Jimmy Maher (maher@filfre.net)

The Digital Antiquarian
Volume 15: 1993
Comments Edition

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This eBook was converted on
June 22nd, 2020

Design and conversion for eBooks by
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Contents

1. An Unlikely Savior

1. Comments

2. Return to Zork

1. Comments

3. The Last Works Before the Renaissance

1. Comments

4. Day of the Tentacle

1. Comments

5. Sam and Max Hit the Road

1. Comments

6. The Mortgaging of Sierra Online

1. Comments

7. Chief Gates Comes to Oakhurst: A Cop Drama

1. Comments

8. Gabriel Knight: Sins of the Fathers

1. Comments

9. Alone in the Dark

1. Comments

10. Origin Sells Out

1. Comments

11. Opening the Gold Box, Part 6: A Troubled Marriage

1. Comments

12. Betrayal at Krondor

1. Comments

13. New Tricks for an Old Z-Machine, Part 1: Digging the Trenches

1. Comments

14. New Tricks for an Old Z-Machine, Part 2: Hacking Deeper (or, Follies of Graham Nelson’s Youth)

1. Comments

15. New Tricks for an Old Z-Machine, Part 3: A Renaissance is Nigh

1. Comments

16. Eric the Unready

1. Comments

17. Companions of Xanth (Preceded by the Worrisome Case of Piers Anthony)

1. Comments

18. Buzz Aldrin’s Race into Space (and Space-Program Games in General)

1. Comments

19. Master of Orion

1. Comments

20. The Deal of the Century (or, The Alliance of Losers)

1. Comments

21. Myst (or, The Drawbacks to Success)

1. Comments

22. The 68000 Wars, Part 6: The Unraveling

1. Comments

23. Lemmings 2: The Tribes

1. Comments

24. The (7th) Guest’s New Clothes

1. Comments

25. The Shareware Scene, Part 1: The Pioneers

1. Comments

26. The Shareware Scene, Part 2: The Question of Games

1. Comments

27. The Shareware Scene, Part 3: The id Boys

1. Comments

28. The Shareware Scene, Part 4: DOOM

1. Comments

29. The Shareware Scene, Part 5: Narratives of DOOM

1. Comments

An Unlikely Savior
April 19, 2019

Activision Blizzard is the largest game publisher in the Western world today, generating a staggering $7.5 billion in revenue every year. Along with the only slightly smaller behemoth Electronic Arts and a few Japanese competitors, Activision for all intents and purposes is the face of gaming as a mainstream, mass-media phenomenon. Even as the gaming intelligentsia looks askance at Activision for their unshakeable fixation on sequels and tried-and-true formulas, the general public just can’t seem to get enough Call of Duty, Guitar Hero, World of Warcraft, and Candy Crush Saga. Likewise, Bobby Kotick, who has sat in the CEO’s chair at Activision for over a quarter of a century now, is as hated by gamers of a certain progressive sensibility as he is loved by the investment community.

But Activision’s story could have — perhaps by all rights should have — gone very differently. When Kotick became CEO, the company was a shambling wreck that hadn’t been consistently profitable in almost a decade. Mismanagement combined with bad luck had driven it to the ragged edge of oblivion. What to a large degree saved Activision and made the world safe for World of Warcraft was, of all things, a defunct maker of text adventures which longtime readers of this ongoing history have gotten to know quite well. The fact that Infocom, the red-headed stepchild a previous Activision CEO had never wanted, is directly responsible for Activision’s continuing existence today is one of the strangest aspects of both companies’ stories.

The reinvention of Activision engineered by Bobby Kotick in the early 1990s was actually the company’s third in less than a decade.

Activision 1.0 was founded in 1979 by four former Atari programmers known as the “Fantastic Four,” along with a former music-industry executive named Jim Levy. Their founding tenets were that Atari VCS owners deserved better games than the console’s parent was currently giving them, and that Atari VCS game programmers deserved more recognition and more money than were currently forthcoming from the same source. They parlayed that philosophy into one of the most remarkable success stories of the first great videogame boom; their game Pitfall! alone sold more than 4 million copies in 1982. It would, alas, be a long, long time before Activision would enjoy success like that again.

Following the Great Videogame Crash of 1983, Levy tried to remake Activision into a publisher of home-computer games with a certain high-concept, artsy air. But, while the ambitions of releases like Little Computer People, Alter Ego, and Portal still make them interesting case studies today, Activision 2.0 generated few outright hits. Six months after Levy had acquired Infocom, the preeminent maker of artsy computer games, in mid-1986, he was forced out by his board.

Levy’s replacement was a corporate lawyer named Bruce Davis. He nixed the artsy fare, doubled down on licensed titles, and tried to establish Activision 3.0 as a maker of mass-market general-purpose computer software as well as games. Eighteen months into his tenure, he changed the company’s name to Mediagenic to reflect this new identity. But the new products were, like the new name, mostly bland in a soulless corporate way that, in the opinion of many, reflected Davis’s own personality all too accurately. By decade’s end, Mediagenic was regarded as an important player within their industry at least as much for their distributional clout, a legacy of their early days of Atari VCS success, as for the games and software they published under their own imprint. A good chunk of the industry used Mediagenic’s network to distribute their wares as members of the company’s affiliated-labels program.

Then the loss of a major lawsuit, combined with a slow accretion of questionable decisions from Davis, led to a complete implosion in 1990. The piggy bank provided by Activision 1.0’s success had finally run dry, and most observers assumed that was that for Mediagenic — or Activision, or whatever they preferred to call themselves today.

But over the course of 1991, a fast-talking wiz kid named Bobby Kotick seized control of the mortally wounded mastodon and put it through the wringer of bankruptcy. What emerged by the end of that year was so transformed as to raise the philosophical question of whether it ought to be considered the same entity at all. The new company employed just 10 percent as many people as the old (25 rather than 250) and was headquartered in a different region entirely (Los Angeles rather than Silicon Valley). It even had a new name — or, rather, an old one. Perhaps the smartest move Kotick ever made was to reclaim the company’s old appellation of “Activision,” still redolent for many of the nostalgia-rich first golden age of videogames, in lieu of the universally mocked corporatese of “Mediagenic.” Activision 4.0, the name reversion seemed to say, wouldn’t be afraid of their heritage in the way that versions 2.0 and 3.0 had been. Nor would they be shy about labeling themselves a maker of games, full stop; Mediagenic’s lines of “personal-productivity” software and the like were among the first things Kotick trashed.

Kotick was still considerably short of his thirtieth birthday when he took on the role of Activision’s supreme leader, but he felt like he’d been waiting for this opportunity forever. He’d spent much of the previous decade sniffing around at the margins of the industry, looking for a way to become a mover and shaker of note. (In 1987, for instance, at the tender age of 24, he’d made a serious attempt to scrape together a pool of investors to buy the computer company Commodore.) Now, at last, he had his chance to be a difference maker.

It was indeed a grand chance, but it was also an extremely tenuous one. He had been able to save Activision — save it for the time being, that is — only by mortgaging some 95 percent of it to its numerous creditors. These creditors-cum-investors were empowered to pull the plug at any time; Kotick himself maintained his position as CEO only by their grace. He needed product to stop the bleeding and add some black to the sea of red ink that was Activision’s books, thereby to show the creditors that their forbearance toward this tottering company with a snot-nosed greenhorn at the head hadn’t been a mistake. But where was said product to come from? Activision was starved for cash even as the typical game-development budget in the industry around them was increasing almost exponentially year over year. And it wasn’t as if third-party developers were lining up to work with them; they’d stiffed half the industry in the process of going through bankruptcy.

To get the product spigot flowing again, Kotick found a partner to join him in the executive suite. Peter Doctorow had spent the last six years or so with Accolade (a company ironically founded by two ex-Activision developers in 1984, in a fashion amusingly similar to the way that restless Atari programmers had begotten Activision). In the role of product-development guru, Doctorow had done much to create and maintain Accolade’s reputation as a maker of attractive and accessible games with natural commercial appeal. Activision, on the other hand, hadn’t enjoyed a comparable reputation since the heyday of the Atari VCS. Jumping ship from the successful Accolade to an Activision on life support would have struck most as a fool’s leap, but Kotick could be very persuasive. He managed to tempt Doctorow away with the title of president and the promise of an opportunity to build something entirely new from the ground up.

Of course, building materials for the new thing could and should still be scrounged from the ruins of Mediagenic whenever possible. After arriving at Activision, Doctorow thus made his first priority an inventory of what he already had to work with in the form of technology and intellectual property. On the whole, it wasn’t a pretty picture. Activision had never been particularly good at spawning the surefire franchises that gaming executives love. There were no Leisure Suit Larrys or Lord Britishes lurking in their archives — much less any Super Marios. Pitfall!, the most famous and successful title of all from the Atari VCS halcyon days, might be a candidate for revival, but its simple platforming charms were at odds with where computer gaming was and where it seemed to be going in the early 1990s; the talk in the industry was all about multimedia, live-action video, interactive movies, and story, story, story. Pitfall! would have been a more natural fit on the consoles, but Kotick and Doctorow weren’t sure they had the resources to compete as of yet in those hyper-competitive, expensive-to-enter walled gardens. Their first beachhead, they decided, ought to be on computers.

In that context, there were all those old Infocom games… was there some commercial potential there? Certainly Zork still had more name recognition than any property in the Activision stable other than Pitfall!.

Ironically, the question of a potential Infocom revival would have been moot if Bruce Davis had gotten his way. He had never wanted Infocom, having advised his predecessor Jim Levy strongly against acquiring them when he was still a mere paid consultant. When Infocom delivered a long string of poor-selling games over the course of 1987 and 1988, he felt vindicated, and justified in ordering their offices closed permanently in the spring of 1989.

Even after that seemingly final insult, Davis continued to make clear his lack of respect for Infocom. During the mad scramble for cash preceding the ultimate collapse of Mediagenic, he called several people in the industry, including Ken Williams at Sierra and Bob Bates at the newly founded Legend Entertainment, to see if they would be interested in buying the whole Infocom legacy outright — including games, copyrights, trademarks, source code, and the whole stack of development tools. He dropped his asking price as low as $25,000 without finding a taker; the multimedia-obsessed Williams had never had much interest in text adventures, and Bates was trying to get Legend off the ground and simply didn’t have the money to spare.

When a Mediagenic producer named Kelly Zmak learned what Davis was doing, he told him he was crazy. Zmak said that he believed there was still far more than $25,000 worth of value in the Infocom properties, in the form of nostalgia if nothing else. He believed there would be a market for a compilation of Infocom games, which were now available only as pricey out-of-print collectibles. Davis was skeptical — the appeal of Infocom’s games had always been lost on him — but told Zmak that, if he could put such a thing together for no more than $10,000, they might as well give it a try. Any port in a storm, as they say.

As it happened, Mediagenic’s downfall was complete before Zmak could get his proposed compilation into stores. But he was one of the few who got to keep his job with the resurrected company, and he made it clear to his new managers that he still believed there was real money to be made from the Infocom legacy. Kotick and Doctorow agreed to let him finish up his interrupted project.

And so one of the first products from the new Activision 4.0 became a collection of old games from the eras of Activision 3.0, 2.0, and even 1.0. It was known as The Lost Treasures of Infocom, and first entered shops very early in 1992.

Activision’s stewardship of the legacy that had been bequeathed to them was about as respectful as one could hope for under the circumstances. The compilation included 20 of the 35 canonical Infocom games. The selection felt a little random; while most of the really big, iconic titles — like all of the Zork games, The Hitchhiker’s Guide to the Galaxy, the Enchanter trilogy, and Planetfall — were included, the 100,000-plus-selling Leather Goddesses of Phobos and Wishbringer were oddly absent. The feelies that had been such an important part of the Infocom experience were reduced to badly photocopied facsimiles lumped together in a thick, cheaply printed black-and-white manual — if, that is, they made the package at all. The compilers’ choices of which feelies ought to be included were as hit-and-miss as their selection of games, and in at least one case — that of Ballyhoo — the loss of an essential feelie rendered a game unwinnable without recourse to outside resources. Hardcore Infocom fans had good reason to bemoan this ugly mockery of the original games’ lovingly crafted packaging. “Where is the soul?” asked one of them in print, speaking for them all.

But any real or perceived lack of soul didn’t stop people from buying the thing. In fact, people bought it in greater numbers than even Kelly Zmak had dared to predict. At least 100,000 copies of The Lost Treasures of Infocom were sold — numbers better than any individual Infocom game had managed since 1986 — at a typical street price of about $60. With a response like that, Activision wasted no time in releasing most of the remaining games as The Lost Treasures of Infocom II, to sales that were almost as good. Along with Legend Entertainment’s final few illustrated text adventures, Lost Treasures I and II mark the last gasps of interactive fiction as a force in mainstream commercial American computer gaming.

