رونوشت کامل 8: Endgame

appraiser, but more than that, he once worked at the Franklin Mint, the collectibles company that made the treasures. 00:06:43 Speaker 6: We were artisans, so you know, we did all sculptures, We did dicast cars, we did numismatics, we did stamps, we did leather bound books, dolls, pocket knives, pocket watches, you name it. And really in the business world, people could come to us with whatever and we could develop it. And it sounds like that's what Attari really did. 00:07:05 Speaker 1: No, he didn't have a hand in their creation. Lewis didn't arrive at the Mint until nineteen ninety two when he was an intern. That's a full decade after the prizes were produced. Later, he became a development manager for their mid precision models think mini cars. Lewis also worked with the airs of celebrities like John Wayne and Elvis Presley to make sure the license collectibles were on target. In doing so, Lewis realized the Mint wasn't just selling collectibles. 00:07:36 Speaker 6: We've done some amazing pieces of artwork for the Royal House of Faberge where we worked with the licensers there. We've worked with Ferrari and Lamborghini and Rolls Royce, and you know, each time I had to really visit those companies and it really helped drive home that you know, Franklin really wasn't selling products, they were selling experiences. So the the amount of work that we did to reproduce something and to capture the spirit of John Wayne and a John Wayne rifle, or to capture the exotic feeling the Ferrari or Lamborghini quintash was really phenomenal because you know, we worked directly with the people that developed them. 00:08:17 Speaker 1: Even though he didn't personally encrust the chalice with some jewels, Lewis understands how the sausage was made at the mint, which is important when you're trying to appraise items that you can't physically hold in your hand. And while you may think something related to gaming wouldn't be in the same arena as movie props or comics or antiques, you'd be wrong. Video game collecting exploded during the coronavirus pandemic, as did most other collectibles. Rare copies of video games still in their plastic shrink wrap now fetch thousands, tens of thousands, and even millions of dollars. A copy of Nintendo's Super Mario Brothers, looking like it was just pulled off a peg at Toys r Us sold for two million dollars. A copy of the ultra rare Atari game Air Raid sold for thirty three thousand dollars thanks to having a complete box and manual, and an original wooden prototype of a home version of the classic Atari game Pong, which helped launch the home gaming industry, sold for two hundred and seventy thousand dollars in twenty twenty two. But unlike movies, which have props and costumes, games are more ethereal. Once you go through consoles and cartridges, there's not a whole lot left. Sword Quest is one of the few times actual tangible gaming treasures were created, and they come with an incredible mythology surrounding them. If

they ever did surface, then it's possible the owner could strike gold that auctioned. Remember the first prize, the talisman was awarded to Stephen Bell. Stephen sold it off relatively quickly to purchase his Pontiac Fear. He kept a tiny miniature sword from it that was later stolen from his bedroom. The culprit, possibly an ex girlfriend. But let's say it hadn't been dismantled for material, or let's say the jeweler that bought it from Stephen kept it intact. How much would it be worth today, we asked Lewis. Oh. Lewis, by the way, operates an animal rescue in Philadelphia, Pennsylvania. It's Morris Animal Refuge, and they're devoted to finding good homes for pets in need of them. Lewis was good enough to try and appraise some invisible treasures, so we wanted to make sure to mention his work there. But yeah, back to the talisman, which may have been destroyed in nineteen eighty three but still exists in photos. Lewis believes that if the medallion was worth twenty five thousand dollars in nineteen eighty two, it probably had around sixty three ounces of gold given the market rate at the time, so. 00:10:56 Speaker 6: That I ambul it without the stone, without the sword, it would probably be north of you know, definitely the value of gold in there. If it is eighteen care gold, probably be in the north of one hundred thousand. 00:11:08 Speaker 1: The only other prize to be awarded was the chalice, which contest winner Michael Rideout took home in nineteen eighty four after being kept waiting for a few months, and right now it's the only known surviving prize of the entire contest. Michael Rideout is still believed to be in possession of it, but he wouldn't confirm that with us, So we're left to wonder if the base of the chalice is hollow, which makes a difference in its value. 