Super Chart Island of the 1980s has been a story of computer games as a source of surging creativity in the UK, but also a story of a local audience in splendid isolation. The compromised remakes of Japanese games that made it to #1 in the UK were pretty much a one-way trade. By the end of the 1990s, British developers would be responsible for two of the world’s most famous and successful games. Those games would be made to a much bigger scale. In 1991, as mainstream games got more complex, for them to be the effort of one or two individual programmers was already increasingly rare. It was a time when having the right conditions for teamwork paid off.
A small team called DMA Design made Lemmings, which is not quite one of those giant British games but did sell millions and get ported to a large proportion of the world’s game formats. Lemmings’ hook is inspired by the Disney-constructed idea that the rodents of the title deal with over-population by rushing off cliffs en masse. The game’s ‘lemmings’ are more human, tiny people with white skin, blue clothes and green hair who drop into each level from an undisclosed location and walk steadily forward until instructed otherwise, even if it’s to their own doom. Each level has an exit back out of its world, and your task in Lemmings is to use a set of limited abilities to work out a route to get your team of charges from A to B, where sometimes B is across the C, or A and B are both in L. You can get lemmings to knock through walls, block others from moving forwards, build bridges, blow shit up, and so on, with each level giving you both a different map and a different number of each of the abilities.
Once Lemmings has got through teaching you how its abilities work, it moves on fast to both using them in increasingly complicated combinations and making you think laterally about ways to use each one. The form of the appeal of this is highlighted in a mock warning on the game’s cover and title screen text scroll disclaiming responsibility for “loss of sanity, loss of hair, loss of sleep”. The suggestion is that the appeal to the player lies in their own frustration, or at least in building that frustration to the point where the relief of release from it is ecstatic. The ideal Lemmings level, perhaps, should appear initially impossible until a sudden mental breakthrough that reveals it’s really easy, followed by the realisation of a complication that renders it impossible again. And so on, perception swinging wildly but settling in on a mid-point final realisation that yes, everything is accounted for and it’s just about doable. Here is where the decision to make each level goal a percentage of lemmings safely to the exit, and often a percentage below the optimum outcome, is a particularly smart one. The slack sometimes allows a sudden realisation that you are losing lemmings to lead to an improvised solution on the fly and resultant success, and that’s another exhilarating feeling of its own.
As a logic puzzle loving, computer game playing child, when I got a brief chance to play Lemmings on a family friend’s Amiga it immediately became one of my favourite things ever. It was an unusual type of game, but it’s easy for me to see how its developers’ policy of getting as many demos of it as they could out there worked so successfully, and how Lemmings had such an impact across the UK and beyond.
There is still a statue of lemmings in Dundee, the game’s hometown. A port city on the East coast of Scotland, Dundee is something like the 50th biggest urban area in the UK and has a totally outsized place in the UK video games story. You could put it down to random happenstance that the handful of people led by Dave Jones who made up DMA Design were from Dundee. But a game like Lemmings coming from Dundee is no more complete coincidence than the procedural space exploration of Elite being the work of Cambridge maths and science students was.
Dundee was once the centre of the jute industry, making fibre for bags and ropes. As the economic viability of that dried up, many skilled (and mostly female) workers transferred to working in a new form of production at the Timex watch factory. Later on, watch sales not being what they had been, that factory diversified into making other technology. It was perfect for our old friend the ZX Spectrum. For Dundee, that meant lots of Spectrum computers available on the cheap, a low-risk chance to experiment, and other opportunities besides. And with that availability, there was an increased chance for connections and community. The Kingsway Amateur Computer Club, where many of the makers of Lemmings met, for instance. For Dave Jones in particular, the Timex connection was more direct as he worked there as a Spectrum tester. When he was made redundant, he used the money to support him and his friends in Dundee to form DMA Design and a few years later they developed Lemmings.