The Lost Treasures of Infocom — the only shovelware compilation ever to spark a full-on artistic movement.

Yet these two early examples of the soon-to-be-ubiquitous practice of the shovelware compilation constitute a form of beginning as well as ending.  By collecting the vast majority of the Infocom legacy in one place, they cemented the idea of an established Infocom canon of Great Works, providing all those who would seek to make or play text adventures in the future with an easily accessible shared heritage from which to draw. For the Renaissance of amateur interactive fiction that would take firm hold by the mid-1990s, the Lost Treasures would become a sort of equivalent to what The Complete Works of William Shakespeare means to English literature. Had such heretofore obscure but groundbreaking Infocom releases as, say, Nord and Bert Couldn’t Make Head or Tail of It and Plundered Hearts not been collected in this manner, it’s doubtful whether they ever could have become as influential as they would eventually prove. Certainly a considerable percentage of the figures who would go on to make the Interactive Fiction Renaissance a reality completed their Infocom collection or even discovered the company’s rich legacy for the first time thanks to the Lost Treasures compilations.

Brian Eno once famously said that, while only about 30,000 people bought the Velvet Underground’s debut album, every one of them who did went out and started a band. A similar bit of hyperbole might be applied to the 100,000-and-change who bought Lost Treasures. These compilations did much to change perceptions of Infocom, from a mere interesting relic of an earlier era of gaming into something timeless and, well, canonical — a rich literary tradition that deserved to be maintained and further developed. It’s fair to ask whether the entire vibrant ecosystem of interactive fiction that remains with us today, in the form of such entities as the annual IF Comp and the Inform programming language, would ever have come to exist absent the Lost Treasures. Their importance to everything that would follow in interactive fiction is so pronounced that anecdotes involving them will doubtless continue to surface again and again as we observe the birth of a new community built around the love of text and parsers in future articles on this site.

For Activision, on the other hand, the Lost Treasures compilations made a much more immediate and practical difference. What with their development costs of close to zero and their no-frills packaging that hadn’t cost all that much more to put together, every copy sold was as close to pure profit as a game could possibly get. They made an immediate difference to Activision’s financial picture, giving them some desperately needed breathing room to think about next steps.

Observing the success of the compilations, Peter Doctorow was inclined to return to the Infocom well again. In fact, he had for some time now been eyeing Leather Goddesses of Phobos, Infocom’s last genuine hit, with interest. In the time since it had sold 130,000 copies in 1986, similarly risqué adventure games had become a profitable niche market: Sierra’s Leisure Suit Larry series, Legend’s Spellcasting series, and Accolade’s Les Manley series had all done more or less well. There ought to be a space, Doctorow reasoned, for a sequel to the game which had started the trend by demonstrating that, in games as just about everywhere else, Sex Sells. Hewing to this timeless maxim, he had made a point of holding the first Leather Goddesses out of the Lost Treasures compilations in favor of giving it its own re-release as a standalone $10 budget title — the only one of the old Infocom games to be accorded this honor.

Doctorow had a tool which he very much wanted to use in the service of a new adventure game. Whilst casting through the odds and ends of technology left over from the Mediagenic days, he had come upon something known as the Multimedia Applications Development Environment, the work of a small internal team of developers headed by one William Volk. MADE had been designed to facilitate immersive multimedia environments under MS-DOS that were much like the Apple Macintosh’s widely lauded HyperCard environment. In fact, Mediagenic had used it just before the wheels had come off to publish a colorized MS-DOS port of The Manhole, Rand and Robyn Miller’s unique HyperCard-based “fantasy exploration for children of all ages.” Volk and most of his people were among the survivors from the old times still around at the new Activision, and the combination of the MADE engine with Leather Goddesses struck Doctorow as a commercially potent one. He thus signed Steve Meretzky, designer of the original game, to write a sequel to this second most popular game he had ever worked on. (The most popular of all, of course, had been Hitchhiker’s, which was off limits thanks to the complications of licensing.)

But from the beginning, the project was beset by cognitive dissonance, alongside extreme pressure, born of Activision’s precarious finances, to just get the game done as quickly as possible. Activision’s management had decided that adventure games in the multimedia age ought to be capable of appealing to a far wider, less stereotypically eggheaded audience than the games of yore, and therefore issued firm instructions to Meretzky and the rest of the development team to include only the simplest of puzzles. Yet this prioritization of simplicity above all else rather belied the new game’s status as a sequel to an Infocom game which, in addition to its lurid content, had featured arguably the best set of interlocking puzzles Meretzky had ever come up with. The first Leather Goddesses had been a veritable master class in classic adventure-game design. The second would be… something else.

Which isn’t to say that the sequel didn’t incorporate some original ideas of its own; they were just orthogonal to those that had made the original so great. Leather Goddesses of Phobos 2: Gas Pump Girls Meet the Pulsating Inconvenience from Planet X really wanted to a be a CD-based title, but a critical mass of CD-ROM-equipped computers just wasn’t quite there yet at the time it was made. So, when it shipped in May of 1992 it filled 17 (!) floppy disks, using the space mostly for, as Activision’s advertisements proudly trumpeted in somewhat mangled diction, “more than an hour of amazing digital sound track!” Because a fair number of MS-DOS computer owners still didn’t have sound cards at this point, and because a fair proportion of those that did had older models of same that weren’t up to the task of delivering digitized audio as opposed to synthesized sounds and music, Activision also included a “LifeSize Sound Enhancer” in every box — a little gadget with a basic digital-to-analog circuit and a speaker inside it, which could be plugged into the printer port to make the game talk. This addition pushed the price up into the $60 range, making the game a tough sell for the bare few hours of content it offered — particularly if you already had a decent sound card and thus didn’t even need the hardware gadget you were being forced to pay for. Indeed, thanks to those 17 floppy disks, Leather Goddesses 2 would come perilously close to taking most gamers longer to install than it would to actually play.

That said, brevity was among the least of the game’s sins: Leather Goddesses 2 truly was a comprehensive creative disaster. The fact that this entire game was built from an overly literal interpretation of a tossed-off joke at the end of its predecessor says it all really. Meretzky’s designs had been getting lazier for years by the time this one arrived, but this game, his first to rely solely on a point-and-click interface, marked a new low for him. Not only were the brilliant puzzles that used to do at least as much as his humor to make his games special entirely absent, but so was all of the subversive edge to his writing. To be fair, Activision’s determination to make the game as accessible as possible — read, trivially easy — may have largely accounted for the former lack. Meretzky chafed at watching much of the puzzle design — if this game’s rudimentary interactivity can even be described using those words — get put together without him in Activision’s offices, a continent away from his Boston home. The careless writing, however, is harder to make excuses for.

In the tradition of the first Leather Goddesses, the sequel lets you choose to play as a man or a woman — or, this time, as an alien of indeterminate sex.

Still, this game is obviously designed for the proverbial male gaze. The real question is, why were all these attempts to be sexy in games so painfully, despressingly unsexy? Has anyone ever gotten really turned on by a picture like this one?

Earlier Meretzky games had known they were stupid, and that smart sense of self-awareness blinking through between the stupid had been their saving grace when they wandered into questionable, even borderline offensive territory. This one, on the other hand, was as introspective as one of the bimbos who lived within it. Was this really the same designer who just seven years before had so unabashedly aimed for Meaning in the most literary sense with A Mind Forever Voyaging? During his time at Infocom, Meretzky had been the Man of 1000 Ideas, who could rattle off densely packed pages full of games he wanted to make when given the least bit of encouragement. And yet by the end of 1992, he had made basically the same game four times in a row, with diminishing returns every time out. Just how far did he think he could ride scantily clad babes and broad innuendo? The shtick was wearing thin.

The women in many games of this ilk appear to be assembled from spare parts that don’t quite fit together properly.

Here, though, that would seem to literally be the case. These two girls have the exact same breasts.

In his perceptive review of Leather Goddesses 2 for Computer Gaming World magazine, Chris Lombardi pointed out how far Meretzky had fallen, how cheap and exploitative the game felt — and not even cheap and exploitative in a good way, for those who really were looking for titillation above all else.

The treatment of sex in LGOP2 seems so gratuitous, and adolescent, and (to use a friend’s favorite adjective for pop music) insipid. The game’s “explicit” visual content is all very tame (no more explicit than a beer commercial, really) and, for the most part, involves rather mediocre images of women in tight shirts, garters, or leather, most with impossibly protruding nipples. It’s the stuff of a Wally Cleaver daydream, which is appropriate to the game’s context, I suppose.

It appears quite innocuous at first, yet as I played along I began to sense an underlying attitude running through it all that can best be seen in the use of a whorehouse in the game. When one approaches this whorehouse, one is served a menu of a dozen or so names to choose from. Choosing a name takes players to a harlot’s room and affords them a “look at the goods.” Though loosely integrated into the storyline, it is all too apparent that it is merely an excuse for a slideshow of more rather average drawings of women.

You have to wonder what Activision was thinking. Do they imagine adults are turned on or, at minimum, entertained by this stuff? If they do, then I think they’ve misunderstood their market. And that must be the case, for the only other possibility is to suggest that their real target market is actually, and more insidiously, a younger, larger slice of the computer-game demographic pie.

On the whole, Lombardi was kinder to the game than I would have been, but his review nevertheless raised the ire of Peter Doctorow, who wrote in to the magazine with an ad hominem response: “It seems clear to me that you must be among those who long for the good old days, when films were black and white, comic books were a dime, and you could get an American-made gas guzzler with a distinct personality, meticulously designed taillights, and a grill reminiscent of a gargantuan grin. Sadly, the merry band that was Infocom can no longer be supported with text adventures.”

It seldom profits a creator to attempt to rebut a reviewer’s opinion, as Doctorow ought to have been experienced enough to know. His graceless accusation of Ludditism, which didn’t even address the real concerns Lombardi stated in his review, is perhaps actually a response to a vocal minority of the Infocom hardcore who were guaranteed to give Activision grief for any attempt to drag a beloved legacy into the multimedia age. Even more so, though, it was a sign of the extreme financial duress under which Activision still labored. Computer Gaming World was widely accepted as the American journal of record for the hobby in question, and their opinions could make or break a game’s commercial prospects. The lukewarm review doubtless contributed to Leather Goddesses of Phobos 2’s failure to sell anywhere near as many copies as the Lost Treasures compilations — and at a time when Activision couldn’t afford to be releasing flops.

So, for more reasons than one, Leather Goddesses 2 would go down in history as an embarrassing blot on the CV of everyone involved. Sex, it seemed, didn’t always sell after all — not when it was done this poorly.

One might have thought that the failure of Leather Goddesses 2 would convince Activision not to attempt any further Infocom revivals. Yet once the smoke cleared even the defensive Doctorow could recognize that its execution had been, to say the least, lacking. And there still remained the counterexample of the Lost Treasures compilations, which were continuing to sell briskly. Activision thus decided to try again — this time with a far more concerted, better-funded effort that would exploit the most famous Infocom brand of all. Zork itself was about to make a splashy return to center stage.

(Sources: Computer Gaming World of April 1992, July 1992, and October 1992; Questbusters of February 1992 and August 1992; Compute! of November 1987; Amazing Computing of April 1992; Commodore Magazine of July 1989; .info of April 1992. Online sources include Roger J. Long’s review of the first Lost Treasures compilation. Some of this article is drawn from the full Get Lamp interview archives which Jason Scott so kindly shared with me. Finally, my huge thanks to William Volk and Bob Bates for sharing their memories and impressions with me in personal interviews.)

Comments
39 Responses

- Brian Bagnall

April 19, 2019 at 4:15 pm

“The real question is, why were all these attempts to be sexy in games so painfully, despressingly unsexy? Has anyone ever gotten really turned on by a picture like this one?” When you’re 15 years old, YES! The art is probably an ode to Barbarella.

- Alex Freeman

April 19, 2019 at 4:27 pm

How fortuitous that just as you put this up about Infocom, Renga in Blue has this announcement:
https://bluerenga.wordpress.com/2019/04/16/all-the-infocom-source-code-is-available-and-other-recent-news/

- Jason Dyer

April 19, 2019 at 6:00 pm

Want some rye? Course you do.

- Lisa H.

April 19, 2019 at 7:42 pm

Who’s like us? Damn few, and they’re all dead!

