GoldenEye 007: Art and Propaganda

John Coulter 
Art & Games University 
GoldenEye 007
July 2026 

Art and Propaganda - GoldenEye 007 

  Video games represent a unique form of art. With stories and carefully designed visuals, they share much with other art mediums such as books, movies, paintings and sculptures. Art & Games University undertakes the mission of cataloging the art and cultural references within these digital worlds, analyzing everything from the smallest background element to the major aesthetic choices made by game developers. 

  Over three hundred games have been documented through one hundred percent exploration and completion, and then the data was carefully compiled for fifty of these: with the list of documented and dissected games growing regularly. The research found the data and evaluation of art objects in games are under-studied, and is important to document. 

  GoldenEye 007 for the Nintendo 64 was really explosive, and shook and stirred the gaming industry in 1997. The groundbreaking home-console first person shooter follows the events of the James Bond film, GoldenEye (1995).  Bond and hacker Natalya must thwart the mysterious Janus from using a weapons satellite known as GoldenEye. Players sneak and shoot their way through dangerous missions set mostly in the USSR, but also in Cuba, Egypt, and other exotic locations. 

  As fitting as a well-tailored suit, GoldenEye 007 (1997) was developed by British company Rare and published by Nintendo for the N64. Rare was a frequent collaborator with Nintendo until their purchase by Microsoft in 2002, putting out such classics as Donkey Kong Country (1994), Diddy Kong Racing (1997), and Perfect Dark (2000). Rare is a small studio that specializes in 3D graphics. Under the direction of Martin Hollis, programmers Mark Edmonds and Steve Ellis would code some of the most memorable single and multiplayer gameplay elements ever seen, that still influence game design to this day. The designers responsible for the look and feel of GoldenEye (1997) are background artists David Doak, Duncan Botwood, Karl Hilton, and character designer Brett Jones. Many also worked on Perfect Dark (2000), Time Splitters (2000), Jet Force Gemini (1999) and Banjo-Kazooie(1998). David Doak plays a standout NPC in Golden Eye 007 as Dr. Doak, in the iconic Facility stage. 

  This research has been informed by a generous interview with developer, Brett Jones (2024).

  An analysis of the statistical makeup of the art and cultural objects found in Golden Eye 007 (1997) reveals that, with five hundred and thirty-eight art examples, GoldenEye has the third most total art of any game studied for our Season One data set, coming in behind Wario Land 1 (1994) for Game Boy, and Horizon Chase 1 (2018) for the iOS. GoldenEye (1997) has 2.8 times the average total amount of art in a game. GoldenEye’s five hundred and thirty-eight art items are made up of fifty-seven percent contemporary media such as ads, posters, or prints, thirteen percent sculptures, along with thirteen percent 2D art such as paintings or photography.  GoldenEye boasts the second most contemporary media, third most 2D arts, and the sixth most total sculptures in a game. Much of the game is set in Soviet Russia and much of the art is inspired by Russian culture. Some additional cultures shown in game are ancient Egyptian and Mesoamerican.

  Each of the 007 missions boasts substantial numbers of art, however several of GoldenEye 007’s (1997) globetrotting missions including, Statue, Archives, and Depot showcase large collections of Soviet art and culture, with additional sites such as the Aztec inspired Teotihuaca’n and the Egyptian inspired el-Saghira Temples also boasting vast repositories of artifacts.

  The stages in GoldenEye (1997) are modeled directly from their real-world film counterparts, with the developers having access to the locations and sets to photograph in detail.  These photos were used as texture maps and were also used to accurately model the backgrounds and characters as realistically as possible to match the style of the film. 

  The first site to examine is the St. Petersburg Statue Park from the Statue Mission. Here, Bond must sneak through a gated park, with a strange collection of stone Soviet relics, to contact Valentin, confront Janus, and rescue Natalya. However, there is no Statue Park in St. Petersburg Russia and the location in the Bond film and N64 mission are a fictional creation inspired by another famous Soviet Park, Sculpture Park also known as Fallen Monument Park or Muzeon Park. Memento Park or Stalin World may also have inspired the final design. 

  Sculpture Park is an outdoor public sculpture park and garden with over a thousand stone and metal monuments in Moscow. Primarily a collection of dismantled and destroyed works of Communist Party Propaganda, the site includes statues portraying Lenin, Stalin and others. The park houses the works of Vera Mukhina, an artist famous for the “Worker and Kolkhoz Woman” steel sculpture.

  While some scenes of the film were shot on location in the recently opened Russia, the Sculpture Park scenes were shot on a custom set in Pinewood Studios, United Kingdom and at Brompton Cemetery, Earls Court, United Kingdom. This film set and the fake statues were used for the modeling and texture mapping in game.  

  Immediately behind the start of the mission, the entrance to the park has large stone and iron gates displaying the initials BJ.  This is a nod to developer Brett Jones.  The boxy square marble columns flanking the gates have a simple base and capital and are likely inspired by Doric columns or antae. 

  Statue Park has multiple Hammer and Sickle sculptures on pedestals made of stone and metal. The Hammer and Sickle motif represents the unification and solidarity between agricultural and industrial workers and was first used during the May Day (Labor Day) festivities in Moscow in 1923.  As an iconic symbol of the communist party, the Hammer and Sickle was also used as the State Emblem of the USSR.

  Statue Park has several Red Star sculptures of varying designs and materials, including some on pedestals. The Red Star came to be an icon for all of Communist Soviet Russia, but the star’s use as a military sign predates this. The single Red Star appeared in Tsarist Russia in the early 1800’s and was on military trains shortly after. Becoming the official symbol of the Soviet State in the 1920’s;  the Star was added to the flag. 

  Near the entrance to the park is a large stone head likely representing Lenin. De-Leninization saw the destruction of many monumental statues of Lenin. While not in the USSR, The Lenin Monument, by sculptor Nikolai Tomsky was a sixty-two-foot stone sculpture of Lenin in Berlin, built in 1970 and demolished in 1991. The fractured head remains on display in the Spandau Citadel in Berlin; “A relic of the cold war.” 