00:11:35 Speaker 6: Without the weight, it would be really difficult from that standpoint. But I mean that is a one off, you know, a beautiful chalice, and with the atari, I mean that should be well north of one hundred thousand dollars. 00:11:46 Speaker 1: But that's if the base of the chalice is hollow, if it's actual solid gold. 00:11:51 Speaker 6: If it was solid gold, it could infect double the value of that because you're talking a lot of gold in there. 00:11:57 Speaker 1: Then there's the Crown of Life, one of the three prizes. There's never been a picture of it, only illustrations, So this one is trickier. So is the Philosopher's Stone. No photos, just descriptions and some artwork. 00:12:11 Speaker 6: Yeah, and they're saying that those are twenty five thousand a piece of value. My guess is they probably use a similar weight of gold and jewels on there. Yeah, So my guess is you can reasonably say that all of these are, you know, at least one hundred thousand plus valued, you know, based just on their precious metal and jewel content. 00:12:33 Speaker 1: But for sheer presence, no sword quest prize is equal to the Sword of Ultimate Sorcery gilded steel but jeweled hilt. In nineteen eighty two, Atari claimed it had a value of fifty thousand dollars. 00:12:49 Speaker 6: And this is harder for me to come up with because that's saying it's two times more valuable than the others. But the others have a lot of gold in them, and I guess and the hilt on that is solid gold. That's probably the only way it gets to it. And maybe it's seven or eight pounds of gold that gets you to that price. So yeah, I mean, so that sort can easily be a couple hundred thousand dollars in precious materials if it's much heavier than the medallion or the talisman. Yeah, so that easily could be a three hundred thousand dollars piece at auction, just based off of its precious metals and the fact that there's only one made and it's gorgeous. You know the pictures, it looks gorgeous. 00:13:31 Speaker 1: But in collectibles, especially auctions, the story is everything, just like at the Franklin Mint, And if an auction house could tell the right story, the sky's the limit. 00:13:43 Speaker 6: I think this sword, if it was marketed correctly in at one of the major auction houses that you know, was part of a collection of either video game or fantasy or period in time eighties, there's a lot of ways they can cut it. I mean, I think that sort could find itself north of three hundred thousand dollars, and then there it could go much higher. I mean, you know, pieces like they could go for five hundred thousand, but you just never know who's going to come in, how much interest they have in it. But you know it's got so much more value than the precious metal content. 00:14:17 Speaker 1: Again big disclaimer, Lewis is making these estimates based on what little is known about how the prizes were made and what materials were used, along with their estimated size. They could sell for that much or much less or not at all, although that's a little hard to believe. But in a way, the potential value of these items speaks a little to whether they still exist. If someone owned three items worth hundreds of thousands, why wouldn't they have surfaced by now? Could they really be kept hidden for this long? If they exchanged hands, could that be kept quiet? It's possible, and it's possible if the items held some sentimental value for the owner, which brings us back to the Trammels, Aroma Espresso Bar and Casey Jones. Compared to Starbucks, Aroma Espresso Bar doesn't have a huge global footprint. It has about two hundred locations, most in Israel, where it was founded in nineteen ninety four, along with two in Ukraine and one in Miami, Florida. The rest are in Canada. It's got more or less what you'd expect from a coffeehouse. 00:15:34 Speaker 2: It's maybe not quite the scale of Starbucks, but consider it like an Israeli exported Starbucks. They did baked goods, they did coffee, they did sandwiches, salads. They're great if you ever have the chance to go to an Aroma Espresso bar. They're a bit pricey now, but if you ever have the chance, they make