- Nate

April 19, 2019 at 8:03 pm

Oh man, that was the catchphrase all over my university that year

- Steph C

April 19, 2019 at 6:12 pm

I’ve enjoyed this blog for years, but this marks the point where it’s starting to get into things I actually remember happening at the time they happened. Although I had a copy of ZORK and, I think, a couple of the others prior to Lost Treasures coming out, for the most part, Lost Treasures WAS the Infocom games, to me. (It’s been an experience reading your histories of the others–they were always just there, in a big bunch, so reading about how they were created and their original boxes/feelies and such is a very strange mix of the familiar and the mundane.)

And, oh boy, Return to Zork! I have some very fond memories of that one. I don’t know how it would hold up on a replay, but I’ll never forget Boos.

- Aula

April 19, 2019 at 6:16 pm

“restless Atari programmers had begotton Activision”

should be “begotten”

- Jimmy Maher

April 19, 2019 at 9:09 pm

Thanks!

- xxx

April 19, 2019 at 8:55 pm

(Typo: “ringer” instead of “wringer”.)

- Jimmy Maher

April 19, 2019 at 9:09 pm

Thanks!

- Andrew Pam

April 19, 2019 at 8:58 pm

“through the ringer” is a typo for “wringer”.

- Keith Palmer

April 19, 2019 at 9:00 pm

With the comment on “Star Trek 25th Anniversary” that this chronicle would soon be entering 1993, I did wonder about possible windows for “The Lost Treasures of Infocom” to be mentioned… and as it turned out, it was mentioned before “the 1993 preview.”

I do remember seeing a box for it in a software store late in 1992 and feeling greatly excited by that; I have an impression that not that long before I’d browsed a computer-game book, possibly a guide by John C. Dvorak, that had taken its own nostalgic look back at Infocom but suggested some form of revival was on its way. At that point, the single Infocom game I’d played had been “The Hitchhiker’s Guide to the Galaxy” (and I’d only finished it not that long before, after years of bumping my head against the “tea and no tea” problem, when I learned a friend had its hint book and managed to decipher its developed-yet-faded clues), but the catalog in that game’s box and other bits of “1980s computing flotsam” I’d already run across had left me with an impression of having all but missed out on something well worth having taken in. I went so far as to begin drafting a letter to the last Tandy Color Computer magazine asking if anyone else would be willing to sell their old games (with boxes), but never got it sent off before the magazine folded. At the end of 1992, though, my family did get a Macintosh LC II, and acquired “The Lost Treasures of Infocom” not that long after…

While I acknowledge the unimpressiveness of the packaging (the hint book was a particular problem; with no “magic ink” to be developed, trying to find a first hint meant seeing the solution for just about everything else, which in the end just left me thinking I wasn’t clever enough to solve Infocom-level puzzles), the bundle was absolutely better than nothing. (However, the comment that Moonmist was unsolvable has me thinking I’ve seen the unsolvable game was actually Ballyhoo, its “radio station ad” having been left out of the manual; I did manage to solve the “entry-level” Moonmist.)

- Jimmy Maher

April 19, 2019 at 9:11 pm

Yes, looks like it was Ballyhoo. Thanks!

- Lisa H.

April 20, 2019 at 7:49 pm

which in the end just left me thinking I wasn’t clever enough to solve Infocom-level puzzles

Join the club.

- TT

April 19, 2019 at 11:37 pm

Enjoyed this immensely…really looking forward to this continuing exposition on Activision, thanks very much!

Appreciate your writing style on these.

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- Tom

April 20, 2019 at 9:36 am

risque (add an accent?)

Harder to makes excuses for (omit a letter?)

rather medicore images (flip two letters around?)

Thanks for the entertaining read. I was especially intrigued by the character of Bobby Kotick. Are we going to find out what made him tick in the next installment? And, of course, Steve Meretzky. Will you treat us to some informed conjecture as to why the quality of his output faded like it did?

- Jimmy Maher

April 20, 2019 at 12:25 pm

Thanks!

Not sure I can offer any profound insights into Bobby Kotick. He’s obviously a guy who likes making money and likes power, and is quite good at what he does. Beyond that… well, he’s extremely high-profile, but paradoxically extremely private. He reveals very little in interviews.

I think Meretzky’s later output serves to ironically highlight the value of the “adventure-game production function” Infocom provided. As I’ve said many times now, the real magic of Infocom wasn’t that their designers were so much more naturally brilliant than those at other studios, nor even their technology; it was the *process* they instilled for taking a game from idea to finished product, with constant iterative feedback to the designer along the way. Meretzky benefited from this perhaps even more than most. He could easily slip into lazy habits even while at Infocom when not challenged; Jon Palace, for example, has spoken of having to constantly push Meretzky to go over his prose an extra time or two, to make it cleaner, tighter, and more vivid. The space limitations of the Z-Machine also helped; if you’ve only got a sharply limited number of words to work with, you better make each one count.

After Infocom, Meretzky was seldom challenged to do his best work in the same way. He was now the star designer lending his name to projects, and the dynamic just wasn’t the same. Also — and I do admit that we’re getting dangerously close to psychoanalysis territory here — I think he had a chip in his shoulder that he wasn’t allowed to make the more thematically ambitious games he dreamed of, like his (in)famous Titanic project. But instead of trying to find a middle road between what publishers wanted to publish and what he wanted to do, he just kind of slummed it. And by the time his Planetfall sequel with Activision fell apart amidst lots of squabbling — a story I will get to in somewhat more detail at some point, although not in the next article — he was gaining a reputation for being difficult to work with, which certainly didn’t help him get the projects he really wanted to do off the ground.

All that said, I am fond of some of Meretzky’s 1990s work, such as Superhero League of Hoboken and Hodj ‘n’ Podj. Leather Goddesses 2 was thankfully as bad as it got.

- Tom

April 20, 2019 at 3:30 pm

Thanks for those insights. I very much look forward to the squabbling around the Planetfall sequel.

- Alex Freeman

April 22, 2019 at 5:41 am

The space limitations of the Z-Machine also helped; if you’ve only got a sharply limited number of words to work with, you better make each one count.

I’m reminded of how the crappy hardware of the Soviet Union made Russian become great programmers because they had to make each byte count. Or how some soldiers in WW2 become great at MacGyvering because they had to improvise with what little they had. Maybe there’s a case for giving people too little.

- whomever

April 20, 2019 at 2:52 pm

BTW, jwz@ (of mozilla and various other fame) posted a fascinating anecdote about a somewhat more recent attempt to purchase Infocom to his blog…https://www.jwz.org/blog/2019/04/infocom/

- Bernd

April 25, 2019 at 7:53 am

In the referenced posting, jwz provides a one-liner for cloning all repositories from “historicalsource”. If you only want to clone the repositories with Infocom source code, use the following one-liner:

curl “https://api.github.com/search/repositories?q=user:historicalsource+topic:infocom&per_page=100&page=1″ | grep git_url | cut -d \” -f 4 | xargs -L1 git clone

- Chris

April 20, 2019 at 7:30 pm

and as you mention Infocom:

The source code of all infocom text adventures on github!
https://github.com/historicalsource?after=Y3Vyc29yOnYyOpK5MjAxOS0wNC0xNVQyMDowNDowMy0wNzowMM4KzaKS&language=&q=&tab=repositories&utf8=%E2%9C%93

- David

April 20, 2019 at 8:24 pm

Return to Zork was my favorite game in 1992. I used to put the CD into my then new Sony Discman player and rock out to the soundtrack. I remember getting that guy drunk too in the game. I never beat the game. I wanted to buy the hint book so bad.
Cheers, David

- Rowan Lipkovits

April 20, 2019 at 11:19 pm

“Accolade (a company ironically founded by two ex-Activision developers in 1984, in a fashion amusingly similar to the way that restless Atari programmers had begotten Activision)”

This seems like a good place to repeat the old claim that just as Apple and Activision chose their names so as to appear before Atari in the phone book, so too did Accolade and Absolute Entertainment aim to pre-empt Activision in the same way.

- Rowan Lipkovits

May 16, 2019 at 5:44 pm

While spinning the alphabet yarn, I left out Acclaim from the final list! Is it true, who knows, but I will absolutely tell the most complete version of this story every time, given the chance.

- Rowan

April 20, 2019 at 11:28 pm

“the game which had started the trend by demonstrating that, in games as just about everywhere else, Sex Sells.”

Floored to learn that Phobos predates Leisure Larry (er, you omitted his suit – much as he would prefer, I suspect) … though of course the Softporn Adventure that got Larry underway dates to quite a bit earlier. (But it didn’t exactly set the sales charts on fire, so I understand its omission here.)

- Jimmy Maher

April 21, 2019 at 12:34 am

Woops! Thanks!

Soft Porn was in fact very successful by the standards of its time — but that time was 1981, when home computers were truly in their infancy and a massive hit game might sell 20,000 copies. There was quite a bit of “dirty” software around during this time, but, as investment capital rushed in and the industry professionalized, that sort of thing went away — or at least went underground — for obvious reasons. It was Leather Goddesses in 1986 which showed that you could do very well walking a fine line: naughty enough to get buyers’ attention, but not naughty enough that stores would refuse to stock the product. Sierra in particular took this lesson to heart with Leisure Suit Larry, and the rest is history.

- Alex Freeman

April 22, 2019 at 9:39 pm

Oh, and there’s also the Infocom Cabinet:
https://archive.org/details/infocomcabinet

- Lt. Nitpicker

April 24, 2019 at 5:19 pm

One of the lingering questions I have after reading this article is how were the international divisions of Mediagenic (in the UK) were impacted by their parent’s decline and bankruptcy? You touched on this a little with your piece on Spindizzy Worlds, but I’d be interested to know if you stumbled across more info while doing research for your pieces on Activision “3.0” and its rise from bankruptcy.

- Lt. Nitpicker

April 24, 2019 at 5:21 pm

*(like in the UK)

- Jimmy Maher

April 25, 2019 at 7:49 am

I’m afraid I was pretty laser-focused on the American operation in preparing this article. I do know that Mediagenic’s semi-autonomous European subsidiary was closed amidst all the chaos. Activision 4.0 did, however, start up European distribution again quite quickly. The Lost Treasures of Infocom, for instance, was available in Europe — or at least in Britain — almost as early as it was in the States. I’ve been talking lately with the British Graham Nelson, creator of Curses! and Inform, and he mentioned playing most of Infocom’s games for the first time in 1992 thanks to the Lost Treasures compilations.

- Zurlocker

May 9, 2019 at 1:51 am

Great story! I remember buying Lost Treasures I and II (and the later budget title Classic Text Adventure Masterpieces) at Fry’s Electronics in Sunnyvale as a way to finally build out my Infocom collection. The manual looked like it was derived from photocopies, but still… it was worth every penny. Heck I bought it a again when Lost Treasures came out for iOS. And then a few years ago I bought about two dozen of the old Infocom titles with the original packaging on eBay.

For those interested in the early history of Activision CEO Bobby Kotick, here’s a fun video from 1984 when he and Howard Marks from U of Michigan formed a software company called Arktronics. It was an office / windowing type of software later licensed to Apple. Steve Jobs came out to Ann Arbor and convinced Kotick to focus full-time on the business and drop out of school. The rest is history…

https://gailpellettproductions.com/software-entrepreneurs-84/

- Lisa H.

May 9, 2019 at 4:13 am

Sunnyvale Fry’s? Hello, local!

I don’t know where ours came from. Back in those days I think there was still an Egghead (?) at the Sunnyvale Town Center.

- Cliffy

May 9, 2019 at 5:24 pm

I first learned of the existence of the Lost Treasures compilations some time in ’93 or ’94’s when I, prompted by what I cannot recall, wrote a letter to Peter Doctorow telling him Activision should re-release the Infocom catalogue, and he replied with what appeared to be a self-typed letter informing me that he already had. (The margins were off, a telltale sign in those days that it had been untouched by the secretarial staff.)

Good investment of the stamp, Pete, given that I bought Lost Treasures II, two or three of the later subject-matter collections, and Masterpieces over the next few years.

- Adam Thornton

May 11, 2019 at 6:48 am

LGOP2 remains the only software I have ever returned to the store for a refund.

I saw it at an Egghead or somesuch in Houston. I made sure to ask the clerk, “if it sucks, can I bring it back?” He assured me I could.

I think I bought it on a Friday and returned it the following Monday.

- Tim K.

September 25, 2019 at 2:31 pm

I can personally vouch for one other aspect of the “Lost Treasures” collections’ appeal, besides mere nostalgia. People like me who had previously played Infocom games mostly in the form of pirated copies now had the opportunity to at least partially atone for their past transgressions, by legitimately purchasing those games in a convenient, reasonably priced bundle (notwithstanding the lackluster packaging) – and as a bonus, got to experience other games they may have missed before.

