video game, nor should it want to be.
A fantastic game of recent vintage is the 1997 Bally release “Cirqus Voltaire”. The theme is sort of a ‘Cirque du Soleil” on acid, and the iconography of the circus that they cram into the design and play of the game is incredible. The ultimate object of the game is to “join the cirqus”, which, of course, is a classical American archetype of freedom and escape. Yet this “Cirqus” is not a Norman Rockwell vision of juvenile fun–there are a lot of sinister undertones as well, including evil ringmasters and an nearly palpable feeling of sleaze. The clowns here have more in common with the Simpsons’ ‘Krusty the Clown’ than with Emmett Kelly.
The game play offers a lot of what we’ve come to expect from Williams/Bally, with sweeping ramp shots, clever uses of time-worn features (like the disappearing pop bumper, reincarnated here as a balloon. As is very common with pinball games today, the game’s ultimate object is to work your way through a variety of ‘modes’. Sometimes this is a confusing endeavor, but here is very simple to know–yet still very challenging to the player.
At its nadir, pinball companies were cranking out games featuring themes and subjects that offered small, if any, synergy with game play. The low point might have been some of the celebrity tie-in games of the early eighties (which gave the world debacles like a Dolly Parton and Roy Clark tie-in). “Cirqus Voltaire” may represent a high point of thematic unity between game subjects, aesthetic design and play experience. It offers an otherworldly interpretation on a circus, with subtext, nuance and detail.
The really fantastic thing about the game is the multiple levels of contextual awareness it offers. A slack jawed yokel can play it and just reckon its a nice game about the circus. To a cleverer player, it alternately provides a celebration and condemnation of the circus and, deeper still, of the well loved culture that spawns and embraces them.
Ross Everett is a respected freelance writer who covers travel, poker and sports handicapping. He is a staff handicapper for Anatta Sports where he is responsible for providing daily free sports picks. In his spare time he enjoys fine dining, fencing and scuba diving. He lives in Las Vegas with four dogs and a pet coyote.
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