The video game is now a ubiquitous part of American pop culture but pinball still holds a cachet of cool. 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, however, designers appear to have concluded–and rightly so–that pinball cannot be a video game, nor should it want to be.

A great 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 amazing. 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 almost 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. This feature dates back to the 1950’s and appeared on Williams “Gusher” among others), and multi-ball a-plenty. 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 easy to understand–yet still very challenging to the player.

At its nadir, pinball companies were cranking out games featuring themes and subjects that offered little, 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” on the other hand is an almost perfect synergy of subject and gameplay experience.

The really great thing about the game is the multiple levels of contextual awareness it offers. A slack jawed yokel can play it and just think 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 popular culture that spawns and embraces them.

Ross Everett is a experienced freelance writer who covers travel, poker and sports handicapping. He is a consulting handicapper for Anatta Sports where he is responsible for providing daily free sports picks. In his spare time he enjoys fine dining, flower arranging and deep sea diving. He lives in Las Vegas with four dogs and a pet coyote.

There’s no shortage of bad celebrity themed pinball machines. This time we wont rank them, well look at several different genres of bad celebrity tie ins:

THE BOX OFFICE BOMB THEMED MACHINE:

In 1991 Williams Pinball released a machine based on Terminator 2 and it was good. It had a gun trigger to launch the ball and a ton of Arnold’s catch phrases like “Ill be back” keyed to various game objectives. The film was a huge hit, and everything worked well together. Now the bad news: because of the success of this machine the production companies thought “Hmm. What well do is release the pinball machine simultaneously with the film. That way we can use the machine to market the film and popularize the characters and catch phrases. That’ll also help our merchandising sales.”

Unfortunately, this thinking led to a number of pinball machines based on films that were absolute bombs. Some examples of this genre are machines based on The Last Action Hero, Judge Dredd and Hook. There wasnt a cooler cartoon than The Flintstones. So how do you screw up a Flintstones pinball machine? Just base the theme not on the classic Hanna Barbara cartoon, but on the horrible film starring John Goodman and Rosie ODonnell.

My two favorites are The Shadow which is hilarious because Alec Baldwin is on the backglass and Waterworld. Waterworld was released in 1995 starring Kevin Costner and quickly became the definitive big budget, no box office film replacing Michael Ciminos Heavens Gate and the Dustin Hoffman/Warren Beatty comedy Ishtar.

Playing a bomb themed pinball machine is downright surreal. The most pitiful thing is when the machine booms out a catch phrase from the film that no one is familiar with. Fortunately, this trend died out with the demise of most of the pinball manufacturing companies. The remaining pinball maker, Stern Pinball, has learned from this mistake filled era and only does machines based around cool themes like The Sopranos and The World Poker Tour

THE DUBIOUSLY TIMED THEME:

This genre includes themes that would have been pretty cool, except for the fact they were released well after the subjects popularity had begun to ebb. Gilligans Island would have been great back in the mid-1960s or even in the late 70s when a new generation discovered the show in syndication. In 1991 it was just creepy since nearly half of the cast members depicted on the backglass were dead. The Six Million Dollar Man was released in the fall of 1978, just in time for the shows cancellation.

The strangest machine of this genre is 1994s Mario Andretti. Andretti is certainly worthy of a pinball machine as hes a legitimate auto racing legend. Whats strange about this machine, however, is the backglass which displays an image of grizzled old Mario Andretti. Having the sixty-something race car driver on the backglass is vaguely akin to having your grandfather looking over your shoulder while you play.

ROOT,ROOT, ROOT FOR THE HOME TEAM:

A comment on the original celebrity theme article mentioned this genre and it is a good one. Its important to understand that the pinball industry has been based in Chicago for most of its history. Presumably for that reason there have been some machines featuring the local sports teams and stars. The Big Hurt Frank Thomas was a solid major league ballplayer, but not really worthy of a pinball machine themed around him. The most egregious example of this was 1978s Bobby Orrs Power Play, released not long after the trade that sent Orr from Boston to Chicago. Nationally, no one outside of Boston and Chicago cared.

THE BAD CONVERSION FOR THE INTERNATIONAL MARKET:

During the height of pinball’s popularity was common practice to rebrand a perfectly good game for the International market. Sometimes it was released by the US company, other times it was licensed to a foreign operation. Youd think that there would be some creative control over the rebranded themes. Youd be wrong.

While I have a good grasp on the US pinball demographic I have no idea who plays pinball internationally. Based on some of the re-themed machines its probably better I dont know. Mata Hari was a classic machine of the early 1980s. The German release was rethemed as the more foreboding Lady Death. This one at least makes sense as they had some Nazi imagery that Germans are understandably sensitive about (despite being historically inaccurate, since the real Mata Hari was executed during WW I). Less understandable is the retheming of a military themed game called Special Force in the US to the downright bizarre Special Forces Girls, featuring comely women in low cut, cleavage baring fatigues.

Ross Everett is a respected freelance writer who covers travel, casino gambling 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.