- Tim K.

September 26, 2019 at 6:55 pm

By the way … is anyone here ticked off that the fantastic iOS version of “Lost Treasures of Infocom” doesn’t run on current Apple devices because Activision never authorized its developer, Code Mystics, to upgrade it to a 64-bit app for iOS 11+?

http://www.codemystics.com/products.shtml?19#ios11

- Cory Tobin

January 14, 2020 at 7:16 pm

Hi there,

Peter Doctorow was my next door neighbor when we had moved across town back in 1992. RIP, he was a very great guy. He gave me a sealed copy of the Lost Treasures of Infocom once (wish I still had it, leaving it sealed would have made it historically valuable).

Unfortunately, he succumbed to early onset Alzheimer’s later on in the ’90s. His wife still lives in the same house, my dad sold his house off a few years ago. Coincidentally, his wife, Eileen, was my aunt’s piano teacher back in the ’60s.

Return to Zork
May 3, 2019

Where should we mark the beginning of the full-motion-video era, that most extended of blind alleys in the history of the American games industry? The day in the spring of 1990 that Ken Williams, founder and president of Sierra On-Line, wrote his latest editorial for his company’s seasonal newsletter might be as good a point as any. In his editorial, Williams coined the term “talkies” in reference to an upcoming generation of games which would have “real character voices and no text.” The term was, of course, a callback to the Hollywood of circa 1930, when sound began to come to the heretofore silent medium of film. Computer games, Williams said, stood on the verge of a leap that would be every bit as transformative, in terms not only of creativity but of profitability: “How big would the film industry be today if not for this step?”

According to Williams, the voice-acted, CD-based version of Sierra’s King’s Quest V was to become the games industry’s The Jazz Singer. But voice acting wasn’t the only form of acting which the games of the next few years had in store. A second transformative leap, comparable to that made by Hollywood when film went from black and white to color, was also waiting in the wings to burst onto the stage just a little bit later than the first talkies. Soon, game players would be able to watch real, human actors right there on their monitor screens.

As regular readers of this site probably know already, the games industry’s Hollywood obsession goes back a long way. In 1982, Sierra was already advertising their text adventure Time Zone with what looked like a classic “coming attractions” poster; in 1986, Cinemaware was founded with the explicit goal of making “interactive movies.” Still, the conventional wisdom inside the industry by the early 1990s had shifted subtly away from such earlier attempts to make games that merely played like movies. The idea was now that the two forms of media would truly become one — that games and movies would literally merge. “Sierra is part of the entertainment industry — not the computer industry,” wrote Williams in his editorial. “I always think of books, records, films, and then interactive films.” These categories defined a continuum of increasingly “hot,” increasingly immersive forms of media. The last listed there, the most immersive medium of all, was now on the cusp of realization. How many people would choose to watch a non-interactive film when they had the opportunity to steer the course of the plot for themselves? Probably about as many as still preferred books to movies.

Not all that long after Williams’s editorial, the era of the full-motion-video game began in earnest. The first really prominent exemplar of the species was ICOM Simulations’s Sherlock Holmes Consulting Detective series in 1992, which sent you wandering around Victorian London collecting clues to a mystery from the video snippets that played every time you visited a relevant location. The first volume of this series alone would eventually sell 1 million copies as an early CD-ROM showcase title. The following year brought Return to Zork, The 7th Guest, and Myst as three of the five biggest games of the year; all three of these used full-motion video to a greater or lesser extent. (Myst used it considerably less than the other two, and, perhaps not coincidentally, is the member of the trio that holds up by far the best today.) With success stories like those to look to, the floodgates truly opened in 1994. Suddenly every game-development project — by no means only adventure games — was looking for ways to shoehorn live actors into the proceedings.

But only a few of the full-motion-video games that followed would post anything like the numbers of the aforementioned four games. That hard fact, combined with a technological counter-revolution in the form of 3D graphics, would finally force a reckoning with the cognitive dissonance of trying to build a satisfying interactive experience by mixing and matching snippets of nonmalleable video. By 1997, the full-motion-video era was all but over. Today, few things date a game more instantly to a certain window of time than grainy video of terrible actors flickering over a background of computer-generated graphics. What on earth were people thinking?

Most full-motion-video games are indeed dire, but they’re going to be with us for quite some time to come as we continue to work our way through this history. I wish I could say that Activision’s Return to Zork, my real topic for today, was one of the exceptions to the rule of direness. Sadly, though, it isn’t.

In fact, let me be clear right now: Return to Zork is a terrible adventure game. Under no circumstances should you play it, unless to satisfy historical curiosity or as a source of ironic amusement in the grand tradition of Ed Wood. And even in these special cases, you should take care to play it with a walkthrough in hand. To do anything else is sheer masochism; you’re almost guaranteed to lock yourself out of victory within the first ten minutes, and almost guaranteed not to realize it until many hours later. There’s really no point in mincing words here: Return to Zork is one of the absolute worst adventure-game designs I’ve ever seen — and, believe me, I’ve seen quite a few bad ones.

Its one saving grace, however, is that it’s terrible in a somewhat different way from the majority of terrible full-motion-video adventure games. Most of them are utterly bereft of ideas beyond the questionable one at their core: that of somehow making a game out of static video snippets. You can almost see the wheels turning desperately in the designers’ heads as they’re suddenly confronted with the realization that, in addition to playing videos, they have to give the player something to actually do. Return to Zork, on the other hand, is chock full of ideas for improving upon the standard graphic-adventure interface in ways that, on the surface at any rate, allow more rather than less flexibility and interactivity. Likewise, even the trendy use of full-motion video, which dates it so indelibly to the mid-1990s, is much more calculated than the norm among its contemporaries.

Unfortunately, all of its ideas are undone by a complete disinterest in the fundamentals of game design on the part of the novelty-seeking technologists who created it. And so here we are, stuck with a terrible game in spite of it all. If I can’t quite call Return to Zork a noble failure — as we’ll see, one of its creators’ stated reasons for making it so callously unfair is anything but noble — I can at least convince myself to call it an interesting one.

When Activision decided to make their follow-up to the quickie cash-in Leather Goddesses of Phobos 2 a more earnest, better funded stab at a sequel to a beloved Infocom game, it seemed logical to find themselves a real Infocom Implementor to design the thing. They thus asked Steve Meretzky, whom they had just worked with on Leather Goddesses 2, if he’d like to design a new Zork game for them as well. But Meretzky hadn’t overly enjoyed trying to corral Activision’s opinionated in-house developers from a continent away last time around; this time, he turned them down flat.

Meretzky’s rejection left Activision without a lot of options to choose from when it came to former Imps. A number of them had left the games industry upon Infocom’s shuttering three years before, while, of those that remained, Marc Blank, Mike Berlyn, Brian Moriarty, and Bob Bates were all employed by one of Activison’s direct competitors. Activision therefore turned to Doug Barnett, a freelance artist and designer who had been active in the industry for the better part of a decade; his most high-profile design gig to date had been Cinemaware’s Lords of the Rising Sun. But he had never designed a traditional puzzle-oriented adventure game, as one can perhaps see all too well in the game that would result from his partnership with Activision. He also didn’t seem to have a great deal of natural affinity for Zork. In the lengthy set of notes and correspondence relating to the game’s development which has been put online by The Zork Library, a constant early theme on Activision’s part is the design’s lack of “Zorkiness.” “As it stands, the design constitutes more of a separate and unrelated story, rather than a sequel to the Zork series,” they wrote at one point. “It was noted that ‘Zork’ is the name of a vast ancient underground empire, yet Return to Zork takes place in a mostly above-ground environment.”

In fairness to Barnett, Zork had always been more of a state of mind than a coherent place. With the notable exception of Steve Meretzky, everyone at Infocom had been wary of overthinking a milieu that had originally been plucked out of the air more or less at random. In comparison to other shared worlds — even other early computer-game worlds, such as the Britannia of Richard Garriott’s Ultima series — there was surprisingly little there there when it came Zork: no well-established geography, no well-established history which everybody knew — and, most significantly of all, no really iconic characters which simply had to be included. At bottom, Zork boiled down to little more than a modest grab bag of tropes which lived largely in the eye of the beholder: the white house with a mailbox, grues, Flood Control Dam #3, Dimwit Flathead, the Great Underground Empire itself. And even most of these had their origin stories in the practical needs of an adventure game rather than any higher world-building purpose. (The Great Underground Empire, for example, was first conceived as an abandoned place not for any literary effect but because living characters are hard to implement in an adventure game, while the detritus they leave behind is relatively easy.)

That said, there was a distinct tone to Zork, which was easier to spot than it was to describe or to capture. Barnett’s design missed this tone, even as it began with the gleefully anachronistic, seemingly thoroughly Zorkian premise of casting the player as a sweepstakes winner on an all-expenses-paid trip to the idyllic Valley of the Sparrows, only to discover it has turned into the Valley of the Vultures under the influence of some pernicious, magical evil. Barnett and Activision would continue to labor mightily to make Return to Zork feel like Zork, but would never quite get there.

By the summer of 1992, Barnett’s design document had already gone through several revisions without entirely meeting Activision’s expectations. At this point, they hired one Eddie Dombrower to take personal charge of the project in the role of producer. Like Barnett, Dombrower had been working in the industry for quite some time, but had never worked on an adventure game; he was best known for World Series Major League Baseball on the old Intellivision console and Earl Weaver Baseball on computers. Dombrower gave the events of Return to Zork an explicit place in Zorkian history — some 700 years after Infocom’s Beyond Zork — and moved a big chunk of the game underground to remedy one of his boss’ most oft-repeated objections to the existing design.

More ominously, he also made a comprehensive effort to complicate Barnett’s puzzles, based on feedback from players and reviewers of Leather Goddesses 2, who were decidedly unimpressed with that game’s simple-almost-to-the-point-of-nonexistence puzzles. The result would be the mother of all over-corrections — a topic we’ll return to later.

Unlike Leather Goddess 2, whose multimedia ambitions had led it to fill a well-nigh absurd 17 floppy disks, Return to Zork had been planned almost from its inception as a product for CD-ROM, a technology which, after years of false promises and setbacks, finally seemed to be moving toward a critical mass of consumer uptake. In 1992, full-motion video, CD-ROM, and multimedia computing in general were all but inseparable concepts in the industry’s collective mind. Activision thus became one of the first studios to hire a director and actors and rent time on a sound stage; the business of making computer games had now come to involve making movies as well. They even hired a professional Hollywood screenwriter to punch up the dialog and make it more “cinematic.”

In general, though, while the computer-games industry was eager to pursue a merger with Hollywood, the latter was proving far more skeptical. There was still little money in computer games by comparison with movies, and there was very little prestige — rather the opposite, most would say — in “starring” in a game. The actors which games could manage to attract were therefore B-listers at best. Return to Zork actually collected a more accomplished — or at least more high-profile — cast than most. Among them were Ernie Lively, a veteran supporting player from television shows such as The Dukes of Hazzard; his daughter Robyn Lively, fresh off a six-episode stint as a minor character on David Lynch’s prestigious critic’s darling Twin Peaks; Jason Hervey, who was still playing older brother Wayne on the long-running coming-of-age sitcom The Wonder Years; and Sam Jones, whose big shot at leading-man status had come with the film Flash Gordon back in 1980 and gone with its mixed reception.

If the end result would prove less than Oscar-worthy, it’s for the most part not cringe-worthy either. After all, the cast did consist entirely of acting professionals, which is more than one can say for many productions of this ilk — and certainly more than one can say for the truly dreadful voice acting in Leather Goddess of Phobos 2, Activision’s previous attempt at a multimedia adventure game. While they were hampered by the sheer unfamiliarity of talking directly “to” the invisible player of the game — as Ernie Lively put it, “there’s no one to act off of” — they did a decent job with the slight material they had to work with.

The fact that they were talking to the player rather than acting out scenes with one another actually speaks to a degree of judiciousness in the use of full-motion video on Activision’s part. Rather than attempting to make an interactive movie in the most literal sense — by having a bunch of actors, one of them representing the protagonist, act out each of the player’s choices — Activision went for a more thoughtful mixed-media approach that could, theoretically anyway, eliminate most of the weaknesses of the typical full-motion-video adventure game. For the most part, only conversations involved the use of full-motion video; everything else was rendered by Activision’s pixel artists and 3D modelers in conventional computer graphics. The protagonist wasn’t shown at all: at a time when the third-person view that was the all but universal norm in adventure games, Activision opted for a first-person view.

