Retrofuturistic Video Games

Retrofuturism (adjective ''retrofuturistic'' or ''retrofuture'') is a movement in the creative arts showing the influence of depictions of the future produced in an earlier era. If futurism is sometimes called a "science" bent on anticipating what will come, retrofuturism is the remembering of that anticipation. Characterized by a blend of old-fashioned "retro styles" with futuristic technology, retrofuturism explores the themes of tension between past and future, and between the alienating and empowering effects of technology. Primarily reflected in artistic creations and modified technologies that realize the imagined artifacts of its parallel reality, retrofuturism can be seen as "an animating perspective on the world".

Etymology

The word retrofuturism is formed by the addition of the prefix "retro" from the Latin language, which gives the meaning of "backwards" to the word "future", a word also originating from Latin.

According to the ''Oxford English Dictionary'', an early use of the term appears in a Bloomingdales advertisement in a 1983 issue of ''The New York Times''. The ad talks of jewellery that is "silverized steel and sleek grey linked for a retro-futuristic look". In an example more related to retrofuturism as an exploration of past visions of the future, the term appears in the form of “retro-futurist” in a 1984 review of the film ''Brazil'' in ''The New Yorker''. Critic Pauline Kael writes, " erry Gilliampresents a retro-futurist fantasy."

Historiography

Retrofuturism builds on ideas of futurism, but the latter term functions differently in several different contexts. In avant-garde artistic, literary and design circles, futurism is a long-standing and well-established term. But in its more popular form, futurism (sometimes referred to as futurology) is "an early optimism that focused on the past and was rooted in the nineteenth century, an early-twentieth-century 'golden age' that continued long into the 1960s' Space Age".

Retrofuturism is first and foremost based on modern but changing notions of "the future". As Guffey notes, retrofuturism is "a recent neologism", but it "builds on futurists' fevered visions of space colonies with flying cars, robotic servants, and interstellar travel on display there; where futurists took their promise for granted, retro-futurism emerged as a more skeptical reaction to these dreams." It took its current shape in the 1970s, a time when technology was rapidly changing. From the advent of the personal computer to the birth of the first test tube baby, this period was characterized by intense and rapid technological change. But many in the general public began to question whether applied science would achieve its earlier promise—that life would inevitably improve through technological progress. In the wake of the Vietnam War, environmental depredations, and the energy crisis, many commentators began to question the benefits of applied science. But they also wondered, sometimes in awe, sometimes in confusion, at the scientific positivism evinced by earlier generations. Retrofuturism "seeped into academic and popular culture in the 1960s and 1970s", inflecting George Lucas's ''Star Wars'' and the paintings of pop artist Kenny Scharf alike". Surveying the optimistic futurism of the early twentieth century, historians Joe Corn and Brian Horrigan remind us that retrofuturism is "a history of an idea, or a system of ideas—an ideology. The future, of course, does not exist except as an act of belief or imagination."

Characteristics

Retrofuturism incorporates two overlapping trends which may be summarized as ''the future as seen from the past'' and ''the past as seen from the future''.

The first trend, retrofuturism proper, is directly inspired by the imagined future which existed in the minds of writers, artists, and filmmakers in the pre-1960 period who attempted to predict the future, either in serious projections of existing technology (e.g. in magazines like ''Science and Invention'') or in science fiction novels and stories. Such futuristic visions are refurbished and updated for the present, and offer a nostalgic, counterfactual image of what the future might have been, but is not.

The second trend is the inverse of the first: futuristic retro. It starts with the retro appeal of old styles of art, clothing, mores, and then grafts modern or futuristic technologies onto it, creating a mélange of past, present, and future elements. Steampunk, a term applying both to the retrojection of futuristic technology into an alternative Victorian age, and the application of neo-Victorian styles to modern technology, is a highly successful version of this second trend. In the movie ''Space Station 76'' (2014), mankind has reached the stars, but clothes, technology, furnitures and above all social taboos are purposely highly reminiscent of the mid-1970s.

In practice, the two trends cannot be sharply distinguished, as they mutually contribute to similar visions. Retrofuturism of the first type is inevitably influenced by the scientific, technological, and social awareness of the present, and modern retrofuturistic creations are never simply copies of their pre-1960 inspirations; rather, they are given a new (often wry or ironic) twist by being seen from a modern perspective.

In the same way, futuristic retro owes much of its flavor to early science fiction (e.g. the works of Jules Verne and H. G. Wells