a very good halloomy sandwich. 00:15:58 Speaker 1: Again, that's Casey Jones in twenty eleven. It was a place for him to pick up a paycheck. Casey, you'll recall, was working at an Aroma in Toronto for a spell. 00:16:08 Speaker 2: Probably about two two and a half years, cycling between part time in full time. It was like a job in my early twenties. 00:16:17 Speaker 4: It was just a gig. 00:16:20 Speaker 1: The two operators at that location were Mark and Gabe Tremmel, a sibling business duo in their twenties who had taken over in two thousand and nine. 00:16:29 Speaker 2: There were decent guys. I mean, there was some level of grumbling from the staff sometimes because like, ah, Gabe, the boss is really pushing us hard or whatever. But I think those are just realities of operating a cafe. Gab and Mark as two individuals, I always got a good read from them. 00:16:48 Speaker 1: Casey was reading Ernest Klein's Ready Player one while working at Aroma, not reading while literally working at Aroma during his free time. It was a New York Times bestseller, moving right roughly one point seven million copies, so he was hardly alone. A lot of people had the book in their hands. For many it might have been the first time they'd ever heard of sword Quest, and then some probably wondered if it was a real game or if Ernest had just made it up. But Ready Player one wasn't the only reason Casey was thinking about sword Quest. Around the same time, a YouTuber known as the Angry Video Game Nerd had done a retrospective of the series and the missing prizes. Unlike the book, which didn't mention the name Jack Tremmel, the nerd did, which gave Casey more of a complete picture. Mark and Gabe, he discovered, were Jack's grandsons. Their father, Sam Tremmel, had worked at Atari under his father, and Jack had long been rumored to have taken possession of the prizes. So Casey found himself in proximity to two people who could possibly answer the question that's been posed by gaming historians for decades. When the sword Quest contest was canceled. Were the prizes sold off for their material value or did Jack Tremmell hang on to them. If Jack had taken possession of the prizes, then surely his grandkids had seen them, had picked up a sword of Ultimate Sorcery and waved its blunted rounded edge around as children. As we've told you, the Trammel's don't discuss it, but Casey wasn't a nosy journalist. He was just making conversation in a coffee shop. That's kind of what they're made for. So Casey posed the question to Gabe Tremmel. Gabe didn't walk away, he didn't say no comment. He started laughing, and then he said this. 00:18:46 Speaker 2: There was very little hesitation. He's like, oh, yeah, I've seen those. Yeah, he saw them, presumably at his grandpa's place, Jack Tremmell's place. I can't confirm. This was just a conversation that I had like thirteen years ago, so I can't confirm full veracity, details or anything. But he did say he was able to see them at Jack Tremmel's place, either at his personal home or in his office somewhere I don't know. 00:19:11 Speaker 1: According to Casey, Gabe then offered an even more astounding detail. 00:19:16 Speaker 2: And Gabe also claimed that he had had his picture taken with two of the artifacts. I don't remember exactly which two they were. I want to say it was the crown and the sword. I might be getting that wrong because I don't recall which of the artifacts were lost and which ones were paid out to the winners. But Gabe claimed very fondly like, oh, yeah, no, I have a picture of me wearing these. He didn't show me the picture. Presumably it was on film, and really that was it. Based off of that interaction, my understanding was that at some point in the intervening years after the end of the sword Quest contest, that those artifacts found their way in to Jack Tremmel's hands, or you know, he just took pictures of them with his grandson. 00:20:05 Speaker 1: You know. 00:20:05 Speaker 2: Maybe he had them in a safety deposit box, maybe he had them in a private residence. I don't know, but I can at least say he had them at one point, or he had access to them at one point and he was sharing enough with that access to let his grandkid get a funny picture with it. But unfortunately I've never seen the picture. 00:20:26 Speaker 1: Somewhere in the possessions of Gabe Trammel apparently lurked a photo of Gabe sporting a crown and waving a sword. Not a crown or a sword, but the crown and the sword. But there's a hiccup here. If someone asks you about an urban legend your family was allegedly involved in, maybe your tendency would be to joke about it. Oh, sure, my grandfather was in the CIA, that sort of thing. So we asked Casey, was there any chance Gabe was just kidding around. 00:20:57 Speaker 4: It's possible. 