The debate over whether an adventure-game protagonist ought to be a blank slate which the player can fill with her own personality or an established character which the player merely guides and empathizes with was a longstanding one even at the time when Return to Zork was being made. Certainly Infocom had held rousing internal debates on the subject, and had experimented fairly extensively with pre-established protagonists in some of their games. (These experiments sometimes led to rousing external debates among their fans, most notably in the case of the extensively characterized and tragically flawed protagonist of Infidel, who meets a nasty if richly deserved end no matter what the player does.) The Zork series, however, stemmed from an earlier, simpler time in adventure games than the rest of the Infocom catalog, and the “nameless, faceless adventurer,” functioning as a stand-in for the player herself, had always been its star. Thus Activision’s decision not to show the player’s character in Return to Zork, or indeed to characterize her in any way whatsoever, is a considered one, in keeping with everything that came before.

In fact, the protagonist of Return to Zork never actually says anything. To get around the need, Activision came up with a unique attitude-based conversation engine. As you “talk” to other characters, you choose from three stances — threatening, interested, or bored — and listen only to your interlocutors’ reactions. Not only does your own dialog go unvoiced, but you don’t even see the exact words you use; the game instead lets you imagine your own words. Specific questions you might wish to ask are cleverly turned into concrete physical interactions, something games do much better than abstract conversations. As you explore, you have a camera with which to take pictures of points of interest. During conversations, you can show the entries from your photo album to your interlocutor, perhaps prompting a reaction. You can do the same with objects in your inventory, locations on the auto-map you always carry with you, or even the tape recordings you automatically make of each interaction with each character.

So, whatever else you can say about it, Return to Zork is hardly bereft of ideas. William Volk, the technical leader of the project, was well up on the latest research into interface design being conducted inside universities like MIT and at companies like Apple. Many such studies had concluded that, in place of static onscreen menus and buttons, the interface should ideally pop into existence just where and when the user needed it. The result of such thinking in Return to Zork is a screen with no static interface at all; it instead pops up when you click on an object with which you can interact. Since it doesn’t need the onscreen menu of “verbs” typical of contemporaneous Sierra and LucasArts adventure games, Return to Zork can give over the entirety of the screen to its graphical portrayal of the world.

In addition to being a method of recapturing screen real estate, the interface was conceived as a way to recapture some of the sense of boundless freedom which is such a characteristic of parser-driven text adventures — a sense which can all too easily become lost amidst the more constrained interfaces of their graphical equivalent. William Volk liked to call Return to Zork’s interface a “reverse parser”: clicking on a “noun” in the environment or in your inventory yields a pop-up menu of “verbs” that pertain to it. Taking an object in your “hand” and clicking it on another one yields still more options, the equivalent of commands to a parser involving indirect as well as direct objects. In the first screen of the game, for example, clicking the knife on a vulture gives options to “show knife to vulture,” “throw knife at vulture,” “stab vulture with knife,” or “hit vulture with knife.” There are limits to the sense of possibility: every action had to be anticipated and hand-coded by the development team, and most of them are the wrong approach to whatever you’re trying to accomplish. In fact, in the case of the example just mentioned as well as many others, most of the available options will get you killed; Return to Zork loves instant deaths even more than the average Sierra game. And there are many cases of that well-known adventure-game syndrome where a perfectly reasonable solution to a problem isn’t implemented, forcing you to devise some absurdly convoluted solution that is implemented in its stead. Still, in a world where adventure games were getting steadily less rather than more ambitious in their scope of interactive possibility — to a large extent due to the limitations of full-motion video — Return to Zork was a welcome departure from the norm, a graphic adventure that at least tried to recapture the sense of open-ended possibility of an Infocom game.

Indeed, there are enough good ideas in Return to Zork that one really, really wishes they all could have been tied to a better game. But sadly, I have to stop praising Return to Zork now and start condemning it.

The most obvious if perhaps most forgivable of its sins is that, as already noted, it never really manages to feel like Zork — not, at least, like the classic Zork of the original trilogy. (Steve Meretzky’s Zork Zero, Infocom’s final release to bear the name, actually does share some of the slapstick qualities of Return to Zork, but likewise rather misses the feel of the original.) The most effective homage comes at the very beginning, when the iconic opening text of Zork I appears onscreen and morphs into the new game’s splashy opening credits. It’s hard to imagine a better depiction circa 1993 of where computer gaming had been and where it was going — which was, of course, exactly the effect the designers intended.

Link to video:
https://www.filfre.net/wp-content/uploads/2019/04/rtz1.mp4

Once the game proper gets under way, however, modernity begins to feel much less friendly to the Zorkian aesthetic of old. Most of Zork’s limited selection of physical icons do show up here, from grues to Flood Control Dam #3, but none of it feels all that convincingly Zork-like. The dam is a particular disappointment; what was described in terms perfect for inspiring awed flights of the imagination in Zork I looks dull and underwhelming when portrayed in the cruder medium of graphics. Meanwhile the jokey, sitcom-style dialog that confronts you at every turn feels even less like the original trilogy’s slyer, subtler humor.

This isn’t to say that Return to Zork’s humor doesn’t connect on occasion. It’s just… different from that of Dave Lebling and Marc Blank. By far the most memorable character, whose catchphrase has lived on to this day as a minor Internet meme, is the drunken miller named Boos Miller. (Again, subtlety isn’t this game’s trademark.) He plies you endlessly with whiskey, whilst repeating, “Want some rye? Course you do!” over and over and over in his cornpone accent. It’s completely stupid — but, I must admit, it’s also pretty darn funny; Boos Miller is the one thing everyone who ever played the game still seems to remember about Return to Zork. But, funny though he is, he would be unimaginable in any previous Zork.

Link to video:
https://www.filfre.net/wp-content/uploads/2019/04/rtz3.mp4

Of course, a lack of sufficient Zorkiness need not have been the kiss of death for Return to Zork as an adventure game in the abstract. What really does it in is its thoroughly unfair puzzle design. This game plays like the fever dream of a person who hates and fears adventure games. It’s hard to know where to even start (or end) with this cornucopia of bad puzzles, but I’ll describe a few of them, ranked roughly in order of their objectionability.

The Questionable: At one point, you find yourself needing to milk a cow, but she won’t let you do so with cold hands. Do you need to do something sensible, like, say, find some gloves or wrap your hands in a blanket? Of course not! The solution is to light some of the hay that’s scattered all over the wooden barn on fire and warm your hands that way. For some reason, the whole place doesn’t go up in smoke. This solution is made still more difficult to discover by the way that the game usually kills you every time you look at it wrong. Why on earth would it not kill you for a monumentally stupid act like this one? To further complicate matters, for reasons that are obscure at best you can only light the hay on fire if you first pick it up and then drop it again. Thus even many players who are consciously attempting the correct solution will still get stuck here.

The Absurd: At another point, you find a bra. You have to throw it into an incinerator in order to get a wire out of it whose existence you were never aware of in the first place. How does the game expect you to guess that you should take such an action? Apparently some tenuous linkage with the 1960s tradition of bra burning and, as a justification after the fact, the verb “to hot-wire.” Needless to say, throwing anything else into the incinerator just destroys the object and, more likely than not, locks you out of victory.

The Incomprehensible: There’s a water wheel out back of Boos’s house with a chock holding it still. If you’ve taken the chock and thus the wheel is spinning, and you’ve solved another puzzle that involves drinking Boos under the table (see the video above), a trapdoor is revealed in the floor. But if the chock is in place, the trapdoor can’t be seen. Why? I have absolutely no idea.

Wait! Don’t do it!

The Brutal: In a way, everything you really need to know about Return to Zork can be summed up by its most infamous single puzzle. On the very first screen of the game, there’s a “bonding plant” growing. If you simply pull up the plant and take it with you, everything seems fine — until you get to the very end of the game many hours later. Here, you finally find a use for the plant you’ve been carting around all this time. Fair enough. But unfortunately, you need a living version of it. It turns out you were supposed to have used a knife to dig up the plant rather than pulling or cutting it. Guess what? You now get to play through the whole game again from the beginning.

All of the puzzles just described, and the many equally bad ones, are made still more complicated by the game’s general determination to be a right bastard to you every chance it gets. If, as Robb Sherwin once put it, the original Zork games hate their players, this game has found some existential realm beyond mere hatred. It will let you try to do many things to solve each puzzle, but, of those actions that don’t outright kill you, a fair percentage lock you out of victory in one way or another. Sometimes, as in the case of its most infamous puzzle, it lets you think you’ve solved them, only to pull the rug out from under you much later.

So, you’re perpetually on edge as you tiptoe through this minefield of instant deaths and unwinnable states; you’ll have a form of adventure-game post-traumatic-stress syndrome by the time you’re done, even if you’re largely playing from a walkthrough. The instant deaths are annoying, but nowhere near as bad as the unwinnable states; the problem there is that you never know whether you’ve already locked yourself out of victory, never know whether you can’t solve the puzzle in front of you because of something you did or didn’t do a long time ago.

It all combines to make Return to Zork one of the worst adventure games I’ve ever played. We’ve sunk to Time Zone levels of awful with this one. No human not willing to mount a methodical months-long assault on this game, trying every possibility everywhere, could possibly solve it unaided. Even the groundbreaking interface is made boring and annoying by the need to show everything to everyone and try every conversation stance on everyone, always with the lingering fear that the wrong stance could spoil your game. Adventure games are built on trust between player and designer, but you can’t trust Return to Zork any farther than you can throw it. Amidst all the hand-wringing at Activision over whether Return to Zork was or was not sufficiently Zorky, they forgot the most important single piece of the Infocom legacy: their thoroughgoing commitment to design, and the fundamental respect that commitment demonstrated to the players who spent their hard-earned money on Infocom games.  “Looking back at the classics might be a good idea for today’s game designers,” wrote Computer Gaming World’s Scorpia at the conclusion of her mixed review of Return to Zork. “Good puzzle construction, logical development, and creative inspiration are in rich supply on those dusty disks.” None of these, alas, is in correspondingly good supply in Return to Zork.

The next logical question, then, is just how Return to Zork’s puzzles wound up being so awful. After all, this game wasn’t the quickie cash grab that Leather Goddesses of Phobos 2 had been. The development team put serious thought and effort into the interface, and there were clearly a lot of people involved with this game who cared about it a great deal — among them Activision’s CEO Bobby Kotick, who was willing to invest almost $1 million to bring the whole project to fruition at a time when cash was desperately short and his creditors had him on a short leash indeed.

The answer to our question apparently comes down to the poor reception of Leather Goddesses 2, which had stung Activision badly. In an interview given shortly before Return to Zork’s release, Eddie Dombrower said that, “based on feedback that the puzzles in Leather Goddesses of Phobos [2] were too simple,” the development team had “made the puzzles increasingly difficult just by reworking what Doug had already laid out for us.” That sounds innocent enough on the face of it. But, speaking to me recently, William Volk delivered a considerably darker variation on the same theme. “People hated Leather Goddesses of Phobos 2 — panned it,” he told me. “So, we decided to wreak revenge on the entire industry by making Return to Zork completely unfair. Everyone bitches about that title. There’s 4000 videos devoted to Return to Zork on YouTube, most of which are complaining because the title is so blatantly unfair. But, there you go. Something to pin my hat on. I made the most unfair game in history.”

For all that I appreciate Volk sharing his memories with me, I must confess that my initial reaction to this boast was shock, soon to be followed by genuine anger at the lack of empathy it demonstrates. Return to Zork didn’t “wreak revenge” on its industry, which really couldn’t have cared less. It rather wreaked “revenge,” if that’s the appropriate word, on the ordinary gamers who bought it in good faith at a substantial price, most of whom had neither bought nor commented on Leather Goddesses 2. I sincerely hope that Volk’s justification is merely a case of hyperbole after the fact. If not… well, I really don’t know what else to say about such juvenile pettiness, so symptomatic of the entitled tunnel vision of so many who are fortunate enough to work in technology, other than that it managed to leave me disliking Return to Zork even more. Some games are made out of an openhearted desire to bring people enjoyment. Others, like this one, are not.

I’d like to be able to say that Activision got their comeuppance for making Return to Zork such a bad game, demonstrating such contempt for their paying customers, and so soiling the storied Infocom name in the process. But exactly the opposite is the case. Released in late 1993, Return to Zork became one of the breakthrough titles that finally made the CD-ROM revolution a reality, whilst also carrying Activision a few more steps back from the abyss into which they’d been staring for the last few years. It reportedly sold 1 million copies in its first year — albeit the majority of them as a bundled title, included with CD-ROM drives and multimedia upgrade kits, rather than as a boxed standalone product. “Zork on a brick would sell 100,000 copies,” crowed Bobby Kotick in the aftermath.