  Near the rear of the park, there is a prominent large sculpture of a figure in a saluting pose. Brett Jones (2024) informed Art & Games University that this sculpture “wasn’t a particular person” and was likely an original work from the film’s Plastering Department, that followed a style guide with themes such as “Russian Brutalism,” “worker’s architecture” and “believe in the workers.” However, during the mission, Valentin tells Bond it is a sculpture of Lenin.

  There are large stone hand sculptures that closely resembles the “Worker’s Movement Memorial” by István Kiss. Large sculpted red letters, including a capital C and P, lay about the hills in disarray.  CCCP is Latin script for USSR. Additionally, there is a contemporary stone relief block with a portrait of developer Duncan Botwood. 

  The Statue Park has many more monumental stone sculptures, from crumbling reliefs of human figures, to freestanding columns loafing about.  

  The Archives are stacked with Soviet propaganda - a surprisingly relevant topic today. With the influx of bots and false information flooding social media and the wider internet, the Archive’s posters reveal the origins of Soviet mind games. The GRU Military Intelligence Archives, St. Petersburg, Mission, is set in a large green and white painted library and data center for sensitive information. This Mission is loaded with real-historical Soviet propaganda posters.

  Communist propaganda posters from the USSR, China, and other areas from the 1900’s have several features in common. Themes such as idealistic prosperity achieved through the values of the Communist State are plentiful. Hard work, sharing, education, and following orders are important themes. Deification of political party members is common. Simple printmaking designs, which were cheap to reproduce, and easy to convey messages, lead to a bold visual style. The use of the color red is thematic of the Communist Party. 

  Of the twenty-six art examples in Archives, these seven posters and prints deserve taking a closer look at in detail. 

1. Marx Black & White Photographic Portrait -This is the last known photograph of Karl Marx, taken by E. Duterte in 1882 in Algiers.

2. “We Stand for Peace and We Defend the Cause of Peace” is a print by Boris Belopol’skii depicting Joseph Stalin with a red flag and crowd. Made in Moscow in 1952. The print is an edition of 300,000.

3. “Knowledge will break the chains of slavery” from 1920, by A. Rudakov showcases black and gold books and chains and a powerful message.

4. TEATP - This poster’s header reads T-E-A-T-P or “Theatre,” and is possibly a poster or a magazine cover. “Theatre Variety” is in the small text below the title. The original image and the exact origin of this poster was inconclusive during this research. The print is similar to the “Worker and Theatre” Cinema review published around 1925.

5. “Will Complete Fully and On Time, The Schedule of the Grain Reserves” from 1930, by A. Lobanov features a man holding a sack of grain in red, black and yellow.

6. “More Metal” from 1931, is by M.M. Malkina and Kuleshov I.D is a red, yellow, and blue lithograph showing a factory facade.

7. “Sign Up Now for the Red Cavalry!” is a yellow, red, and black lithograph featuring horsemen from 1919 by an unknown artist.

  In addition to the Soviet propaganda poster prints, there are maps, aisles full of bookshelves filled with records, and small architectural decorations in the Archives.

  There is an additional Soviet print that does not appear in the Archives, but immediately after near the start of the following Streets Mission. A War Loan for WW1 (1914-1916) for Russia by Richard Germanovich Zarrin.  Created as posters and postcards to raise funds for the War. The text reads “Who does not reflect the enemy with his chest must buy the War Loan.” 

  The next stop is the Depot, which has the most art of any Mission in GoldenEye, (1997) with fifty art examples, the majority being spray-painted graffiti on shipping containers. The disused military Depot in St. Petersburg is an abandoned train yard and the operations base for Janus. 

  The graffiti in the Depot, as well as the Statue and Streets Missions seem to all be original works created for GoldenEye 007 (1997).  Interestingly, the text is mostly in English language and script, as opposed to the local Russian language, which the graffiti would likely follow. Who made the art and why the majority of the tags are in English remains an international mystery.  

  Graffiti, originally referred to inscriptions carved in ruins and tombs, eventually evolved into the mostly vandal and illegal paintings seen today. The spray-paint can was invented in 1949, by Edward Seymour in Chicago. The nature of the medium often dictates the stylistic use of simple outlines and gradient color designs as seen in the following examples.

  Psycho, Freeze, a gangster portrait, and the gold and blue Rare “R” Logo are some of the more noteworthy graffiti paintings in Depot. Several tags contain the letters K.H. or KARL, refering to developer Karl Hilton. There is a single graffiti texture of Mickey Mouse that is in the game files, but not used in the game, due to copyright reasons. The stage also contains detailed helicopter blueprints, for the wrong model helicopter, a Red Soviet Star on the train, and various shipping identification stickers and media.

  The levels studied thus far almost exclusively included Soviet artwork from the 1900’s through the 1980’s, but the next two locations examine ancient artwork, thousands of years old found in some exotic sites from the post-game section of GoldenEye (1997). The stages Aztec and Egyptian are inspired by scenes from the James Bond films Moonraker (1979), Live and Let Die (1973),  The Spy Who Loved Me (1977), and The Man with the Golden Gun (1974). 

  In a story and setting ripped right from the Roger Moore camp classic Moonraker (1979), the Aztec stage’s Teotihuaca’n complex hides the Drax Corporation’s unlicensed rocket and shuttle launch site inside in a Mexican ruined temple (in the film, Drax is hidden in the Amazon Rainforest). The real Teotihuaca’n site is outside Mexico City, and predates the Aztec culture by centuries and is an ancient Mesoamerican, multi-ethnic city center and temple complex from around 200 AD. There are many ancient sculptures in the real Teotihuca’n complex, such as imagery of humans, animals and Quetzalcoatl. The GoldenEye (1997) Mission has a variety of stone reliefs based on real ancient Mesoamerican artwork;  however, many of the works were not originally stone reliefs, and many are not from the Teotihuaca’n site. The majority of the art in GoldenEye’s (1997) Aztec Mission is Mayan in origin, with only one Aztec and one Olmec sculpture depicted. 

  The following stone reliefs appear throughout the Aztec Mission on columns and walls.

  The first exhibit is the Cult Mask and is actually from Teotihuaca’n, during Mexico’s Classic Period, [ 200-650 AD ] when the temple complex and pyramids were constructed. The remainder of the relief textures are from sites outside of Teotihuaca’n. 