00:20:59 Speaker 2: It seemed too specific to just be a joke. Maybe he was just pulling my leg because I was asking these directed questions. It's possible he was joking around or exaggerating the story. But you know, when you work at a cafe with a manager, you get a sense of the way that they speak, and you know they're different tones. So I was familiar with Gabe's joking tone as well as his, you know, serious manager boss tones, and I didn't peg it as a joke. I pegged it as him telling the truth at the time. Whether or not I was correct, who knows. 00:21:36 Speaker 1: To the best of Casey's recollection, he brought up sword Quest once or twice more to Gabe, but by this point Gabe seemed to have grown reluctant to discuss it any further. It wouldn't be an ongoing topic of conversation. 00:21:50 Speaker 2: When I sensed that he put the brakes on the story, I sensed that it may have been because, oh, this is actually getting into some stuff that he doesn't want to speak about. Out in a public space with other people sitting at the bar overhearing him, or other people working overhearing him. And that was really the end of it. When I started

digging into it more, I got a sense that he started realizing I was asking some very directed questions, and he started to shy away from the subject a little bit. 00:22:19 Speaker 4: There are a. 00:22:20 Speaker 1: Lot of unknowns here. When exactly did Gabe take the photo as a child or more recently. 00:22:27 Speaker 2: I got the sense that it was fairly recent when the photo was taken. Unfortunately, I don't have anything I can go back to to like pinpoint that it might just be my faulty memory. It may have been when he was young, it may have been when he was an adult. I got the sense at the time that it was within the last five years or something, so that would have placed it between two thousand and five and twenty ten. 00:22:50 Speaker 1: Gabe had no reason to lie about the photo, nor does Casey. He just happened to be in the vicinity of Gabe and armed with a little bit of knowledge when some wordquest trivia landed in his lap Mark. Gabe operated the Aroma location through twenty thirteen and then went on to different business pursuits. Casey left around the same time. We asked if there were any other employees who may have heard the story to corroborate it. Casey gave us two names. One doesn't recall anything about it. The other former employee answered our request for a comment by asking who gave you my name and then never responded again. 00:23:31 Speaker 4: This one knows something. I can feel it. It's no use, Tour. 00:23:36 Speaker 5: He'd sooner lop off his tongue than reveal his secrets. 00:23:40 Speaker 4: Fine by me. Better still, we could lop off his head. Tor No, fine, then we say he simply did not respond to a request for comment. 00:23:51 Speaker 1: We did, of course, contact Mark Tremmel. Though he wasn't the one who told Casey the story of the prizes, it seems likely that he'd know a thing or two about it. 00:24:01 Speaker 2: Gabe and Mark were quite proud of that fun little trivia tidbit that oh yeah, I'm you know, my granddad was the Tari guy. And when I asked them about the artifacts, they did claim to have seen them. I believe Mark confirmed. I don't remember specifically, but I do know at the very least that Gabe told me the story that he has been in the same room with the artifacts and has had his picture taken with them. 00:24:27 Speaker 1: But Mark didn't respond. The Tremmel cone of silence persisted and Gabe, well, we can't ask Gabe. Unfortunately, in twenty sixteen, Gabe Tremmeel passed away at the age of thirty two while living in New York City. According to the United States Attorney's Office in the Southern District of New York, a medical doctor and graduate student was convicted of selling Gabe Tremmel a lethal dose of fentanyl, a dangerous opioid. If there is a photo of Gabe posing with sword Quest prizes, we don't know if anyone has it, or if anyone knows where it could be. And assuming Jack had those prizes circa twenty eleven, Jack's death in twenty twelve would have placed them in other hands. Of

course, this is speculation. We can't say, nor do we say the Trammels are in possession of the remaining sword Quest prizes. But like the game itself, it's become a part of the mythology of Atari and one no Tremmel family member seems willing to dispel. They're under no obligation to, of course, but it would be a simple way of getting people to stop asking you about it. If Jack did keep the prizes, Casey believes it would be symbolic a trophy representing Jack Tremmel on top of Atari, a pioneer of personal computing. 00:25:50 Speaker 2: Oh yeah, they'd be a hell of a nice keepsake of his victory and his battles to become the King of Atari. 