Perhaps. But more likely not. Even within the established journals of computer gaming, whose readership probably didn’t constitute the majority of Return to Zork’s purchasers, reviews of the game were driven more by enthusiasm for its graphics and sound, which really were impressive in their day, than by Zork nostalgia. Discussed in the euphoria following its release as the beginning of a full-blown Infocom revival, Return to Zork would instead go down in history as a vaguely embarrassing anticlimax to the real Infocom story. A sequel to Planetfall, planned as the next stage in the revival, would linger in Development Hell for years and ultimately never get finished. By the end of the 1990s, Zork as well would be a dead property in commercial terms.

Rather than having all that much to do with its Infocom heritage, Return to Zork’s enormous commercial success came down to its catching the technological zeitgeist at just the right instant, joining Sherlock Holmes Consulting Detective, The 7th Guest, and Myst as the perfect flashy showpieces for CD-ROM. Its success conveyed all the wrong messages to game publishers like Activision: that multimedia glitz was everything, and that design really didn’t matter at all.

If it stings a bit that this of all games, arguably the worst one ever to bear the Infocom logo, should have sold better than any of the rest of them, we can comfort ourselves with the knowledge that Quality does have a way of winning out in the end. Today, Return to Zork is a musty relic of its time, remembered if at all only for that “want some rye?” guy. The classic Infocom text adventures, on the other hand, remain just that — widely recognized as timeless classics, their clean text-only presentations ironically much less dated than all of Return to Zork’s oh-so-1993 multimedia flash. Justice does have a way of being served in the long run.

(Sources: the book Return to Zork Adventurer’s Guide by Steve Schwartz; Computer Gaming World of February 1993, July 1993, November 1993, and January 1994; Questbusters of December 1993; Sierra News Magazine of Spring 1990; Electronic Games of January 1994; New Media of June 24 1994. Online sources include The Zork Library’s archive of Return to Zork design documents and correspondence, Retro Games Master’s interview with Doug Barnett, and Matt Barton’s interview with William Volk. Some of this article is drawn from the full Get Lamp interview archives which Jason Scott so kindly shared with me. Finally, my huge thanks to William Volk for sharing his memories and impressions with me in a personal interview.)

Comments
62 Responses

- Andrew Pam

May 3, 2019 at 6:01 pm

At one point you referred to “Beyond Zork” instead of “Return to Zork”, which is a different game in the series. :)

- Andrew Pam

May 3, 2019 at 6:21 pm

Reading further, it’s only the first reference to “Beyond Zork” that looks erroneous.

- Jimmy Maher

May 3, 2019 at 6:22 pm

Thanks!

- Andrew Pam

May 3, 2019 at 6:07 pm

“who at been active” is a typo for “who had been active”.

- tuatara21

May 3, 2019 at 6:18 pm

Dornbrower should be “Dombrower”

- Jimmy Maher

May 3, 2019 at 6:23 pm

Thanks!

- Aula

May 3, 2019 at 6:24 pm

“one of the first studios hire a director”

should be “to hire”

“everyone who ever played the play”

probably should be “played the game”

- Jimmy Maher

May 3, 2019 at 6:31 pm

Thanks!

- Ken Brubaker

May 3, 2019 at 6:35 pm

blank state should be blank slate

- Jimmy Maher

May 3, 2019 at 6:40 pm

Yikes! Lots of problems this time. Thanks!

- Arthurdawg

May 3, 2019 at 7:15 pm

I haven’t commented recently, but I’ll add a comment that your blog posts are the highlight of my Friday!

Really enjoying your series on the pyramids as well.

- Eric Nyman

May 3, 2019 at 7:56 pm

I’m really enjoying your blog. Fantastically well written a well researched, and one of the first pages I turn to every Friday.

A couple of corrections–

Ernie Lively actually played Cooter’s cousin (who would fill in for Cooter on occasion at his shop) in the Dukes of Hazzard. Cooter was played by Ben Jones, who later went on to become a Congressman from Georgia.

There is a way to get another bonding plant if you inadvertently kill the first one, and there is a subtle clue as to how to do it, but I agree that on balance it’s an unfair puzzle, even if not quite as awful as described.

I agree that Return to Zork did have a nice interface for a graphical adventure, providing for a more interactive experience than games such as Myst or the 7th Guest and their many imitators. Unfortunately, other than the LucasArts adventures, I’m not aware of any other adventure games that provided this level of interactivity. It’s too bad it didn’t catch on like Myst’s interface did.

As scathing as your review was, you didn’t even mention the absurdity of the game’s final puzzle. In addition to its ridiculous premise, there was also a bug that would occasionally cause the bridge to not rise even after throwing all of one’s inventory into the chasm.

- Jimmy Maher

May 3, 2019 at 8:09 pm

Show me not to rely on Computer Gaming World for descriptions of who played whom in Hollywood. (Why did I even need to learn this lesson, you ask? Good question!) Thanks!

Not sure I’d draw a big distinction between the interface of LucasArts and others during this period; they also steadily pared back their interface over the course of the 1990s. But their games themselves, of course, remained almost uniformly better designed than the competition. It really is a pity that the Return to Zork interface was mated to such an awful game. If the game had shown it off to better effect, it might have been taken more seriously and become more influential. A *good* designer could have done a lot with it.

The design of this game, on the other hand, is so nonsensical that it can be really hard to figure out what’s a bug and what’s intentional. ;)

- Joe Pranevich

May 3, 2019 at 8:09 pm

I have been dreading this post for months. Because, you are right. And I know you are right. And yet, as a 16-year old player of this game I loved it. It’s not the only adventure that I played as a kid and it’s probably not the one that most influenced me, but boy have I remembered it (with rose-tinted glasses) for the last 26 years. Want some rye? Of course you do!

This game, or rather what it represents, has been something of a curious obsession for me for the last two years. I think you are are aware of this, but I have been researching, playing, and writing about the entire Infocom canon for the last two years with *this* game as my target.

Thus far, I have researched/played the first 27 pieces of Infocom media. That’s every game up to Ballyhoo, starting with mainframe Zork. I have spent hours trying to get cross-table joins working in Cornerstone. I’ve played Fooblitzky over WebEx. I’ve chosen-my-own adventure with Merezky’s Zork books. I have 38 bits of media left until “Return to Zork” and I expect that will take be another two years more.

I’m looking forward to getting to the end of my little marathon and I fully expect that I will feel the same way about RtS as you do. And when I get there, I hope I have the peace of mind to remind myself that it was not the destination, but the friend we made along the way…

- Jimmy Maher

May 3, 2019 at 8:15 pm

Hey, afterward you can still play Zork Nemesis and Zork Grand Inquisitor. The latter especially is actually pretty darn good — the best Zork since Zork III in my opinion. Not a bad send-off for the Infocom name.

- Joe Pranevich

May 3, 2019 at 8:37 pm

I have never played Grand Inquisitor (or Undiscovered Underground) and am looking forward to it! (Even if “Legends of Zork” was released later.)

For the morbidly curious, my road map is here https://docs.google.com/spreadsheets/d/1ZcTBA1B47Ez56TvF2YM2G8p2gk7LXUb16wtksr5FJ0A/edit?usp=sharing My plan includes at least looking at games that were only sold by Infocom as a label although I’m not sure whether I will play them all to conclusion or even tell anyone about it if I did…

- Lisa H.

May 4, 2019 at 4:09 am

I agree with Jimmy that GI is pretty good. The humor does still tend to be a little too goofy, but I think it got the tone better than RtZ (and especially better than Nemesis, which is basically totally unrelated to Zork IMO).

- Mark Williams

June 6, 2019 at 3:15 pm

I also played this to the end, but on floppy disk! Same game, without the videos.

Zork Nemesis is my favorite IF ever, but has nothing to do with the Zork universe. Great atmosphere. ZGI is much more Zork-like and genuinely funny.

- John

July 31, 2019 at 1:53 am

I never played Grand Inquisitor and am surprised to hear it praised. Will you review it and Zork Nemesis? More importantly, will you review the NeverWinterNights2 adaptation of Zork1?

- Jimmy Maher

July 31, 2019 at 4:41 am

Absolutely on the first question. On the second… well, that’s the first I’ve heard of it, and it’s a hell of a long way off anyway.

- John

July 31, 2019 at 2:49 pm

Yes.. I think it’s maybe 5 years old at most. But for a modern Zork game, it’s quite impressive and you should definitely give it a try.

- Ross

July 31, 2019 at 8:34 pm

I remember at the time everyone was very surprised by how good ZGI was. It was widely regarded as “Wait, they can still do a GOOD Zork game?”

- Sam L-L

May 3, 2019 at 8:57 pm

As someone who got this as a Christmas present as an 11 year old, and it being my first introduction to Zork anything, I have to say that all your harsh criticisms are completely on target.

One thing to add in its favor – the music was actually really good, I thought – evocative and memorable. Plus, it was present as audio tracks on the CD so you could actually pop the disk into a normal CD player and listen to it! (I’m sure I spent much more time with the music on in the background than I ever did actually playing the game.)

- Jimmy Maher

May 3, 2019 at 9:04 pm

Without getting all “think of the children!” on you, it’s the kids who got saddled with this game that I really feel for. I can find little ethical distinction between knowingly selling a broken, unfair game and selling a defective product of any other sort. There a basic degree of due diligence that the customer ought to be able to expect from a $50 commercial product. It still baffles me that the games industry struggled for so long to recognize this. Maybe somebody needed to sue…

- Sig

May 7, 2019 at 3:34 am

Sam L-L, I would have written basically this exact comment, except I think I was like 14 or 15. RtZ came with a multimedia upgrade kit for our 486SX, and we played the hell out of it. The sheer joy when I finally figured out the significance of the potted plant and could get past the “Want some rye?” prompt is something I still remember. And I still have the music in my collection and find myself humming pieces from time to time. My only solace is I didn’t realize just how terrible it really was at the time. My wife and I played it through years later using a walk through and were flabbergasted at the leaps of logic required.

- Alex Freeman

May 3, 2019 at 11:32 pm

So if you had to make a list of the ten worst adventure games you’ve ever played, where would Return to Zork and Time Zone be on it? Which game would be #1?

- Jimmy Maher

May 4, 2019 at 7:01 am

I’m not generally onboard with the Internet’s need to rank and quantify everything. But yeah, these two leave me with a really bad taste in my mouth. Some games wind up bad in spite of everyone trying really hard to make them great; some games wind up bad because, while the people making them would *like* them to be great, they weren’t quite willing or able to expend the time and energy required; and some games wind up bad because the people making them just didn’t give a shit. I can muster sympathy for the first or to some extent even the second scenario. Not so much for the third.

- Keith Palmer

May 4, 2019 at 12:45 am

I did play Return to Zork not that long after it appeared (it was ported to the Macintosh), but don’t remember much of the experience (at least not given the way others are tossing that catchphrase around); I know I must have found and used a walkthrough given what you described. Still, the manual collecting the bits of “Zork lore” from the previous adventures did hold my interest (given I’d worked my way through them with “The Lost Treasures of Infocom”). Mentioning Myst gets my attention, anyway, although there I’ll have to admit to a bit of look-ahead apprehension remembering how my personal reaction compared to certain almost-contemporary takes on it…

- Lisa H.

May 4, 2019 at 5:07 am

If the end result would prove less than Oscar-worthy, it’s for the most part not cringe-worthy either.

Ehhh… well, YMMV, I guess. I mean, it’s kinda hammy. Although I suppose it’s not at bad as the 7th Guest, which has often made me think “oh, augh, please stop” as I’ve watched my husband play the 25th anniversary release lately (I never played it at the time).

At another point, you find a bra. You have to throw it into an incinerator in order to get a wire out of it whose existence you were never aware of in the first place.

*cue bra-wearers in the audience staring into the camera like they’re on The Office*

Seriously, though, I’m wearing a wire The fairness of this would depend somewhat on how the object is described, though I forget if RtZ even has object descriptions. And really, if the goal object is the wire(s), you should be able to cut the bra or something to extract it; burning the whole dang thing just to get the underwires is… pretty bizarre. Do you have any hints prior to this that you need to get some bits of wire somewhere?

It turns out you were supposed to have used a knife to dig up the plant rather than pulling or cutting it. (The question of how it should survive even this treatment, considering you don’t plant it again in a pot or anything — much less how you can dig anything up with a knife — goes unanswered.)