  Second, the Chimalli de Yanhuitlán or “War Shield,” is a gold and turquoise pectoral decoration, or chest jewelry, from Oaxaca Mexico. The jewelry was famously stolen in 1985. 

  Exhibit three is the Aztec Feather Shield.  Originally red and yellow, this shield is currently located in the Württembergisches Landesmuseum in Germany.

  Next, the Twin Snake is a Mixtec or Aztec sculpture from 1400 AD of a two-headed serpent. This mosaic sculpture is made of turquoise, oyster shell, with additional stones and is currently in the British Museum. 

  The fifth figure is a Mixtec gold pectoral of Xiuhtecuhtli, the bearded fire god or possibly Xipe the Agriculture god. This treasure was made in the 1400’s AD, and is from Oaxaca, Mexico. 

  The Sculpture of the Olmec Monkey God is located at Altar Four from the Olmec site of La Venta, near the border of Mexican states Tabasco and Veracruz. The Olmec site dates back to 900-400 BC. Olmec culture is known for the iconic large stone heads and other relics in the area. 

  The next four examples are all from the Mixtec Nuttall Codex. This illustrated accordion-fold book is made of painted leather and tells the myths, conquests, and genealogies of the then-recent rulers, Eight Deer, Jaguar Claw, and others. The Codex is from Oaxaca, Mexico, made in the 1300’s AD, and currently in the British Museum. 

A. The Sacrifice of Lord Six House by Arrowing from his Uncle Eight Deer depicts a crucified figure.

B. Lady Three Flint the Elder and Lord Five Flower shows a King and Queen.

C. Lord Eight Deer holding a shield.

D. Lord Eight Deer and another figure.

  Moving on from the Codex, another type of stone relief sculpture, known as a lintel, depicts Lord Bird Jaguar holding a spear and wearing a rain god mask. Made in 760 A.D. in Yaxchilan, an ancient Mayan city in Chiapas Mexico. This lintel is currently in the British Museum. The British Museum’s collection likely inspired the British designers at Rare when creating GoldenEye (1997). 

  A Mayan image included in game depicts a reclined ruler being sacrificed and entering the realm of the dead. This stone was carved as the sarcophagus tomb lid of K’inich Janaab Pakal 1 in the Temple of Inscriptions, made around 600-680 AD in Palenque, Mexico. This carving showcases the skilled stonework of Mayan artists. 

  The final Aztec Mission relief texture map is a square spiral motif. This possibly gold or stone relief is of unknown origin.

  Hidden high on the Aztec stage’s walls is a single secret graffiti inscription by developer Karl Hilton.

  Additionally, the Aztec Complex also has numerous computer screens related to the Drax Corporations rocket launch, as well as a cassette tape, a floppy disk and a smart ID card. 

  Sticking with a temple ruin theme, the next site to traverse is the Egyptian Temple. The Egyptian Temple has drastically less sculptures and reliefs than the Aztec Complex.  In this Mission, Baron Samedi is after Scaramanga’s Golden Gun - set in the ancient Egyptian el-Saghira Temple also known as the Ezbet Rushdi Temple, located in the Valley of the Kings. The stage houses columns, a reflecting pool, a skylight, an obsidian obelisk, a deadly weapons display case and stone relief sculptures. The columns are made of sectional stone disks, which resemble a bundle of reeds. The columns are slightly tapered, and the base and capital are undecorated. 

  There are two Egyptian sunken bas relief stone carvings in GoldenEye 007 (1997).  The first is in the single player Egyptian Mission while the second appears in the Temple multiplayer map.

  The first relief’s origin in unknown, but is similar to those found at Luxor Temple.  The relief depicts iconography of an offering to Horus and and another figure, wearing Pschent double crowns. 

  The Temple multiplayer map relief is from Luxor Temple, in Thebes, from around 1400 BC.  The temple was constructed from sandstone and features many statues, columns, reliefs and glyphs. The relief depicts the unification of Upper and Lower Egypt.

  After reviewing some of the Missions that have the largest collections of art, the following provides an overview of some additional art exhibits. The Cradle is set atop the Arecibo Observatory in Puerto Rico (Cuba in the film, GoldenEye 1995) which was once one of the World’s largest radio telescopes. Sadly, this exciting architectural marvel collapsed in 2020. GoldenEye (1997) also includes a variety of modern media and technology. The menu for the Mission briefings before each stage contain a manilla folder with typed briefings as well as film, or microfilm, commonly used for spying and data storage. In some missions such as Bunker 1 and Silo, Bond carries a camera, and must take a photo of a specific target. Playable photographer characters and photography gameplay elements are rare. The red car in the Streets Mission depicts a real 1971 Tatra 603-2, from the film set. The green computer screen in Bunker of a Russian in a coat, hat and sunglasses is Dr. David Doak, a developer who makes multiple cameos in the game. Another green computer screen in the Bunker depicts developer Mark Edmonds skateboarding. Other items of interest are; the toy models in the cabins in the Surface Mission, the warning signs in Facility, the Bunker’s stone reliefs including a hammer and sickle and GoldenEye motif, the French flag on the Frigate, a GoldenEye VHS in Bunker 2, the lovely wallpaper in the Train, and the work posters in the Cradle. There is a pink waterfront map of the San Francisco suburb Benicia in the Frigate Mission. This exact map is from a United States Geological Survey from 1981 and is found on many California-dot-gov websites to this day: 

https://www.waterboards.ca.gov/sanfranciscobay/board_info/agendas/2019/December/Benicia/TentativeOrder.pdf. 

  No analysis of the art in Bond gaming would be one hundred percent complete without acknowledging the fashion for which the franchise is renowned. Lindy Hemming was the costumer for the GoldenEye (1995) film, and Brett Jones was the costumer for the GoldenEye (1997) game.  Of the forty-five costumes in game, sixty percent are military uniforms, thirty-one percent are casual wear, and nine percent are formal wear. The characters all used “digital doubling so the game had an accurate reflection of the film (Jones, 2024).” These authentic characteristics immerse players in the sophisticated world of 007 and ensure they truly experience Bond’s adventures, by stepping into his Church’s Diplomat shoes. 

