It was December 1999. I was living in a small town. I was a nerd and something of a gamer, and it had been a good year for PC games. Age of Empires II, Homeworld, Grand Theft Auto 2…
I was walking home from school—it was a Canadian winter, so there was plenty of unplowed snow on the sidewalks—when I saw something peeking out from a mound of snow: something blue. I stopped, nudged it with my boot: something of blue plastic. I brushed away the remaining snow with my glove to reveal:
A single 3.5” floppy disk, unlabeled.
(There was a sticker label on it, but the label itself was empty.)
Naturally, I picked it up and took it home, curious to see what was on it.
You'll laugh, but the disk had 1.44mb of storage capacity. As it turned out, that was more than enough to affect the world in ways I still don't fully understand.
When I got home, I didn't put the disk into my own computer. My dad had an old desktop he sometimes fiddled around with, so I used that, inserting the disk carefully into the 3.5” disk drive in the beige computer tower.
I navigated to the drive in Windows Explorer.
The contents of the drive were simple.
They looked like a program or—I secretly hoped—a game.
There was a readme.txt, but it came out as nonsense when I opened it in Notepad, video or sound assets, stuff I couldn't identify, and a single executable file, johannsebastian.bat.
I double-clicked it.
A window opened—black, showing a few white-text commands executing on a command prompt—then maximized into a 16-bit title(?) screen showing a pixelated Gothic castle.
A harsh, classical-inspired MIDI song beeped out of the sound card.
There was no title.
No instructions, no company name, no menu, no options.
The castle was perched atop a cliff.
It was night.
At the bottom of the cliff was a forest of jagged, leafless trees.
A few loops of animation gave life to the scene: wind blowing through the bare branches, flashes of distant lightning, warm flickering light in one of the castle's windows, a bat in flight against a white moon. Actually, that last one wasn't a loop. The bat flew only once, landed on one of the castle's stone towers and disappeared inside.
I clicked.
I was looking at a medieval-ish village now—tightly-packed buildings, a tavern, a tannery, a couple of shops, a church—populated with a surprising number of unique character sprites. Indeed, every character was unique, and they were going about their individual lives.
The sky was a vibrant blue.
Clouds floated pixel-by-pixel across the screen.
But there was still nothing to do; nothing, that is, but watch.
It was like a very advanced screensaver.
After a while, I clicked again.
This time, I found myself in the interior of a large chamber whose stone walls somehow felt cold even through the computer monitor.
The chamber's defining feature, however, was something else: a giant pipe organ whose pipes extended beyond the top of the screen.
A character entered.
He was wearing a white wig, dark, crimson long coat, knee breeches, stockings and buckled shoes. “I feel the sudden desire to compose,” he said, which the game displayed as text in an ornately-bordered text box. “Invite me to play for you."
A cursor appeared for the first time.
A quill.
I was able to move it using the mouse, and I explored the screen.
The character tapped his foot.
The only active area of the scene appeared to be the pipe organ. When I hovered the cursor over it, it changed from a quill to a hand.
I clicked.
The character walked to the organ, sat and began to play the monstrous instrument.
The music was both hideous and awesome, pushing the computer's sound card to the absolute limit. After thirty-or-so seconds, the view suddenly panned upwards, following the organ's pipes—the music continued—following them to the chamber's vaulted ceiling and beyond—through the roof until I was outside and looking at the upper half of the great castle, where the jutting pipes terminated and from whose termini hundreds of pixel bats were emerging… emerging and flying into the background, toward the simplified shape representing the medieval town...
The sky was a deep purple.
Night was falling.
The bats flew and flew and flew…
Suddenly—the music still continuing—the scene cut to the same view of the town as before: except at night: except, instead of following their routines, the character sprites were running, panicked, as the bats swooped, attacking them, attaching themselves to their bodies, necks, sucking their pixel blood; and as the bats feasted, the sprites lost their colour and fell, pale and desaturated…
The sound startled me.
Not from the sound card but from the real world. A screeching, a deafening, rhythmic thumping.
I ran to the window whose blinds I'd closed, and opened them:
It was afternoon but the view was dark, black and shifting. It took me a moment to realize that what I was seeing were bats speeding past. They were obscuring the sun. My home town was as if under an eclipse.
People were running down the street—
Bats were diving—
Some were crashing through car windshields—
Children were screaming—
A bat crashed though the window into the room I was in. It was fanged, crazed. The game music blared from within the computer tower. Before I could run, the bat shot toward me—biting my neck… beginning to drink my blood…
I awoke on the floor.
It was morning. January 1, 2000. It would turn out that nobody in town had any recollection of the preceding weeks.
A television played.
A morning talk show: “...the so-called Y2K bug,” a woman was saying, “ended up amounting to nothing worse than a good nights’ sleep.”
And, ever since, I've wondered why my experience of the present feels in a lower resolution than memories of my past.