You can totally dig plants/roots out of the ground with a knife. That’s not all that weird an ask. As for the plant surviving, I guess you get more of the root ball and some clinging dirt that way. It probably wouldn’t survive for days on end (although maybe we could assume you moistened it whenever possible?) so I guess we should be mentally flexible about how long a period of time the game takes place over, but *shrug*

NB, I’m not saying these puzzles are fair or good, but there’s slightly more logic in them than you’re giving credit for, I think.

(*sips rye*)

- Jimmy Maher

May 4, 2019 at 6:55 am

The acting is definitely sitcom-level at best, but there’s a *knowing* irony to it that’s missing in most of these productions. This is acting professionals slumming it and having a bit of fun rather than a bunch of scenery-chewing amateurs who really believe they’re making Great (Interactive) Cinema. For that reason, I find it a bit more tolerable than the likes of The 7th Guest.

The bra actually remains in a box throughout the game, so you can’t examine it. (I suspect, although I don’t know for sure, that Activision’s censors nixed at the last minute the idea of having a *real bra* (gasp!) right out there front and center in their family-friendly game.) You know there’s a locked door you haven’t been able to open, but nothing tells you you need a wire to do so. And, as far as I know, there’s literally nothing connecting the bra (in a box) to the incinerator, much less the locked door, other than some extreme lateral thinking.

Point taken on the bonding-plant parenthetical, which was an overreach. Thanks!

- Lisa H.

May 5, 2019 at 4:19 am

IMO not very strange to expect the player to try picking a lock with a bit of wire (unbent paper clip, etc); maybe not really how it works in real life, but works in movie-logic at least. But it would depend on the cluing for the locked door – “if only you had something to pick it with!” or something like that would be a reasonable hint. However, the leap to a bra underwire as the solution for getting that bit of wire might still be a bridge too far.

- matt w

May 4, 2019 at 11:51 am

the dreadful Flash Gordon film of 1980

Sir!

I was going to say something about “critical and commercial failure BUT,” but according to Wikipedia it grossed double its budget and was somewhat praised by Pauline Kael and Roger Ebert. However, more relevant to the offhand mention of the movie here, Sam J. Jones wound up with about half of his dialogue being dubbed.

- Petter Sjölund

May 4, 2019 at 2:11 pm

Come on, there is nothing dreadful about the 1980 Flash Gordon movie. Well, I suppose the sexism is pretty dreadful, but that is hard to avoid in the genre “sexy space opera”. It is obviously deliberately hammy, a retro send-up of the original 30’s comic and serials, much like Leather Goddesses of Phobos. The sets and costumes are amazing, and the dialogue holds up surprisingly well. As an 80’s update of Barbarella it succeeds admirably.

- Jimmy Maher

May 4, 2019 at 3:58 pm

I thought it was widely regarded as being dreadful. I seem to remember it as something of a punchline back in the 1980s. But this certainly isn’t a hill I’m willing to die on, considering I haven’t seen the film in decades. Edit made.

- DANoWAR

May 4, 2019 at 2:02 pm

I was interested in the “Retro Games Master” you referenced at the end and clicked the link only to discover a probable copy/paste error (you linked to the Zorkian timeline twice there).

Good article! I will play Return to Zork someday regardless, because I’m a dimwit who wants to play all adventure games. :-)

- Jimmy Maher

May 4, 2019 at 4:00 pm

Link corrected. Thanks!

- Laertes

May 4, 2019 at 2:26 pm

“Probably about as many as still preferred books to movies.” Me for example.

- Matyas Selmeci

May 4, 2019 at 2:36 pm

Good article as always, though I disagree with your opinion on live actors in FMVs. For a long time, the quality of 3D-rendered FMVs was so crappy (low detail, low poly count, unrealistic movement) that I wished more games had just used real people on real sets…

These days quality is good enough that games don’t even use FMVs because rendering everything in the game engine is good enough. I’ve seen commercials for video games (on sports channels! Never saw that coming.) where I couldn’t tell at first if they were advertising a movie or a game.

- Ross

May 5, 2019 at 2:52 am

I kinda lament that FMV blew its wad, so to speak, when it did so that it became a joke and was discarded forever, to only appear as a kind of artistic gimmick in minor indie games once or twice a decade from then on; if they’d waited a few years, it might have survived as a respectable alternative to 3d rendering being the one and only viable style for triple-A games.

- Jimmy Maher

May 5, 2019 at 6:00 pm

I think the problems with full-motion video in games are more fundamental than the obvious implementation problems in so many games of the 1990s. The same 3D graphics engine can deliver both compelling gameplay and cut scenes. This isn’t true of full-motion video. You either end up trying to combine full-motion-video cut scenes with other types of graphics used for actual gameplay, which inevitably seems disjointed and discordant, or you try to *force* interactivity into full-motion video itself, which doesn’t work well considering that traditional film is at bottom a non-interactive medium. Game makers of the 1990s tried both approaches enough, with enough poor results, that we can safely regard them both as highly problematic at best.

That said, full-motion video can be used to very good effect in certain specialized scenarios. Her Story, one of those indie efforts you are presumably referring to, really is rather brilliant.

- Sniffnoy

May 6, 2019 at 4:20 am

I’m a bit confused here — does “full-motion video” actually refer to something specific? Like I was under the impression it was basically just a buzzword because I’d seen it used in so many inconsistent ways. Like I wouldn’t have thought of the Return to Zork examples as FMV because it exists alongside other, static, graphics? And elsewhere I’d seen “FMV” used to refer to stuff that is not, like, prerendered and thus not in-engine, but not, like, recorded as the stuff here? All this is why I thought it didn’t actually have a specific meaning, but maybe it does?

(Also, heh, I’d mostly associated “FMV games” with the Sega CD, but I guess as a console that’s out-of-scope. And I guess we’re already past the infamous Night Trap! :P )

- Jimmy Maher

May 6, 2019 at 11:23 am

It is a neologism: “full-motion video” as a phrase has a meaning that can’t be deduced from the words that make it up alone. And it’s also a classic marketing buzzword: the phrase is essentially meaningless in purely semantic terms, just some empty words strung together. But it does have a recognized meaning as a neologism in the context of gaming, and I don’t have a better phrase for it — nor would it make much difference if I did, given how entrenched the old term is.

Anyway, it refers to scenes that are shot on videotape or (much more rarely) traditional film stock using real actors, then incorporated into games. Personally, I’ve never seen it used to refer to anything else — certainly not to pre-rendered cut scenes in the abstract. Mention to any gamer of a certain vintage — particularly any adventure gamer — “FMV” games, and chances are she’ll know exactly what you’re talking about.

- Ross

May 13, 2019 at 9:47 pm

I’d sort of assumed that the origins of the term were to distinguish it from some weird experimental early stuff I’d seen (By the time I saw it, as shovelware, but for all I know, there was the period-equivalent of triple-A titles way back that tried it) that tried some kind of weird Roger Ramjet approach to photorealistic animation.

I recall seeing a few very strange games which had limited animation from film/video sources rendered in EGA/CGA even. Bizarrely charming and I wish I could find some to relive them now.

(The first digital camera I ever used belonged to my high school’s graphics department and took photos in dithered halftone. And saved to a 2-inch floppy, the only thing of its kind I’ve ever seen)

- Nate

May 4, 2019 at 5:21 pm

I never got far enough in the game to be concerned about the non-linearity of the puzzles, and I didn’t have the context of the original Zork games to see how bad this was. Now that I’ve read all of this, I can see how it wasn’t great even back then. I saw it as a campy updated take on adventure game tropes (including death being around every corner despite the cheery pictures and tone) and thought that was amusing.

I bought 7th Guest in order to see what video from CDROM would feel like. It was kind of disappointing, especially on a 1x CDROM drive. The puzzles were lame since they focused more on the video side of the game, though I thought the story was interesting enough for the horror genre.

I agree RtZ did a better job using video, and the interactions with the characters seemed more natural. But I didn’t play it for the novelty of video, it was more to find out what all the hoopla about Zork had been. It was confusing how this game didn’t really make sense to someone who didn’t know Zork, though I had heard enough about it to have heard the term “grue”.

Anyway, thanks for continuing this series. The part I like most is hearing the stories of the people behind the games and what led them to make them the way they were. Growing up far from the city, it was odd to see write-ups on “Tass Times in Tonetown” or “Suspended” in the magazines I got once a month but never play the games themselves. I was mostly programming or playing type-ins.

Some day, I’ll retire and then have a marathon of playing all these games in order. It should be a blast to catch up on the substance behind the stories I’ve read.

- Martin

May 5, 2019 at 11:14 pm

Given the clear panning of 7th Guest, does that mean no article on it? I managed to find a used copy in a charity store only yesterday for a princely dollar.

- Jimmy Maher

May 6, 2019 at 4:19 am

It will get an article. It’s almost as bad as Return to Zork, but it’s too historically important not to cover. (And the implosion of Trilobyte is one of the more spectacular flameouts in gaming history, right up there with Imagine and Ion Storm.)

- Torbjörn Andersson

May 6, 2019 at 6:03 am

While I don’t particularly care for The 7th Guest as a game, I still look forward to the article about it.

One thing I haven’t seen mentioned – and that the article will perhaps shed some further light on – is that there was a preview of the game which, in my case, was included on the Magnetic Scrolls Collection CD.

Before anyone gets too excited, the preview is just three very short, silent movie clips (four, if you count an animated Trilobyte logo) of the house, a door opening and a headless ghost running towards the camera. So the most interesting thing about it may be that in the preview the game is known simply as “Guest”, and is described as “a 3D animated Epic Fantasy game”.

- Karkan Lord

May 6, 2019 at 7:03 pm

I have a few very distinct memories of playing this game as a kid when it first came out. Obviously the “Want some rye?” memory that everyone has, but even more indelible is the goddamn Witch. I remember trying to interact with her and her simply exclaiming, over and over, “Get outta here! I only use fresh ingredients in my potion!” I clearly had no idea what the hell she was talking about, and I tried every option to get her to do or say anything else. Finally, after what seemed like hours of hearing that same damn line, I realized that a piece of meat that I had been carrying in my inventory for who knows how long had begun to spoil (first described as “fresh meat” was now labeled “rotting meat” or something). After dropping that item, the Witch finally deigned to speak with me. Man, that made me angry.

I also remember finally making it to the final boss battle against the evil wizard, and it was some bastardized form of battle chess. I never won, and by that point had lost the desire to keep trying.

- Sam

May 7, 2019 at 2:18 am

I actually played this game through to completion, though I was in my early teens at the time, and its now so long ago that I only have the vaguest memories of the game’s unfairness. I also don’t remember whether I used a walkthrough or not. Walkthroughs were pretty hard to come by back then, so it’s possible I just puzzled my way through the game on my own!

I actually have fond feelings towards this game, though. I don’t remember it particularly well, but what I do remember is feeling quite immersed in the world of Zork (a feeling probably somewhat akin to what you described as being Ultima Underworld’s great strength). I also remember thinking that the game itself was actually an imperfect representation of what it was trying to convey. The locations didn’t particularly look like places that would exist in an ancient underground empire, and characters would turn up claiming to be trolls, for instance, but just looked like ordinary humans. But I didn’t mind, I felt like I understood what the game wanted the world to be, and was willing to mentally paint over it myself, and I found it all quite weird and wonderful. (I think kids are better able to use their imaginations to bridge those kinds of gaps.) For me, the bad puzzles were far less important than the world and narrative.

It actually led to me having a mini-obsession with Zork lore for a few months. My copy came bundled with all previous Zork games, plus a thick book containing what I assume were the manuals to those games. I played through all the text adventures and poured over that book, learning about the ridiculous histories of the Flatheads, etc. But Return to Zork was always going to be the definitive Zork game for me, rather than one that didn’t feel Zorky enough.

I have no doubt that if I tried to replay it today, though, I’d find it just as dire as you did.

- Pingback: Lazy Reading for 2019/05/12 – DragonFly BSD Digest

- Stephen

May 15, 2019 at 5:06 pm

Thanks for another great article!

I do have to add my voice to those of others who’ve said you’re being a little harsh on RtZ. Yes, the puzzles are sometimes nonsensical, and the constant deaths and unwinnable states are unfair. But except for LucasArts games, these things were still par for the course, or only just going away. So I wouldn’t place it at such a point of extreme terribleness… it’s just committing the “usual” sins. And as you say, it is interesting despite that.

(Also, as someone else noted, the bonding plant dying doesn’t make the game unwinnable. Though yes, I did start over when it happened to me. But I don’t remember feeling too put out. It was pretty easy to tell where I’d gone wrong. And starting over was normal in those days! The last puzzle is very silly, but not difficult. I thought the hay puzzle was pretty fair. And so on.)

