Around twenty years ago, people would have laughed if you told them that videogames would end up at the Smithsonian, but the Half-Life team really did want to make games that were more than just throwaway toys. The rule against cinematics — which made our jobs much harder and also ended up leaving a lot of my favorite work out of the game — was a kind of ideological stake in the ground: we really did want the game and the story to be the same thing. It was far from flawless, but it was really trying to push the boundaries of a young medium.
design thoughts: let things be rare
It’s true and weird that while both Half-Life games are considered influential and important, hardly any of what was uniquely compelling about them made it into anything else. It’s still hard to find anything that feels like it does what they did: dynamically-chatty bit-part characters with interesting behaviours, NPC classes with specific attitudes to each other, dozens of elaborate one-off scripted behaviours, the continuous sense of not being the main character. Both games are full of stubs of situations that you could build a whole game around.
» The Game of Everything, Part 2: Playing Civilization The Digital Antiquarian
As a game designer, you have ultimate power. And with this ultimate power comes very little responsibility.
» The Game of Everything, Part 1: Making Civilization The Digital Antiquarian
If my gravestone says, “Sid Meier, developed Civilization,” I’m happy with that. It’s a game I’m happy to be known for.
We need more video games that are social platforms first, games second | TechCrunch
During these long, mundane physically-distant days, stretching on into an uncertain future like an ever-lengthening beigeish corridor, it's impossible not
» The CRPG Renaissance, Part 4: …Long Live Dungeons & Dragons! The Digital Antiquarian
In December of 1997, Interplay Entertainment released Descent to Undermountain, the latest licensed Dungeons & Dragons computer game. It’s remembered today, to whatever extent it’s remembered at all, as one of the more infamous turkeys of an era with more than its share of over-hyped and half-baked creations, a fiasco almost on par with Battlecruiser 3000AD or Daikatana. The game was predicated on the dodgy premise that Dungeons & Dragons would make a good fit with the engine from Descent, Interplay’s last world-beating hit — and also a hit that was, rather distressingly for Brian Fargo and his colleagues, more than two years in the past by this point.
» A Looking Glass Half Empty, Part 2: A Series of Unfortunate Events The Digital Antiquarian
Coming out of 1998, the folks at Looking Glass Studios believed they had pretty good reason to feel optimistic about their future. With Thief, they had delivered not just their first profitable original game since 1995’s Flight Unlimited but their biggest single commercial success ever. They had no fewer than four more games slated for release within the next fifteen months, a positively blistering pace for them. Yes, all of said games were sequels and iterations on existing brands, but that was just the nature of the industry by now, wasn’t it? As long-running franchises like Ultima had first begun to demonstrate fifteen years ago, there was no reason you couldn’t continue to innovate under a well-known and -loved banner headline. Looking Glass closed their Austin office that had done so much to pay the bills in the past by taking on porting contracts. In the wake of Thief, they felt ready to concentrate entirely on their own games.
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
» Starcraft (A History in Two Acts) The Digital Antiquarian
Great success brings with it great expectations. And sometimes it brings an identity crisis as well.
» 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.
» 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.
» Outcast The Digital Antiquarian
The Outcast box was styled to look like a movie poster. Riffing on the same theme, Infogrames’s head Bruno Bonnell called it “the first videogame that really tries to be an interactive movie,” leaving one to wonder whether he had somehow missed the first nine years of the 1990s, during which countless games tried desperately to be just that. Ironically, Outcast actually has very few of the characteristics that had become associated with the phrase: no rigidly linear plot, no digitized human actors, no out-of-engine cutscenes after the obligatory opening one. It’s a game rather than a movie through and through, and all the better for it.
Opinion | Video Games Are Destroying the People Who Make Them (Published 2017)
The industry’s infamous “crunch” culture is taking a serious toll on workers.
» The CRPG Renaissance, Part 5: Fallout 2 and Baldur’s Gate The Digital Antiquarian
As we learned in the earlier articles in this series, Interplay celebrated the Christmas of 1997 with two new CRPGs. One of them, the striking post-apocalyptic exercise called Fallout, was greeted with largely rave reviews. The other, of course, was the far less well-received licensed Dungeons & Dragons game called Descent to Undermountain. The company intended to repeat the pattern in 1998, with another Fallout and another Dungeons & Dragons game. This time, however, the public’s reception of the two efforts would be nearly the polar opposite of last time.
The Gentrification of Video Game History
We’re not all suburban kids who got a Nintendo 64 for Christmas
» 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.