In addition to the obvious goals of making a hit game and not getting himself fired, one of Ron Gilbert’s implicit goals in making Maniac Mansion was to force a dialog about the sorry state of the nascent art of graphic-adventure design. Sadly, his message wouldn’t be terribly well-heeded by designers other than his own colleagues at Lucasfilm Games for quite some time. Indeed, I have a theory that there have been far more really bad adventure games created than bad examples of any other gaming genre over the years since Gilbert first tried to set the world on a better path. If that is indeed the case, the causes come largely down to two factors.
» How Jordan Mechner Made a Different Sort of Interactive Movie (or, The Virtues of Restraint) The Digital Antiquarian
One can learn much about the state of computer gaming in any given period by looking to the metaphors its practitioners are embracing. In the early 1980s, when interfaces were entirely textual and graphics crude or nonexistent, text adventures like those of Infocom were heralded as the vanguard of a new interactive literature destined to augment or entirely supersede non-interactive books. That idea peaked with the mid-decade bookware boom, when just about every entertainment-software publisher (and a few traditional book publishers) were rushing to sign established authors and books to interactive projects. It then proceeded to collapse just as quickly under the weight of its own self-importance when the games proved less compelling and the public less interested than anticipated.
» How Jordan Mechner Made a Different Sort of Interactive Movie (or, The Virtues of Restraint) The Digital Antiquarian
One can learn much about the state of computer gaming in any given period by looking to the metaphors its practitioners are embracing. In the early 1980s, when interfaces were entirely textual and graphics crude or nonexistent, text adventures like those of Infocom were heralded as the vanguard of a new interactive literature destined to augment or entirely supersede non-interactive books. That idea peaked with the mid-decade bookware boom, when just about every entertainment-software publisher (and a few traditional book publishers) were rushing to sign established authors and books to interactive projects. It then proceeded to collapse just as quickly under the weight of its own self-importance when the games proved less compelling and the public less interested than anticipated.
» Choose Your Own Adventure The Digital Antiquarian
The first and most iconic of all the Choose Your Own Adventure books involved spelunking, just as did the first and most iconic of all computer-based adventure games.
» The CRPG Renaissance, Part 2: Might and Magic VI The Digital Antiquarian
From the 1980s until well into the 1990s, the CRPG genre was typically dumped into the same broad bucket as the adventure game by the gaming press. Indeed, as late as the turn of the millennium, Computer Gaming World magazine had an “Adventure/RPG” department, complete with regular columnists whose beat encompassed both genres. Looking back, this lack of distinction might strike us as odd: CRPGs, which are to a greater or lesser extent simulations of an imaginary world with a considerable degree of emergent behavior, are far more procedurally intensive than traditional adventure games and provide a very different experience.
How ‘Baldur’s Gate’ Saved the Computer RPG
The genre-stretching game broke new narrative, technical, and gameplay ground and established the identity of one of the past two decades’ most storied video game studios
There’s not enough videogames; everyone should be encouraged to make them (or, videogames are just art)
Indiepocalypse discourse is back in vogue again. Polygon published this article about how there’s too many videogames; Games Industry published this editorial about how we need to stop encour…
No, Video Games Aren't Art. We're BETTER.
Do you think this should fill me with shame? Because it does not. "When I was twenty, I worried what everything thought of me. When I t...
Exploitative Game Design: Beyond the F2P Debate
The past few months have seen a torrent of articles about Free-to-Play business models, often discussed alongside issues of ethics in games (for example: 1, 2, 3, 4, 5). These pieces have addressed the effect on addiction-prone players or children, the possibility of corrupting artistic intent, the sheer amount of money being spent, and other advantages and dangers of F2P. While all of this is relevant, I fear that we’re focusing too much on F2P and glossing over the wider ethical issues in game design.
Ico, disruptive game design, and experiences that live forever.
100 updates later. Why we enjoy games, why we stop, and how live game design might bring us back.
The Real Story of Pixar
How a bad hardware company turned itself into a great movie studio
» The CRPG Renaissance, Part 1: Fallout The Digital Antiquarian
This early advertisement for Fallout makes a not-so-subtle dig at gaming’s then-current flavor of the month, the highly streamlined — or, in the view of some, dumbed-down — CRPG Diablo.
» Retro No More: Interactive Fiction of the Early Comp Era The Digital Antiquarian
In 2002, Paul O’Brian, a prolific author, reviewer, and commentator on the contemporary interactive-fiction scene, attempted to compile a list of those people who had done the most to help text adventures live on beyond the death of Infocom. Among the names he listed were those of Mike Roberts and Graham Nelson, the creators of TADS and Inform; Andrew Plotkin, who contributed crucial technical innovations of his own and authored a number of perplexing, intriguing games; and Adam Cadre, who wrote the single most-played text adventure of the post-Infocom era. None of these names will come as a surprise to anyone who has been even a casual tourist of the interactive-fiction scene over the years. But another of them very well might: that of Gerry Kevin “Whizzard” Wilson. And yet one can make an argument that his skill set was the most unique and thus the most essential of them all.
» Rollercoaster Tycoon (or, MicroProse’s Last Hurrah) The Digital Antiquarian
I think it touches on two of the most fundamental aspects of human nature. We all like doing something constructive, where we can see that we are creating something from virtually nothing, and we all have a desire to nurture or look after things. This is what the game is all about. You spend hours painstakingly building your park and roller coasters up piece by piece, and then it becomes your own baby, which you want to look after and keep running smoothly, watching it grow in popularity and delighted by all the little guests who are enjoying all your hard work. Of course, the subject matter, roller coasters and theme parks, helps a lot as well. What could be more fun in a game than to build and run a park which is full of little people also having fun?
Choose-Your-Own-Adventure 𝐴𝐼 𝐷𝑢𝑛𝑔𝑒𝑜𝑛 Games
Neural networks like GPT-3 power text adventure games where you can do anything; but they are too expensive. I propose that if we turn them into Choose Your Own Adventure hypertext games, they become feasible and enable new gameplay.
» The Last Adventures of Legend The Digital Antiquarian
The early days were the best. We had successes, we had fun, and we had a good business model. As the industry changed, everything became more complicated and harder.