Growing up in the 1990s, I had a lot of exposure to arcade games, video games and computer games. I specifically remember one computer game that has stuck with me over the years: a multi-genre title called Inca. Players assume the role of “El Dorado,” a golden man who wakes up after centuries of slumber and is tasked with restoring peace to the Incan Empire by fighting the Spanish colonial presence. The game is rather unusual given that it combines Spanish colonialism and indigenous culture with futuristic visual aesthetics. It also includes sections with dialogue in the Quechua language. Looking back at Inca decades later, however, I realize the game nonetheless has problems concerning indigenous representation. Part of these problems have to do with the music.
Inca features two PC ports: the original and a CD-ROM version with enhanced music and sound. I recall playing the latter as a child. Inca also received a port to the ill-fated Philips CD-i, otherwise known as the console that closely resembled a VCR and included abysmal games that used Nintendo intellectual property that have since gained second chances as social media memes (Hotel Mario, anyone?) But, I digress. Listening closely to the soundtrack to the CD-ROM and CD-i versions of Inca reveals an excessive use of Andean pan pipes and Spanish guitars. It also becomes evident that the pan pipes have been synthesized and most likely interpreted on a keyboard instrument, as the instrumentation gets featured on some unusually fast tracks. Given the technical limitations for Inca, released in 1992, that decision could probably pass. However, I am referring to the CD-ROM enhancements, which also include the song “Inca People.” While I understand that the song tries to both raise awareness about the Inca community so that cultural outsiders can understand and hint at the futuristic gameplay, it nevertheless presents an etic perspective.[1] Describing the Inca people as “lost” does not alleviate matters.
Inca does not present the first time that indigenous cultures have undergone representation from outsiders. That game eventually received a sequel called Inca II: Wiracocha. I have seen and played examples everywhere in gaming from the Mortal Kombat and Street Fighter series, to the Oddworld games that feature the made up Mudokin tribe or moments that suggest “Savior” narratives from cultural outsiders (as in the climax to Oddworld: Stranger’s Wrath). In recent years, however, some games have sought to break away from stereotyping and exhibit more cultural respect. The later installments to the Sid Meir’s Civilization turn-based strategy game series adhere to that path. All world leaders, based on real historical figures, represented in the game speak their own language instead of applying cultural homogeneity by having everyone speak English. The later games also feature different indigenous tribes (Mayan, Aztec, and Inca) who speak directly to the player in their own tongue. The music also features a vast improvement when compared to Inca. Civilization VI strives for better indigenous representation in video game music through more culturally accurate instrumentation (eg. using real instruments instead of synthesized approximations) and ranges in most sections of the games.
[1] This is further complicated by the fact that the studio that worked on Inca, the now-defunct edutainment company known as Coktel Vision, originated in France.
Inca features two PC ports: the original and a CD-ROM version with enhanced music and sound. I recall playing the latter as a child. Inca also received a port to the ill-fated Philips CD-i, otherwise known as the console that closely resembled a VCR and included abysmal games that used Nintendo intellectual property that have since gained second chances as social media memes (Hotel Mario, anyone?) But, I digress. Listening closely to the soundtrack to the CD-ROM and CD-i versions of Inca reveals an excessive use of Andean pan pipes and Spanish guitars. It also becomes evident that the pan pipes have been synthesized and most likely interpreted on a keyboard instrument, as the instrumentation gets featured on some unusually fast tracks. Given the technical limitations for Inca, released in 1992, that decision could probably pass. However, I am referring to the CD-ROM enhancements, which also include the song “Inca People.” While I understand that the song tries to both raise awareness about the Inca community so that cultural outsiders can understand and hint at the futuristic gameplay, it nevertheless presents an etic perspective.[1] Describing the Inca people as “lost” does not alleviate matters.
Inca does not present the first time that indigenous cultures have undergone representation from outsiders. That game eventually received a sequel called Inca II: Wiracocha. I have seen and played examples everywhere in gaming from the Mortal Kombat and Street Fighter series, to the Oddworld games that feature the made up Mudokin tribe or moments that suggest “Savior” narratives from cultural outsiders (as in the climax to Oddworld: Stranger’s Wrath). In recent years, however, some games have sought to break away from stereotyping and exhibit more cultural respect. The later installments to the Sid Meir’s Civilization turn-based strategy game series adhere to that path. All world leaders, based on real historical figures, represented in the game speak their own language instead of applying cultural homogeneity by having everyone speak English. The later games also feature different indigenous tribes (Mayan, Aztec, and Inca) who speak directly to the player in their own tongue. The music also features a vast improvement when compared to Inca. Civilization VI strives for better indigenous representation in video game music through more culturally accurate instrumentation (eg. using real instruments instead of synthesized approximations) and ranges in most sections of the games.
[1] This is further complicated by the fact that the studio that worked on Inca, the now-defunct edutainment company known as Coktel Vision, originated in France.
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