A journey of discovery

Electronic Arts is often criticized these days: microtransactions, loot boxes, and the annual exploitation of sports and action franchises paint a picture of a profit-driven giant that shies away from creative risk.
In the 1980s, EA was still considered a bold, experimental publisher that gave creative development teams the freedom they needed to realize unusual concepts. It was in this climate that EA released a game in 1984 that went far beyond the usual boundaries of video games at the time: Seven Cities of Gold. Developed by Dan Bunten and his team at Ozark Softscape, this ambitious work put players in the role of explorers of the New World. The game quickly became a cult hit on the Commodore 64 and was celebrated for its innovative gameplay, open structure, and historical setting. In particular, the combination of strategic thinking, moral decisions, and free exploration set it apart from most other titles of its time. The game allowed players to experience history in an interactive format – a concept that was completely new at the time.
But what made Seven Cities of Gold so special – and what is its reputation today? At a time when arcade titles such as Pac-Man and Frogger dominated the market, this game dared to take a radically different approach. It largely dispensed with action elements and instead focused on slow, strategic gameplay with complex interrelationships. This approach made it a pioneer for many later classics of the genre and contributed significantly to the establishment of video games as a narrative and educational medium.

Gameplay

In Seven Cities of Gold, the player takes on the role of a Spanish conquistador in the 16th century. The goal is to discover the American mainland, create maps, make contact with indigenous peoples, and secure riches for the Spanish crown. The emphasis is on freedom and personal responsibility: The game world was not linear – players could move freely around a huge map, discover villages, trade, or even obtain resources by force. Players typically started with a ship, a small crew, and limited supplies. Even planning the first voyage required strategic thinking: Which route is the most promising? How much provisions are needed? How many men should be hired?
Interacting with indigenous cultures was not only a moral decision, but also a strategic one. A peaceful approach enabled trade and the exchange of information – sometimes the inhabitants provided clues to other settlements or valuable resources. Violence, on the other hand, quickly led to escalations, which could bring in gold and goods in the short term, but destroyed long-term relationships and turned large parts of the map into dangerous zones.
A remarkable feature: players could choose between a historical world map and a randomly generated “new world” – an early form of procedural generation that ensured enormous replayability. These generated worlds were structured differently each time, which kept the game exciting even after many playthroughs. Explorers had to map new coastlines, circumnavigate mountains, explore rivers, and sometimes march for days through uninhabited terrain before encountering anything. This created a strong sense of orientation and a genuine “explorer feeling” that contrasted with the high-score games that were common at the time.
The game placed great emphasis on exploration and realistic consequences. Violence against indigenous peoples, for example, led to long-term diplomatic problems, which in turn made trade relations or securing resources more difficult. In later stages, entire regions could become inaccessible or supply lines could be cut off. The behavior of the player’s own crew also played a role – if bad decisions were made, the men could turn against the player or desert. There were no classic “levels” – the game’s objective was open-ended, which was revolutionary at the time.
A special game mechanic was the return to Spain. There, the player had to report regularly, present their progress, and could organize new equipment, crews, or ships. This structure gave the game a framework that still left room for individual decisions. With increasing success, players could operate with more resources, plan new expeditions, or explore larger areas. The cycle of expedition, return, upgrading, and new journey gave the game a captivating dynamic that successfully captured the pioneering spirit of the Age of Discovery.

Technology

On the C64, Seven Cities of Gold impressed with a huge world map that was dynamically reloaded – a technical masterpiece for 1984. The graphics were simple, but functional. Particularly noticeable were the long loading times, which gave the game a certain “epic” slowness. This slow gameplay supported the meditative atmosphere of the game and allowed players to immerse themselves more deeply in the world. There were no save points in the original version – every decision counted and had lasting consequences. This significantly increased the tension and difficulty, as wrong decisions could not simply be undone.
The game was programmed entirely in assembler to make the most of the C64’s limited resources. The amount of data was particularly impressive: when using the “New World” option, the game had to store a huge, randomly generated world on disk – including all discoveries, villages, and player interactions. For the time, this was a technical feat that required both innovative thinking and a deep understanding of the hardware. The world map consisted of thousands of coordinate points, each containing specific information – from terrain types and tribal affiliations to resource availability.
The game was controlled using a joystick and keyboard, which required some getting used to. Players had to master several menus and input combinations in order to navigate efficiently, which could seem a little cumbersome at first. But those who gave it a try were rewarded with a surprisingly complex experience that went far beyond what was usual for games of that time. From today’s perspective, it is precisely the combination of technical limitations and depth of content that gives the game its special fascination – it shows how much creative energy went into game development at the time.