00:25:58 Speaker 1: If the King of Atari had the treasures, then they might wind up where most treasures do, inside the hallowed halls of a museum. 00:26:14 Speaker 5: We're heading into one of our collection storage areas here at the museum. 00:26:25 Speaker 4: We have a. 00:26:25 Speaker 5: Keypad and the security card swape that I needed to do to get into this area. We're walking through an area that focuses on our arcade conservation. We're standing in a room that has an enormous amount of video games and collections objects. 00:26:46 Speaker 1: We're in Rochester, New York. It's an upstate community known for its medical university and for pop culture fans for being host to the Strong Museum of Play which is a massive collection of play things that fills almost four hundred thousand square feet and welcomes a half million visitors every year. Think of it like the world's biggest toy store, only it spans generations. Everything is here original barbie'es, Gi Joe's, and of course a deep collection of the electronic toy that's dominated for decades, the video game. The Museum is in Rochester because Rochester was once the home of Margaret Wood very Strong, a collector of toys and dolls and a lot of everything, whose collection grew so large her home became something of a dollhouse. When she died in nineteen sixty nine, she willed her belongings to a museum that eventually became her namesake, The Strong in nineteen eighty two. And while the Strong initially exhibited a lot of things, it was toys that became the focal point. 00:27:53 Speaker 5: And so we're standing in front of this massive television because we've recreated Home Pong as a massive interactive that people can play here at the museum. And so I'm using an oversized knob on a giant console. Oh and they got me. 00:28:22 Speaker 1: That's Jeremy Saucier. Jeremy is the assistant vice president for Interpretation and Electronic Games at the Strong. He has a PhD in history from the University of Rochester. Games are his relics, his barometer for our shared leisure habits. His focus is the International Center for the History of Electronic Games, a collection totaling around sixty thousand items and growing all the time. This stuff is well loved. You can see cigarette burns and handprints on some of the arcade machines, the evidence of the gamer

who spent countless hours chasing pac Man. 00:29:00 Speaker 5: So just really thousands and thousands. We have the most comprehensive collection of play things but also video games anywhere in the world. So you're standing in part of that collection. But Atari is one of the first companies where this is what they're doing. They're making video games. You know, even Nintendo as a playing card company, Kaliko was a leather company. And so you know, when I think about Atari today, I think it's a combination of you have a generation of people who were introduced to video games through Atari, and I think they understand that on some level that that was important. And Atari plays an important role in that They're not the only ones, but they play a very important role. And you know, just like you know, you wouldn't have Tesla today if you didn't have Ford and GM, well, you wouldn't have Sony. You wouldn't have Microsoft in the Xbox if you didn't have Atari. First. 00:30:05 Speaker 1: The Strong's Atari holdings number well over nine hundred items, consoles, joysticks, games, manuals, original art, and naturally the sword Quest titles. But no, not the prizes. To get the obvious question out of the way. 00:30:20 Speaker 5: I mean, I can say for sure that we do not have them. 00:30:24 Speaker 1: But there are other treasures here. 00:30:26 Speaker 5: Because I'm going to handle a couple of objects here I'm going to put some gloves on. Is that we're standing in front of a KRT curator's cart that has a couple of the sword Quest games on it, and a September October nineteen eighty two issue of Atari Age, which was a publication that was sent to members of Atari's clubs with jewels encrusted on them worth many thousands of dollars gold objects. And so this contest is really at the height of Atari's power. Some would say it's at the height of Atari's hubris, because when the contest starts, it's nineteen eighty two, right, So if we open up, we're looking at this cover of Atari Age, and so this is September October of nineteen eighty two, and even right on the cover is this wonderful artwork that are showing the characters from the sword Quest games. And if I open this up, there is a two page spread promoting this contest. Sword Quest you can win fabulous prizes by solving the mysteries of four new cartridges. 00:31:54 Speaker 1: Part of the Strong's Atari collection is a lot of paperwork, game ideas, design ideas. There's even a map chest full of original art. But there's no slip of paper that traces where those items went, no invoice, no destroy upon receipts. Smoking Gun Atari was a poor curator of its own history. The items arrive piecemeal from employees or donors, and while there are still items to be inventoried, there's no sign any of it holds the clue. 00:32:25 Speaker 5: But also it is just a turn of history like they could have very easily have been thrown away, and a lot of this history is gone for the Strong. 00:32:34 Speaker 1: Gaming isn't