  Two of Brosnan’s Brioni suits are wearable, including the black and white “Dinner Suit” and the blue “Business Suit.”  Xenia’s black nylon, leather, and metal jungle costume is faithfully adapted. Jewelry such as Bond’s OMEGA Seamaster watch, Boris’ bracelets, Jaws’ grill, Mayday’s hair band, and Baron Samedi’s necklace attest to the developers’ attention to detail. 

  Samedi was not created by Bond writer Ian Fleming and is a traditional Haitian Vodou spirit who represents the dead. Samedi wears a unique necklace in game. According to Brett Jones, “Because he had a religious icon (a cross) around his neck… I was asked by Nintendo to amend this, as they did not want any religious iconography, so it became the white rectangle instead of a cross” (2024).

  Brett Jones was able to shed some additional light on the secret character, Rosika, whose origins have kept fans guessing for decades. Purportedly, she is Rosika Miklos from The Living Daylights (1987), however; Jones says, “This is in fact Marion, one of the cleaning and kitchen staff; she was delightful and so full of sunshine and deserved to be immortalized. We didn’t have extra female characters… so she was made up on the spot and we used Marion’s face and general body shape to create the character, which was more dangerous than Marion could ever be.”

  007 is known for his deluxe designer watches that pack a punch. In past films Bond has worn Rolex, but the GoldenEye (1995) film started a trend of Bond wearing OMEGA Seamaster watches and the gadget filled watch worn in the game is of the same model. At the time GoldenEye came out the Apple Watch or similar technology were years away from release. Having a computerized watch, with Swiss Army Knife like tools was a thing of science fiction that gave Bond the edge over his opponents, but this type of technology is surprisingly common today. 

  The visual world of GoldenEye 007 is deeply rooted in art and history.. The masterfully designed levels showcasing Soviet era prints, sculptures, and remote ancient ruins, mirror the meticulous craftsmanship of the real-world art and movie sets which inspired them. The abundant amount of art in GoldenEye undoubtedly enhanced the immersive experience and lasting intrigue for players. To research more about GoldenEye 64, we recommend GoldenEye Decoded at goldeneyedecoded.blogspot.com.

Works Cited

Banjo-Kazooie. Directed by Gregg Mayles and George Andreas, Rare, 1998. Nintendo 64 Game.

Diddy Kong Racing. Directed by Lee Schuneman, Rare/Nintendo, 1997. Nintendo 64 Game.

Donkey Kong Country. Directed by Tim Stamper and Chris Stamper. Rare/Nintendo, 1994. Super Nintendo Entertainment System Game.

GoldenEye. Directed by Martin Campbell. Performances by Pierce Brosnan. Written by Michael France, Eon Productions, United Artists, 1995. Film. 

Horizon Chase 1. Directed by Amilton Diesel, Aquiris Game Studio. 2015. iOS and Android game, and 2018. Nintendo Switch game.

Jet Force Gemini. Directed by Lee Schunemen and Paul Mountain, Rare, 1999. Nintendo 64 Game. 

Jones, Brett. Interview. Conducted by John Coulter, 14 May, 2024.

Live and Let Die. Directed by Guy Hamilton. Performances by Roger Moore. Eon Productions, United Artists, 1973. Film.

Moonraker. Directed by Lewis Gilbert. Performances by Roger Moore. Eon Productions, Les Productions, and Artistes Associes, 1979. Film.

Perfect Dark. Directed by Martin Hollis, Rare, 2000. Nintendo 64 Game. 

San Francisco Bay Maps. 

https://www.waterboards.ca.gov/sanfranciscobay/board_info/agendas/2019/December/Be nicia/TentativeOrder.pdf. Web site. 20 January, 2025.

The Living Daylights. Directed by John Glen. Performances by Timothy Dalton. Eon Productions with United Artists, 1987. Film.

GoldenEye Decoded. goldeneyedecoded.blogspot.com. 2 February, 2025. Web address. 

The Man With the Golden Gun. Directed by Guy Hamilton. Performances by Roger Moore. Eon Productions and United Artists, 1974. Film.

The Spy Who Loved Me. Directed by Lewis Gilbert. Performances by Roger Moore. Eon Productions and United Artists, 1977. Film.

Time Splitters. Directed by David Doak and Steve Ellis, Eidos Interactive, Free Radical Design, 2000. PlayStation 2 Game.

Wario Land 1. Directed by Hiroji Kiyotake and Takehiko Hosokawa, Nintendo R&D1 and 

Nintendo, 1994. Game Boy game.

Myst: Real, Surreal, Unreal

John Coulter 
Art & Games University 
Myst: Real, Surreal, Unreal
January 2026 

Art in iOS Real Myst 

   Like books, video games tell stories; like films, they depict stylized worlds. Every piece of a game is a deliberate work of art. Art and Games University recognizes this by researching the vast array of art forms and cultural content embedded within games, documenting everything from the historical references in game worlds to the artistic inspiration behind game settings. Art & Games University catalogues and analyzes the quantity, type, in-game meaning, and real-world art historical references of all art objects and cultural content found within the virtual worlds of video games.

   Embedded in the unsolved mysteries and unresolved family histories of Real Myst iOS (2000) are notable collections of art. The otherworldly Ages of Myst have more in common with our weird world than what appears on the surface. This report will be analyzing the quantity, type, in-game meaning, and real-world art historical references of all art objects found in the Real Myst (2000) version of Myst (1993).

   Bursting into the home computer gaming scene in September of 1993, the slow, contemplative, and eerie Myst is easily the most famous point and click adventure puzzler. Prior to Myst, puzzlers such as 1987’s Maniac Mansion and 1990’s Secret of Monkey Island, both from LucasArts, used illustrative 2D graphics. Lush, detailed 3D visuals made Myst the killer app for CD ROM. People were buying CD ROMs just to play this riveting game. Myst was the number one selling game until being dethroned by The Sims in 2000. Myst’s graphics were totally groundbreaking when they appeared in 1993. For some reference, Doom (1993) would come out three months after Myst, and Super Mario 64 (1996) was three years away. A compromise to processing 3D worlds locally was to use pre-rendered graphics, a technique used by Journeyman Project 1 (1993), Donkey Kong Country (1994), and Myst with great success. Nothing else looked like this on home computer screens at the time; the stunningly cinematic Myst was in a league of its own.