With their own experience with home computers and with British audiences in mind, they made Lemmings for the Amiga first. DMA also drew on a recent British lineage of games led by resource management and clicking on menu options, like Supremacy and Populous (almost as crucial to Lemmings’ form as the lemming was that other rodent-derived computer item, the mouse). Lemmings was a collaboration right from the start, even the most basic animation of the tiny characters being the work of two people. Lemmings wouldn’t be the same without all of those contributions. To take one obvious example, it wouldn’t have the same warmth without Brain Johnston and Tim Wright’s familiar but copyright-avoiding soundtrack, taking “Ten Green Bottles”, “London Bridge is Falling Down” et al on a toytown funk trip. Beyond even a list of credits though, as the series of particular circumstances which brought DMA together in Dundee show, every game is the result of a whole community, providing skills and resources in the right place and right time along the way.
Even above its problem-solving, what stands out about playing Lemmings is that the same message of collaboration is integral to the game itself. So many games that I’ve played for Super Chart Island have been about the lone wolf, the highly able individual prevailing against the odds. In the Britain of the late ‘80s, perhaps it’s no surprise that messages of individualism resonated with the prevailing culture. For alternatives, we have seen sports games where you take collective charge of a group of people, and there were precedents for successful games that had you overseeing large populations, even if Populous and SimCity didn’t make it to my UK #1s list. But sports games are limited to a different kind of competitive narrative, Populous had the player as a God and SimCity as combination planner-architect-builder. You were still the one responsible for taking all of the actions. In the more radical Lemmings, you can’t create earthquakes or new electricity supply lines or do anything at the macro level. All actions must be carried out via an individual lemming. The player is but an advisor, or as Martin called the player’s role in the Lemmings post for his AAA, “an avatar of community spirit”.
It’s not long into Lemmings before you reach situations where you need different lemmings to support each other. Two lemmings might need to be send ahead so one can turn the other around to dig their way back to the group. One lemming might need to build a staircase to put another in place to remove another obstacle. Individual lemmings take actions but afterwards they get subsumed back into the herd. You can only succeed by getting lemmings organised to work together, and they succeed or fail as a group. Each lemming that reaches the end of a level has depended on the resources of the level and the skills of other lemmings being in place along the way. Text on the title screen tells players to remember that the needs of the many outweigh the needs of the few.
The lack of narrative ego is striking. While as the player you are in a head-to-head battle of minds with the level designers, within the narrative world of Lemmings the player is taken out altogether. Even outside of the game itself, Lemmings welcomes further collaboration. There are tests of physical precision and speed in some levels, but with so much of test the game provides being mental, it lends itself to sharing thoughts and ideas. My best memories of playing Lemmings aren’t of playing it by myself, but of sitting with my mum and my brother and working as a team to come up with different possible solutions. Fittingly, it turns out that this was similar to the process by which DMA themselves designed the levels.
There are signs of something darker in Lemmings too, particularly in hindsight. It’s in the choice it offers you each time you play a level, a more dramatic version of the deal in Dizzy that if you lose, at least the game will entertain you in the process. If you decide that you can’t complete a level, or you just get bored, you can double click the mushroom cloud icon and watch all of your lemmings explode to maximum dramatic effect, a choreographed carnival of cute violence. The lemmings’ tiny stature and outsized physical expressions, wonders done with a few pixels like the way they shrug when they finish building a staircase, encourage the player to care for them, but the player can blow them all up too.
That’s only a discordant note if you don’t look too closely. The game is filled with grizzly traps that kill lemmings in inventive ways, squashing or incinerating them out of nowhere. It turns out, in fact, that those animations were the origin of the whole game, the point in another project at which it became clear that the tiny animated people had the personality to stand alone. There’s an irreverence and black humour very recognisable from other British culture in going on to make the cute save-the-lemmings game but still leaving the horror in there. Lurking within Lemmings is the power of a particular kind of anarchic freedom and its possibilities. DMA would go on to take the idea of just letting the player blow everything up and make Grand Theft Auto, after all.
Wherever it started from as a game, though, the strongest message that comes through from Lemmings is the generous one about the importance of people working together. Without everything that community and collaboration provided along the way, Lemmings wouldn’t have been possible, just as its lemmings can only reach their goal by building on the work of many.
[Elements of this post are based on sections of a previous piece I wrote on Oh No! More Lemmings.]