a commercial endeavor. If they get their hands on a rare cartridge or console, or even an original microchip, it's cataloged and like a puzzle piece, snapped into place wherever it fits in gaming history. And while Jeremy's Landscape is pretty vast. Everything from early handheld games to Nintendo systems to Sony PlayStations are here. He's definitely aware of sword Quest, one of the biggest myths in gaming history, treasures that, if they were ever discovered, might one day wind up here. 00:33:08 Speaker 5: What's fascinating about these prizes, you know, is just there's so much speculation about it. It's been rumored that one of them was actually melted down and sold. I mean, obviously the person who wins it can do what they want with it. And if I was a college student trying to pay debt, then I might be hawking my gold jewelry as well, you know. But as artifacts that help tell this larger story and represent a time in video games where you're basically, you know, minting these fantastic gold artifacts, I think it'd be wonderful to have them, you know. It almost reminds me of the sort of Gilded Age. 00:33:48 Speaker 1: Right to Jeremy, the prizes represent something other than mastering a difficult video game. They're emblematic of Atari's success, and maybe they're hubris. 00:34:01 Speaker 5: You're these artifacts that kind of represent the height of the video game industry, the height of Atari that they would have invested in a contest like this, But Atari itself cracked. Atari itself crumbled. Though they're coming back now and they're doing things today. But yes, as a historian, as curators, we'd obviously love to see some of these things. 00:34:26 Speaker 1: In some ways, Atari is like a fallen civilization, once on top of the world, now a distant second to the xboxes and immersive gaming world of today. Like any other relic, the prizes, were they to surface, could be sold for Lewis Checchia amounts of money. It's a problem Jeremy runs into when adding to the strongest collection, a problem every museum runs into. Sooner or later that Picasso may not be available because someone paid a fortune for it. So it may be hard to conceive of the prizes being on public display one day for all to see. That can happen. Collectors can loan out art or collectibles, but so far the sword Quest stash has not been for public consumption. But it's certainly possible that someone listening does know where they are, and maybe at some point they'll consider the value of snapping that piece into the overall puzzle. 00:35:28 Speaker 5: Yeah, I mean it's difficult, you know. On the one hand, I can see that if these things do exist, whoever might have them. I mean, there's a chance that they don't even know that they have these sorts of things. It really is, you know, that's a possibility too. There's a community of people who would love to find out that these things exist, and even more they'd love to see them. So the argument to me is more I think along the lines of that these are potentially artifacts from a community of gamers, a community that's heavily invested in the history of Atari, in the history of video games, and so I think the argument is that, you know, if you possibly can, it'd be great to share that history, even if it's just acknowledging that they exist, even if it's acknowledging that something happened to them and that there's some evidence of that that helps to put the mystery to rest. 00:36:34 Speaker 1: Today, Atari is in Paris, well sort of. The video game company which pioneered home gaming, now has offices in New York and France. After changing hands a few times since the Jack Tremmel days, it wound up with a company named Infograms, a mix of the French words informatique and program. Atari now takes a more circuitous route to its branding. A few years ago, they announced plans to license the Atari name to backers of a hotel in Las Vegas. The Atari Hotel would be a giant, gaudy ode to retro gaming, with themed rooms and plenty of joysticks. That hasn't broken ground