   In Myst (1993), players explore an interactive island and other “Ages” solving puzzles while unraveling a mysterious backstory where the player’s choices decide the outcome. The story has multiple endings. You play as the Stranger, a visitor to the surreal ages of Myst, and set out on a quest to help brothers, Sirrus and Achenar. You cannot die, there are no dangerous enemies, or pits to fall down, and barely any NPCs in the flesh, mostly just ominously calm and empty islands. 

   Atrus and his wife Catherine are writers whose book-like creations link to other worlds or Ages. The family, the linking books, and their unique Ages are in danger from Atrus and Catherine’s evil sons, Sirrus & Achenar. Using the main Myst Island as a hub, the player can explore several Ages including the Channelwood, Stoneship, Mechanical, Selenitic, and K’veer Ages. 

   Myst (1993) was created by an incredibly small indie development team lead by two brothers, programmer Rand Miller and designer Robyn Charles Miller. The Miller brothers founded Cyan Worlds, Inc. a Spokane, Washington based game development studio. The original was published by Broderbund. Robyn Charles Miller is responsible for much of the dreamy look and feel of Myst’s Ages. Chuck Carter also provided many of the designs and graphics, specifically for the Selenitic and Mechanical Ages. With such a small team, Robyn created not only the art, but the soundtrack for the game, and both brothers Robyn and Rand acted as characters in FMV (Full Motion Videos) sprinkled throughout the game.

   Myst (1993) has had several notable ports, remakes, and remasters over the years leaving a lasting cultural impact. Additional parodies and homages to Myst exist in the gaming world such as Pyst (1996), Walkabout Mini Golf (2020), and others. Each remake has several odd differences, many of which will be examined in this review.

   Myst (1993) has some of the most art and most densely packed levels found in our season one data. Real Myst (2000) contains two hundred and eighty-two art objects, while the original Myst (1993) has two hundred and sixty. Real Myst has the twelfth most art from the Art & Games University season one sample. The Myst Island stage has the second most art of any single stage studied in season one, with ninety-three art items. The Market track of San Francisco Rush 1 (1996) for the N64 has more, with ninety-six art items in a single level. The most common types of art in the ages of Myst are handmade 2D artworks including paintings, drawings and maps which make up thirty-seven percent of the artwork in game. Additionally, sculptures make up twenty-three percent and architecture, fifteen percent. Myst contains a unique amount of 2D arts, totaling one hundred and five. More than the photography collection from Pokémon Snap N64’s (1999), and more than the Soviet posters and graffiti that fill GoldenEye 007 N64 (1997). 

   Next, a closer look at which brother, Sirrus or Achenar has a larger collection of art, and what art objects were inspired by real world treasures. The general style and aesthetic of Real Myst (2000) is a venture in photorealism through 3D CGI software utilizing lighting, shading, atmospheric haze, transparencies and other 3D FX - uncommon at the time. The realistically represented ages of Myst also have surrealist and futuristic proto-steampunk themes. Real Myst (2000) notably has the artist NPC Atrus, and his books, both Journals and Ages, his son’s Sirrus and Achenar’s fine art collections, and many unique architectural sites. The islands house mostly art and architecture of European origin, including Greek, French, Italian and English, as well as some folk art.

   The settings in Real Myst (2000) are called Ages, written and created by NPCs met in the worlds. They practice a magic known as the Art, which allows them to write the living worlds into existence. Atrus’ wife Catherine, or ka-TRAN, along with Atrus’ grandmother Ti’ana, or Anna, co-wrote the Age of Myst and Myst Island as a home for Atrus and his young family. Five of the six other Ages in Myst are written by Atrus himself.

   Myst Island serves as the primary hub of the game. This famous foggy island has a dirt footpath through fir forested hills, with sparse buildings of contrasting architectural eras dotting the landscape. Myst Island also houses a docked wooden ship, a wooden cabin, a marble library, clocktower, planetarium, freestanding marble columns, a large gear shaped machine, a rocket launch pad, and subterranean power supply tunnels. Strange analogue machines control the island. 

   One of the prominent buildings of the island is the central bright white marble library. The library’s exterior and facade are inspired by ancient Greek architecture and design principals, such as those found in the Parthenon. The library’s columns are smooth, round marble with a simple base and capital. They are Doric in style. The library’s triangular pediment has a recessed tympanum, and no decorative relief inside or rectangular entablature below. The columns directly connect to the pediment.

   The exterior of this iconic library building is actually a prefab asset of the then cutting-edge software StrataVision 3D. This architectural asset also makes an appearance in the 1995 Halloween Special of The Simpsons “Tree House of Horror VI,” directed by Bob Anderson.

   Additional examples of ancient Greco-Roman architecture on Myst Island include the eight freestanding marble pillars near the fountain, and the Planetarium’s Doric columns, round Tholos shape, and oxidized copper conical dome.

   The library interior houses a notable collection of first edition books, filled with illustrations. Atrus’ journal sketches are ink on paper notebook pages and are similar to Leonardo da Vinci’s sketchbooks. There are observational sketches, technical designs, and maps with clean line work and cross hatching describing the different Age’s landscapes, architecture and machines.

   On the shore to the left of the Library, there is a large metal rocket which houses a pipe organ. This organ acts as a musical puzzle, and links to the Selenitic Age which also contains auditory puzzles. Organs are closely associated with church music, but their origins may surprise many. The pipe organ, using water and air, or hydraulis, was invented in ancient Greece around 250 BC by the Hellenistic scientist Ctesibius. Later reed organs were commonly used in cathedrals which did not rely on water. 

   The organ’s appearance changes in every version of the game. In Real Myst (2000), two rows of gold pipes form a triangle above the thirty-six key ivory keyboard. The organ in original Myst (1993), has pipes that appear to be bamboo, also in a triangular arrangement, with two diagonal pipes. 