Trivial

• Dan Bunten, the game’s creator, was a pioneer in gaming history. He was an early advocate of social and cooperative game mechanics. His philosophy was to design games as social experiences that promote cooperation rather than competition. This attitude also found its way into Seven Cities of Gold, which, despite its colonial setting, took care to enable alternative ways of interaction, such as peaceful trade.
• The game’s packaging was opulently designed – Electronic Arts marketed it almost like a music album, with a “record sleeve” and a printed map. This was a deliberate attempt to set it apart from the competition. The accompanying materials were not only decorative, but also helped players immerse themselves in the game world – for example, the map allowed players to draw their own routes and discoveries.
• Originally, there was no way to save the game – the team only added this feature later at the insistence of Electronic Arts to make the game more accessible. This was particularly important for the long expeditions, which sometimes took several hours to complete. The ability to save also made it possible to explore the randomly generated worlds over longer periods of time, which significantly increased the depth of the game.
• The game was one of the first to emphasize cultural sensitivity – violence against locals had moral consequences, which was extremely unusual at the time. Players were not rewarded, but indirectly punished if they resorted exclusively to violence. Trade relations deteriorated, areas became inaccessible, and long-term planning became more difficult. This mechanic playfully conveyed a critical perspective on colonial behavior.
• In some versions, the name of the character played was randomly generated, resulting in humorous or unexpectedly fitting names. Some players were given absurd-sounding conquistador names that made them smile and added a touch of irony to the serious theme of the game. This small feature contributed to a dynamic, ever-changing gaming experience.

Critical reception

Seven Cities of Gold was enthusiastically received by the trade press. The historical context, open game structure, and attention to detail were particularly praised. Critics called it “a game for thinkers” that combined strategic skill with a thirst for discovery. The magazine Computer Gaming World praised it as “a milestone in gaming history.” It also received good reviews in Germany, even if the historical theme was not equally well understood everywhere. In addition to classic gaming magazines, columnists from the arts and culture sections also expressed positive opinions, as the game offered a new form of interactive storytelling that had received little attention in pop culture until then. It was particularly emphasized that the game not only entertained the player, but also encouraged them to reflect on historical contexts.
Interestingly, the game also attracted attention in educational circles. Teachers praised its educational value because it allowed historical events and ethical issues to be experienced in a new way. It was sometimes used in classrooms to illustrate colonial history, with the playful approach stimulating discussions about morality, power relations, and cultural identity. Although the portrayal was criticized by some as overly simplistic – for example, due to the stereotyping of indigenous peoples or the Eurocentric perspective – the game was considered a suitable introduction to historical topics. In later analyses by media educators, the game was cited as an example of how digital media can make complex content accessible, even if it does not always reflect the full historical depth.

Reputation today

Today, Seven Cities of Gold is considered one of the forefathers of open-world and exploration games. It influenced games such as Sid Meier’s Colonization, Pirates! and even Civilization. Among retro fans, it is seen as a milestone that gave the medium of video games a certain “maturity” for the first time. It was one of the first games that didn’t focus on high scores or action, but instead offered a slow, thoughtful gaming experience. The game’s structure, with its open world and largely absent objectives, inspired later generations of developers who wanted to stop guiding players through a rigid framework and instead give them the freedom to explore and experiment.
In modern retrospect, however, it is also viewed critically – primarily because of its Eurocentric portrayal and problematic colonial perspective. Some contemporary players and critics see it as glorifying colonial violence, even though the game by no means presents it uncritically. Rather, it encourages reflection – precisely because of the consequences that violent behavior has in the game. Players learn about the negative consequences of aggressive expansion in a playful way, which allows for a certain form of reflection on colonial practices. Nevertheless, the portrayal remains a product of its time that does not meet all of today’s standards for critical historical representation.
Last but not least, Seven Cities of Gold is also considered a precursor to modern “serious games” that make historical or social topics tangible through interactive storytelling. It is regularly mentioned in retrospectives and lists of the most influential games of all time. The integration of moral decisions that were not reflected in points but in long-term consequences makes it a precursor to narrative game concepts. Today, it is often cited in game studies circles as evidence that even early computer games had the potential to convey complex topics such as ethics, power, and history in an interactive way.

Summery

Seven Cities of Gold was a bold, unconventional game that was far ahead of its time. With its open world, historical depth, and moral gray area, it was not just a game, but also a playful exploration of a dark chapter in history. On the C64, it was a masterpiece of technical and narrative innovation—and to this day, it remains a fascinating example of what video games can achieve when they transcend genre boundaries.
It impressively demonstrated how digital media can be used to bring complex, often controversial topics to life. In an era when many computer games focused primarily on reaction speed and simple mechanics, Seven Cities of Gold offered a deeper, more reflective gaming experience. It combined strategy with narrative, history with game mechanics, morality with consequences – an approach that lives on in many modern titles today.
Even decades after its release, the game remains a lesson in how gameplay and content can enrich each other. Those who play it today may discover not only a bygone gaming world, but also a new perspective on history – and on the medium itself. Looking back, it becomes clear just how far ahead of their time the developers‘ vision was. It remains a testament to how games can not only entertain, but also educate and challenge – and that good game ideas lose none of their relevance even after decades.

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