yet. What has materialized is an Atari twenty six hundred plus retro console, which was released at the end of twenty twenty three and delivers a dose of nostalgia. It looks virtually identical to the old twenty six hundred, right down to the wood grain finish. It can play original Atari cartridges, or you can select from some included games on a ten to one cart Atari did something else too. In twenty twenty two, they released Atari fifty, a software program celebrating the company's fiftieth anniversary, part game and part documentary. It included something gamers have been waiting for since the nineteen eighties, a fully finished, fully playable version of air World, the fourth and never released game in the sword Quest series. This isn't the original version as envisioned by sword Quest's creator Todd Frye. It's more of an homage to that idea, but it is an official release, and it does make for one less missing treasure in this story. But there was no fourth comic from DC, and therefore no conclusion to the sword Quest saga. That's fitting since the one in the real world is still open ended too. Those prizes could have been destroyed for their material value decades ago. If that's true, then the chalice is the only one that survived, and may be all the more valuable for it. There are three distinct perspectives here. The collector with deep pockets who wants to look at video game treasure in their basement trophy room, the archivist who wouldn't mind seeing them help to tell the story of gaming's ascendants from a seedier side of pop culture to a legitimate art form. And a family who may now consider the prizes to be a kind of heirloom, unwilling to give the public a glimpse treasures that have taken on a more personal meaning. All of these are valid. The only thing we can say with certainty is that sword Quest is a part of a shared cultural history. The contest anticipated the multimedia explosion that would arrive in the coming decades, where giant conglomerates use all of their assets for one unified sales pitch. When Warner Brothers wanted to raise awareness of Barbie, they draped all of their reality television in pink. When Warner Communications wanted to promote sword Quest, they recruited all of their companies of that era to the task. Atari the Franklin Mint DC comics. It was a radical innovation caught in the middle of a transition in gaming that was termined for cost. Tor and Tara, the hero and heroine of the story, were effectively laid off before their mission was complete, and most of their expected rewards are still unaccounted for. But there's a reason they call it the hero's journey and not the hero's destination, even though it was never completed. Without sword Quest, we wouldn't have the pioneers of competitive gaming, people like Stephen Bell, Jackie Custer, Burt Wardahl, and Michael Rideout. Today's esports stars play for millions. They played for some fleeting glory and a cool sword. Those prizes may be gone, but their memories remain of long hours spent mastering games. Before gaming was truly mainstream, sword Quest was something increasingly rare these days, a true original, a spark for imagination, decades later, There's still never been anything quite like it. 00:41:01 Speaker 3: The sword eludes us. Tara, the one who wields it, will not step forward. 00:41:05 Speaker 4: Perhaps they fear harassment or robbery. Perhaps, but can something be taken that belongs to the people? What do you mean, Torque? 00:41:16 Speaker 3: Someone may be able to put their hands on its hilt, to keep it under glass, Yet it represents so much more, a shared history. 00:41:23 Speaker 4: Perhaps one day all can see it, perhaps, or perhaps it's gone forever. What now, sister, What of our story? 00:41:33 Speaker 3: Now? 00:41:34 Speaker 4: Now we find tyrann Us and vanquish him another way, But how now we write our own ending? Come on, let's go adventuring. 00:41:53 Speaker 1: The Legend of sword Quest is a production of iHeart Podcasts and School of Humans. This episode was written by Jake Rawson and hosted by Jamie Loftus producers are Miranda Hawkins and Josh Fisher. Executive producers are Virginia Prescott, L. C. Crowley, Brandon Barr, and Jason English. 00:42:10 Speaker 4: Our show editor is Mary Doo. 00:42:12 Speaker 1: Audio engineering by Graham Gibson, Research and fact checking by Austin Thompson and Jake Rosson. 00:42:19 Speaker 4: Original score by Jesse Niswanger. This episode was sound designed by Josh Fisher. 00:42:24 Speaker 1: Mixing and mastering by Miranda Hawkins. Show logo by Lucy Quintonia. Voices in this episode are provided by Haley Ellman and Graham Parker.