   There is a wooden ship docked on the opposite side of Myst Island that is a Ketch style ship - popular in Europe and the Americas from the 1600’s on. The ship’s door is consistently shown with a floral-pattern wood carving. A round relief sculpture is on the side of the ship, as well as on the door to the planetarium and on various coins in Myst (1993). This relief is also a prefab StrataVision asset.

   Adam and Jamie’s (Mythbusters, 2003) portraits are carved into the ship’s crow’s nest with a dagger from Riven (1997) in the Real Myst Masterpiece Edition (2015). Adam Savage is an accomplished prop designer and created the iconic dagger for Riven (1997).

   Before moving on to another Age, there are several additional artistic items on Myst Island to briefly mention. Such as the magical paintings in the Library which open a secret path when touched, the Library’s cloudy ceiling mural, the Library’s interactive map painting, the tree painting in the cabin, and the clock tower.

   The next age to examine is the Channelwood Age. This area is a sunken tree filled island, flooded and destroyed in an earthquake, which contains twenty-six pieces of art. Humanoids and smaller creatures survive in tree huts above the water, connected by docks and rope bridges, and powered by hydroelectric pumps and a windmill. Both brothers have private decorated rooms in elevated tree forts. The Age was written and created by the NPC Atrus and designed by real-world developer Robyn Charles Miller.

   Brothers Sirrus and Achenar often have private rooms in different Ages, which contrast their attitudes and styles. The Channelwood Age gives us our first taste of their personalities. 

   Sirrus’ Treehouse has a decorated exterior, and well-furnished interior. The exterior has wooden engaged columns, with a curved bottom half or pedestal.

   The metal door contains eight low-relief panels set in a Stile and Rail door. Panels like this became popular around the 1500’s, with many church and baptismal doors having similar panels showing Bible narratives. The floral plus sign, or Greek Cross, is simple enough to be inspired by any culture. The interior houses multiple patterned textiles including rugs and bedspreads, as well as glass wine bottles with colorful printed seals. 

   Achenar’s two treehouses are modest and functional in contrast to Sirrus’. The exteriors are made of simple wood panel and reeds similar in style to the locally designed huts. The interiors are minimal and barren with utility preferred to decoration. Strange and menacing metal tools, saws, and handcuffs are on and around a wooden work bench. Achenar has two hologram machines, a public one used for propaganda to control the locals and another for private messages.

   The few decorative elements of Achenar’s treehouses are likely made by the local population and stolen by Achenar. The treehouse in front, meant as a shared space, houses three masks, and the walls and hologram machine’s base have simple painted symbols or motifs.

   The masks in the Channelwood Age have nondescript folk-art origins. They appear wooden, with simple painted designs, and could be African, Latin American or Native American in inspiration. These works, which are not created by Atrus but by inhabitants of the Channelwood Age, are some of the only art examples not of European and Western Art inspiration used in the game. 

   Next to investigate is the Stoneship Age written by Atrus in game, and created by real-world lead designer Robyn Charles Miller. Through Atrus’ journals the player learns this stormy Age was once inhabited by three friends, Emmit, Branch, and Will who have lived on the rocky island with a shipwreck and lighthouse. Sirrus and Achenar were implicated in their murders. Both brothers have more elaborate private rooms with large art collections on the island in the Shoneship Age. Sites of particular interest are the lighthouse’s architecture and the painting and map collections in the brother’s private bedrooms. 

   The Stoneship Lighthouse is flooded and can’t be seen entirely; however, the structure has an octagonal frame made of wood, enforced with bricks. The tower has a bell-shaped roof, similar in style to another domed roof Atrus designed, in the Rime Age, which will be looked at later in this research. Bell-shaped domes, like these, have multiple origins. They are similar to Russian Onion Domes and have a skirt on the bottom, or a Byzantine Sail Vault Curve.

   Heading underground, with an in depth look at Sirrus’ and Achenar’s bedroom art collections, there are many fine treasures to review. Sirrus’ bedroom is elaborately Baroque, showing off Persian rugs, European paintings, fanciful woodwork, twisted columns, and sculptural oddities and curiosities such as globes, astrolabes, and gemstones. 

   Corkscrew columns are found on the alcoves. The Columns of Solomon, from around 1000 BC, are an early example of twisted columns. A Baroque revival saw more “Solomonic Columns” including Bernini’s use in the St. Peter’s Basilica in 1633 AD. This helped popularize them, with the motif even appearing in wooden furniture. 

   The paintings in Sirrus’ bedroom are famous Baroque paintings from Europe around the 1600’s. Baroque means misshapen pearl, the term was applied to the art historical era afterwards, in regard to being less perfect than the Renaissance immediately before, in the eyes of those historians.

   Three large murals adorn Sirrus’ bedroom. Each set in an alcove and obscured by furniture. In subsequent rereleases, such as (Unreal) Myst (2020), thick brushstroke textures can be observed on the murals. 

   The first painting under study is “Ray of Light” from 1665, by Dutch oil painter Jacob van Ruisdael. “Ray of Light” highlights several traits of Baroque Landscape painting that make sense in relation to Atrus and the brothers. In “Ray of Light,” a church sits high on a hill, illuminated by God the Creator’s light from above. Biblical themes and their relationship to nature are common in art from the Baroque period. These three treasures included in game are all now currently in residence at the Louvre. 

“Ray of Light” by Jacob van Ruisdael

1665, Dutch oil painter, currently in the Louvre

“Landscape with Paris and Oenone” by Claude Lorraine

1648, French Baroque oil painter, currently in the Louvre.

“Stag Hunt” by Paul Bril

1590, Flemish Oil on canvas, currently in the Louvre.

 

   Other notable works owned by Sirrus include two identical small framed paintings flanking the door, titled “Scenes from the Life of David” by German artist Hans Sebald Beham from 1534. Real-world paintings such as these, blend in perfectly with the surreal settings. 

   The rug and bedspread in Sirrus’ bedroom are Persian in design. The textile works in Myst (1993) have characteristics with works from the 1500’s in the Safavid Period style. These carpets were prized imports in Europe during the Baroque era. 

