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.
» 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.
The CRPG Project
I’ve been thinking about computer RPGs a lot recently, and trying to play a bunch. There’s a quality that I’ve always loved about especially older computer RPGs: you really felt t…
» The Year of Peak Might and Magic The Digital Antiquarian
Some passions are lifelong, but many others fade away over the course of a life, to be replaced by others. Not long after Jon Van Caneghem, the founder of New World Computing, sold his company to 3DO, it started to become obvious to everyone who worked for him that the torch he carried for computer games no longer burned as brightly as it once had. A younger version of Van Caneghem had spent almost three years designing and programming Might and Magic I, the CRPG that introduced New World to our world, virtually all by himself. Now, he was coming into the office just two or three times a week, leaving even on most of the days when he did make an appearance by shortly after lunchtime. His all-dominating current passion, it was becoming clear, was racing sports cars on tracks all over California and beyond. His colleagues sensed that, in his mind, he had already created his magnum-opus CRPG with Might and Magic IV and V, two big games that could be combined into one to form The World of Xeen, an absolutely massive one. Meanwhile he had poured all of his best strategy ideas into The King’s Bounty and Heroes of Might and Magic. He was ready to take two steps back from the day-to-day at New World, to become a part-time designator emeritus and spend the rest of his time driving his cars.
» 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.
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
» The CRPG Renaissance, Part 3: TSR is Dead… The Digital Antiquarian
“How do you make a small fortune in tabletop gaming?” runs an old joke.
GameSpot's SIMply Divine: The Story of Maxis Software
GameSpot action adventure driving puzzle role-playing simulation sports strategy hardware
» 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.
» 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.
» Half-Life The Digital Antiquarian
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.
» Planescape: Torment, Part 1: From the Tabletop… The Digital Antiquarian
By 1999, Interplay had begun crediting its internally developed CRPGs to “Black Isle Studios,” a distinction that represented very little difference, given that Black Isle shared office space and personnel with its parent publisher. Note the careful choice of words on the box above, to call Black Isle the “producers” — not the developers — of Baldur’s Gate.
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
» 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.