   Adjacent to Sirrus’ room, through an underwater glass tunnel, is Achenar’s room. 

Achenar’s bedroom also boasts a collection of treasure. His collection is stylistically and aesthetically contrasting to his brother’s lavish Baroque and Western art and has a more natural or folk-art style. For the most part, with several glaring exceptions, Achenar’s room features humble architecture, housing a ribcage lamp, mounted antlers, a hologram machine, and a collection of six European maps. 

   Hidden in a drawer, the European maps are from two artists from the Northern Renaissance. Abraham Ortelius created four of the maps exhibited. Ortelius was a cartographer from the Netherlands in the 1500’s. Creator of the first modern atlas, Ortelius also had the hypothesis of continents drifting apart from once being joined.

“Iceland” by Abraham Ortelius.

“The Americas” by Abraham Ortelius

“The Pacific” by Abraham Ortelius

“The Holy Land” by Abraham Ortelius

   Willem Janszoon Blaeu created the other two maps in Achenar’s drawer. Blaeu was a Dutch Cartographer and atlas maker in the late 1500’s.

“Oxfordshire” by Janszoon Blaeu

“2 Hemispheres” by Janszoon Blaeu

   These maps retain their real-world references and appearances through every iteration of Myst until (Unreal) Myst (2020), where they are swapped for new images. Other Stoneship highlights include the masks in Archie’s room and the vase and small doorway paintings in Sirrus’ room.

   The Mechanical Age is home to thirty-six art examples. The Age was created in game by Atrus. This is the first Age designed by real-world developer Chuck Carter that will be examined. The Mechanical Age was once a wonderful city; however, all that is left, after a flood, is the lookout tower that Atrus built. The tower is a gear shaped, rotating, mechanical fortress. Both brothers have a private room and collection within the fortress surrounded by water.

   Here Sirrus’ room again sports a decadent European art collection, this time with works mostly from the 1800’s. First, a framed landscape: “Watzmann” made in 1824, by Caspar David Friedrich is displayed above some gemstones. Friedrich was a German Romantic landscape painter, known for allegorical, dynamic, and atmospheric appreciation of nature. 

   Next, “Napoleon I on the Imperial Throne” from 1806, by Jean Auguste Dominique Ingres, hangs to the right of “Watzmann.” A French Neoclassical painter, Ingres was known for political themed portraits and smooth realistic textures. The Neoclassicists are in stylistic and thematic opposition to the Romantics. The work has been altered to have Sirrus’ face instead of Napoleon’s.

   “Madame Moitessier” from 1856, is also by Ingres. The Madame was the wife of a wealthy banker. Ingres is known for some strange exaggerations and idealizations in his works. 

   “The Apotheosis of the French Heroes Who Died for Their Country during the War for Liberty” from 1801 is by Anne-Louis Girodet-Trioson. Anne-Louis was a French painter of many Napoleonic family portraits. The work commemorates Napoleon’s fallen war heroes. The original is a painting, but is instead presented as a textile tapestry in every version of Myst (1997). This work used a Neoclassical style, but also experimented with Romantic styles and ideas, including depicting nature as wild and untamed, soft textures, and an undulating, dynamic composition. 

   To continue, we’ll be looking at the sculptures in Sirrus’ room in the Mechanical Age, which include a model ship, model rocket, and model Clock Tower. Model ships have existed since Antiquity in the Mediterranean in Egypt, Greece and Phoenicia. These models often included action figure sized humans and animals, architecture, and additional facets of daily life. Model ships have remained popular throughout history and are a popular hobby today. Sirrus’ room also contains a marble chair, gemstone collection, vases, a telescope, and other items. 

   Achenar’s room in the Mechanical Age once again has humble items on display, that have a close tie to nature, or are functional tools. The collection also reveals his taste for violence. Achenar has two mounted swords, a metal helmet, an axe, a stuffed or sculpted dragonfly creature, a mounted head, mounted horns, poison bottles, and a textile curtain. While hard to tell in Myst (1993), Real Myst (2000), the Real Myst Masterpiece Edition  (2015) for Switch and (Unreal) Myst (2020) to clarify that the head on the wall is not a mask, but a mounted creature.

   The Selenitic Age, written by Atrus in game, and designed by developer Chuck Carter, was once a lush green land, however, meteors left the area hazy, barren, and full of uninhabited chasms and caverns. As a lifeless Age, there were no local treasures for the brothers to plunder or collect. There are no paintings, folk art collections, or private rooms in the Selentic Age. The style of the Selentic Age is very modern and steampunk in influence. There is a destroyed clock tower and shiny-metal audio/visual machines that dot the rocky terrain. These machines have metal plates with simple etched symbols on them. Atrus designed all the etchings, machines and structures within. With no art collections from the brothers we’ll keep our examination of the Selenitc Age brief.

   Damaged in a cataclysmic meteor shower, the clock tower ruins have the same architecture as the clock tower on Myst Island. The etchings found on the audio machines have simple symbolic pictographs, made by Atrus. They minimally represent the visual form of the sounds used for each puzzle. The disk-shaped microphones found around the landscape of the audio themed Selenitic Age, are similar to delicate Dynamic Ribbon microphones which have a ring or suspension around them and are bidirectional. Bidirectional microphones only pick up sound in two directions and minimize sound in all other directions. We can’t be certain of the exact technology used in Atrus’ microphones, however several of them are not pointed at the source of the audio they are gathering in game.

   K’veer is an Age from an unknown D’ni author and designed by real-world developer Chuck Carter. K’veer is a thousand-year-old stone mansion, inside a cave, on an island in the D’ni Lake. Before the events of Myst, the mansion collapsed and sealed Atrus there for a time. 

   K’veer’s engaged columns, arches, and bas-relief stone patterns are all carved directly from the cave. The columns have exaggerated Entasis or curved bulges and twisted knot patterned reliefs decorating them. Entasis can be found on ancient Roman columns, such as the First Hera Temple at Paestum, as well as on Greek columns, such as those at the Temple of Aphaia, both from around 450 BC. The spiraling twisted knot pattern is similar to some Celtic Knots. Knot patterns first appeared in the Late Roman Empire, again, around 450 BC. The simple swirls do appear in other cultures throughout time.

   The mosaic tile portrait on the floor of the K’veer Mansion is the face of developer Chuck Carter, designer of the Age. Mosaic tile art dates to 3000 BC in Mesopotamia. Ancient Greeks and Romans also mastered the art form, using colorful stones, shells, and ivory. The works in previous Ages have been inspired by Baroque, Romantic and Neoclassical ideologies, but in K’veer we have a consistently ancient culture presented. 

   The items and Age studied next are not in the original version of Myst (1993) and were added in later remasters of the game, as bonus content. In addition to an entirely new Age to explore in the post-game section of Real Myst (2000), there are some minor changes between Real Myst and the original version.  For example, hanging and table lamps, as well as tablecloths in K’veer have been updated. The Myst Island Library has stone relief carvings of books on the exterior sides. These stone reliefs depicting books, appear again in the Unity adaptation for Real Myst Masterpiece Edition (2015) for the Switch, but vanish again by the time of (Unreal) Myst (2020). Anna, or Ti’ana, has a small grave site on Myst Island. Just to name a few of the changes amongst versions.

   The Age of Rime, by Atrus, is not in the original 1993 release of Myst. Rime is an icy mountain with unique electrical storms and auroras. Atrus built an observatory near the mountain peak and used the area as a research station to investigate the crystals related to the linking books, that allowed him to view Ages from afar.

   The round entrance to the Rime research station is similar to an Onion Dome, or a Sail Vault Dome with a skirt. These domes have an s-curve shape. Onion Domes are common in Russia, and the Sail Vault curve is common in Byzantine architecture. The building also resembles a Tibetan Buddhist mountain top stupa or chorten, such as the one at Rongbuk Monastery. The doors of the building have ornate-metalwork patterns that aren’t really specific to any culture or art historical style. Similar ones have been used in Europe for centuries. Atrus also has several journals with illustrations in the Rime Age. 

   Before concluding the investigation into the art and culture of the Ages of Myst (1993) there are still a few additional items to mention. The majority of the Ages in Myst contain some type of holographic machines. Holography is a type of 3D image using wave-fronts and beams of light, invented by Dennis Gabor in 1947. Holograms would continue to be used in later Myst games.

   Interesting to note, the matchbook found on Myst Island is the only example of contemporary media in Myst (1993). The box stands out notably as an item from our contemporary world, contrasted against the surreal ruins of Myst’s Ages. The Ages of Myst are connected to Earth and our world, but few items have traveled between them. The matches are also kept locked away, indicating their importance to Atrus, and their need to be kept from his son’s destructive hands. The printed design on the matchbook reads “MYST MATCHES.”

   Artist NPC Atrus created over two hundred works found in Myst 1 (1993), with Catherine & Anna contributing less than one hundred together. Atrus’ output across multiple games is enormous and leads them to be a possible contender for a top producing artist NPC found in a video game. Both sons as collectors have hordes of looted treasure, with Sirrus having slightly more. 

   This concludes the in-depth analysis of the Ages of Real Myst (2000). 

 

Works Cited

Community board. “Real Myst.” Fandom/Real Myst. 20 Nov. 2024.

www.Dni.fandom.com/wiki/RealMyst. Website.

Donkey Kong Country. Directed by Tim Stamper and Chris Stamper. Rare, 1994. Super Nintendo Entertainment System game.

Doom. Directed by John Romero, Tom Hall and Sandy Peterson. id Software, 1993. DOS game. 

GoldenEye 007 64. Directed by Martin Hollis, Nintendo, 1997. Nintendo 64 game. 

Journeyman Project 1. Directed by Michel Kripalani. Presto Studios, Sanctuary Woods, Bandai,1993. Classic Mac OS, Windows game.

Maniac Mansion. Directed by Ron Gilbert and Gary Winnick, Lucasfilm Games, 1987. Commodore 64 and Apple II game.

Mythbusters Television Series. Hosted by Adam Savage and Jamie Hyneman. Beyond Television Productions, Discovery Channel. 2003 to 2016.

Myst. Directed by Rand Miller and Robyn Miller, Cyan Inc. and Broderbund, 1993. Macintosh game.

Pokémon Snap. Directed by Yoichi Yamamoto, Koji Inokuchi and Akira Takeshima, HAL Laboratory and Nintendo, 1999. Nintendo 64 game.

Pyst. Directed by Peter Bergman, Parroty Interactive, 1997. Windows PC and Apple Macintosh game.

Real Myst iOS. Directed by Rand Miller and Robyn Charles Miller, Cyan Worlds, Inc, Broderbund, 2000. iOS, Android and Windows, and 2002 Macintosh game.

Real Myst Masterpiece Edition. Directed by Rand Miller and Robyn Charles Miller, Cyan Worlds, Inc, Broderbund, 2015. iOS, Macintosh, Android, Windows, Playstation and Nintendo game.

Riven. Directed by Robyn Miller and Richard Vander Wende, Cyan Worlds, Inc, Sunsoft, 1997. Mac OS, Windows, Playstation, Saturn, Android and iOS game.

San Francisco Rush. Directed by John Ray, Atari Games Corporation, Midway Home Entertainment, 2000. Nintendo 64 game. 

Secret of Monkey Island. Directed by Ron Gilbert. LucasArts, 1990. Amiga, MS-DOS, Atari ST and Macintosh game.

Super Mario 64. Directed by Shigeru Miyamoto, Nintendo, 1996. Nintendo 64 Game Console game. 

The Sims. Directed by Kan Ryan, Maxis and Electronic Arts, 2000. Microsoft Windows, Mac OS game. 

“Treehouse of Horror VI, The Halloween Special.” The Simpsons. Directed by Bob Anderson. Season 7, Episode 6. Fox Television, 29 Oct. 1995.

(Unreal) Myst. Directed by Hannah Gamiel, Cyan Worlds, Inc, Broderbund 2020-2021. Oculus Quest and Oculus Quest 2. Windows, macOS, Xbox, iOS game.

Walkabout Mini Golf. Directed by Lucas Martell, Mighty Coconut, Oculus 2020. Windows, Playstation 5, Meta Quest, Steam game.