Of course I did get stuck several times — most frustratingly on the Boos puzzle, although not for chock reasons but taking ages to notice the plant. But for the record, to disprove that it is not winnable without a walkthrough, I also lent the game (on 12 floppies) to a school friend who was better at adventures than I and who successfully did complete it unaided!

The inclusion of the Encyclopedia Frobozzica in the box also compensated a little for the lack of Zorkiness. Since I didn’t yet know any of the ‘real’ Zork games, I found it fascinating and spent ages reading it. Of course it does eventually make you feel doubly disappointed that the Zorkiness celebrated by the Encyclopedia is not replicated in the game.

- Chris Lang

June 7, 2019 at 4:42 am

The music for the game is great, and is the best part. And the use of the photos and tape recorder to ask the NPCs about others in the way you would in a text adventure was nice. But aside from that … I can’t really recommend this game to anyone.

As an adventure game on its own, it’s nonsensical. The plot doesn’t make sense (we’re never really told why Canuck – even possessed by the evil glowing rock thing – moved East Shanbar underground, nor why its residents aren’t in the least freaked out about it unlike the Mayor and the lighthouse keeper on the surface). And much of the puzzles especially don’t make sense. Especially the last puzzle with the bridge where throwing everything but the kitchen sink at it makes it fall and then rise again for no apparent reason.

As a return to the Zork universe, it doesn’t really make any sense either. All the references to the Zork games felt painfully forced, as if there were these blank lines marked ‘Insert reference to Zork games here’, and they just picked stuff at random to fill in those blanks.

A game can have good music and a good interface, but sadly when they’re in a bad game with bad puzzles and a plot almost as nonsensical as the puzzles, they only make one wish the music and the interface were in a better game.

- Ibrahim Gucukoglu

June 11, 2019 at 3:18 am

I never played the FMV video games based on the Infocom properties, however i don’t believe that the Zork FMV games were the only Infocom games to inspire Activision’s future titles in their FMV output. I’m thinking that Border Zone was probably a heck of an inspiration for Spycraft: the great game, and Infocom’s detective thrillers such as Deadline and the Witness probably inspired Santa Fe Mysteries: the Elk Moon Murder. Just my thaughts on this, would be interested in reading articles about those games so I hope we’ll get to 1996/97 soon LOL.

- Helm

August 15, 2019 at 9:35 pm

I was reading about the UI in this game and Lure of the Temptress sprung in my mind. It’s a 1992 game, and in it you click on noun to get a contextual list of verbs. It was quite elegant. Shame that the game is buggy and honestly a bit inscrutable, or at least that’s how I felt when I was 15.

My favourite hybrid IF\point-and-clicker hybrid UI is Legend’s, circa Gateway II. I just love having the full back end of a robust parser, but with a high resolution, beautiful graphic screen that materially conforms to the room text and can be interacted with directly also with the mouse. As a non-native english speaker, the biggest problem with IF for me as a kid was that I didn’t necessarily know what every word meant, and most importantly, it’s very hard to imagine the *implications* of what to do with unfamiliar objects and scenes, and that’s all adventure games are about mechanically. So, having a 1 to 1 picture to text relation, where you can actually click on visually clear objects for further textual descriptions I have found to be the best middle ground. Quest for Glory 1 is similar in that it’s a straight up parser spine, but you can right click with the mouse to parse a ‘look at’ command at whatever is below the cursor. I would not have been able to finish that game as a youngster without that aid.

I wonder what the first adventure game where you can click to ‘look at’ but otherwise parse your way around was, historically. My gut does say Sierra.

- Helm

August 15, 2019 at 9:37 pm

Oh, also forgot to mention that Legend’s engine also lists all nouns in a room that you can meaningfully interact with. I don’t know if everyone likes this, but it sure helped people like me enjoy and finish these games. I am curious if that is a Legend innovation too, or if there’s a historical precedent to this system of ‘room text, list of verbs and nouns on the side’.

- Jimmy Maher

August 16, 2019 at 8:36 am

It was an innovation of Bob Bates. Magnetic Scrolls’s Wonderland debuted with an even more elaborate interface at roughly the same time as the first Legend games, but that was a case of parallel development rather than one directly inspiring the other.

The Legend interface really was brilliant at letting you play your way. I always got rid of the menu right away, even back in the day, to play the games as illustrated text adventures of the pre-Wonderland Magnetic Scrolls stripe, the pictures there just for extra flavor. But then, I was raised on traditional text adventures, am a native speaker, and am very verbally-oriented in general. That’s great that it was able to accommodate your very different set of needs and wishes.

- victor

September 12, 2019 at 5:59 pm

I was one of those trusting gamers who bought “Return to Zork” in 1993. And speaking of gamer PTSD, my only distinct memory of the game now is that it shipped with a 8×10″ guidebook that was nearly a full 2″ thick. I was so traumatized by the game that I carried that guidebook around with me, move after move, for nearly 20 years before I was finally able to let go of it.

- Wolfeye M.

October 26, 2019 at 5:02 pm

Hrm, now I’m kinda glad I missed out on the FMV craze, due to not getting into PC gaming until the 00s. I might have missed out on a few classics when they first came out, but classics tend to stay around for later generations to play, that’s why they’re called classics. Lol.

I have a distinct memory of seeing Return to Zork on a store shelf, along with other games, and wishing I had a a computer and money to buy such games, because the box art looked cool.
I guess younger me hadn’t learned the lesson, don’t judge a book, or game, by its cover.

- Kelsey

March 17, 2020 at 8:33 pm

As a kid Return to Zork (while frustration even with a walk through) was a game that highly inspired me. The videos were something that made buying the CD-Rom worth it. RTZ was funny and I think the vibe they captured in the game was a good nod to the humor of the original games. Love the content thank you for posting.

- Leo Vellés

June 11, 2020 at 1:26 am

“there was surprisingly little there there when it came Zork”
That double “there” is intended?

- Lisa H.

June 11, 2020 at 2:25 am

Yes, this is an English expression. “There wasn’t any ‘there’ there” means not to have substance or distinctive interesting content, especially if something had been hyped up to be great. Like you went somewhere as a tourist because people said the place was wonderful, and then it turned out to be dull or empty: you went there, but there wasn’t really any interesting “there-ness” to arrive at and experience.

- Leo Vellés

June 11, 2020 at 12:14 pm

Thanks Lisa, i thought it was intended but being english not my first language, and never read that expression before, i wasn’t so sure. Now i ‘ve learned something new

The Last Works Before the Renaissance
May 24, 2019

By 1993, textual interactive fiction was reaching the end of the unsettled, uncertain half-decade-and-change between the shuttering of Infocom and the rise of a new Internet-centered community of amateur enthusiasts. Efforts by such collectives as Adventions and High Energy Software to sell text adventures via the shareware model had largely proved unfruitful, while, with the World Wide Web still in its infancy, advertisement and distribution were major problems even for someone willing to release her games for free. The ethos of text and parsers seemed about as divorced as anything could possibly be from the predominant ethos in game development more generally, with its focus on multimedia, full-motion video, and ultra-accessible mouse-driven interfaces. Would text adventures soon be no more than obscure relics of a more primitive past? To an increasing number even of the form’s most stalwart fans, an answer in the affirmative was starting to feel like a foregone conclusion. Few text-adventure authors had serious ambitions of matching the technical or literary quality of Infocom during this period, much less of exceeding it; the issue for the medium right now was one of simple survival. In this atmosphere, the arrival of any new text adventure felt like a victory against the implacable forces of technological change, which had conspired to all but strangle this new literary form before it had even had time to get going properly.

Thankfully, history would later mark 1993 as the year when the seeds of an interactive-fiction rebirth were planted, thanks to an Englishman who repurposed not only the Infocom aesthetic but also Infocom’s own technology in unexpected ways. Those seeds would flower richly in 1995, Year Zero of the Interactive Fiction Renaissance. I’ll begin that story soon.

Today, though, I’d like to tell you about some of the more interesting games to emerge from the final days of the interstitial period — games which actually overlap, although no one could realize it at the time, with the dawning of the modern interactive-fiction community. Indeed, the games I describe below manage to presage some of the themes of that community despite being the products of a text-adventuring culture that still spent more time looking backward than looking forward. I’m fond of all of them in one way or another, and I’m willing to describe at least one of them as a sadly overlooked classic.

The Horror of Rylvania

The hiking trip across Europe has been a wonderful experience for two recent college graduates like yourself and your friend Carolyn. From the mansions of England to the beaches of Greece, you’ve walked in the footsteps of the Crusaders and seen sights that few Americans have ever seen.

Carolyn had wanted to skip the Central European nation of Rylvania. “Why bother?” she’d said. “There’s nothing but farmers there, and creepy old castles - nothing we haven’t seen already. The Rylvanians are still living in the last century.”

That, you’d insisted, was exactly why Rylvania was a must-see. The country was an intact piece of living history, a real treasure in this modern age.

If only you hadn’t insisted! As night fell, as you approached a small farming village in search of a quaint inn to spend the night, the howling began. A scant hundred yards from the village, and it happened...the wolves appeared from the black forest around you and attacked. Big, black wolves that leaped for Carolyn’s throat before you could shout a warning, led by a great gray-black animal that easily stood four feet at the shoulder. Carolyn fell to the rocky path, blood gushing from her neck as the wolves faded back into the trees, unwilling, for some unknown reason, to press their attack.

If she dies, it will be your fault. You curse the darkening sky as you cradle Carolyn’s head, knowing that you have little time to find help. Perhaps in the village up the road to the north.

The Horror of Rylvania marks the last shareware release from Adventions, a partnership between the MIT graduate students Dave Baggett and D.A. Leary which was the most sustained of all efforts to make a real business out of selling interactive fiction during the interstitial period. Doubtless for this reason, the Adventions games are among the most polished of all the text adventures made during this time. They were programmed using the sophisticated TADS development system rather than the more ramshackle AGT, with all the benefits that accrued to such a choice. And, just as importantly, they were thoroughly gone over for bugs as well as spelling and grammar problems, and are free of the gawky authorial asides and fourth-wall-breakings that were once par for the course in amateur interactive fiction.

For all that, though, the Adventions games haven’t aged all that well in my eyes. The bulk of them take place in a fantasy land known as Unnkulia, which is trying so hard to ape Zork’s Great Underground Empire that it’s almost painful to watch. In addition to being derivative, the Unnkulia games think they’re far more clever and hilarious than they actually are — the very name of the series/world is a fine case in point — while the overly fiddly gameplay can sometimes grate almost as much as the writing.

It thus made for a welcome change when Adventions, after making three and a half Unnkulia games, finally decided to try something else. Written by D.A. Leary, The Horror of Rylvania is more plot-driven than Adventions’s earlier games, a Gothic vampire tale in which you actually become a vampire not many turns in. It’s gone down in certain circles as a minor classic, for reasons that aren’t totally unfounded. Although the game has a few more potential walking-dead scenarios than is perhaps ideal, the puzzles are otherwise well-constructed, the implementation is fairly robust, and, best of all, most of the sophomoric attempts at humor that so marked Adventions’s previous games are blessedly absent.

That said, the end result still strikes me more as a work of craftsmanship than genius. The writing has been gone over for spelling and grammar without addressing some of its more deep-rooted problems, as shown even by the brief introduction above; really, now, have “few Americans ever seen” sights advertised in every bog-standard package tour of Europe? (Something tells me Leary hadn’t traveled much at the time he wrote this game.) The writing here has some of the same problems with tone as another Gothic horror game from 1993 set in an ersatz Romania: Quest for Glory IV. It wants to play the horror straight most of the time, and is sometimes quite effective at it — the scene of your transformation from man to vampire is particularly well-done — but just as often fails to resist the centrifugal pull which comedy has on the adventure-game genre.

Still, Horror of Rylvania is the Adventions game which plays best today, and it isn’t a bad choice for anyone looking for a medium-sized old-school romp with reasonably fair puzzles. Its theme adds to its interest; horror in interactive fiction tends to hew more to either H.P. Lovecraft or zombie movies than the Gothic archetypes which Horror of Rylvania intermittently manages to nail. Another extra dimension of interest is added by the ending, which comes down to a binary choice between curing your friend Carolyn from the curse of vampirism, which entails sacrificing yourself in the process, or curing yourself and letting Carolyn sod off. As we’ll shortly see, the next and last Adventions game perhaps clarifies some of the reasons for such a moral choice’s inclusion at the end of a game whose literary ambitions otherwise don’t seem to extend much beyond being a bit of creepy fun.

The Jeweled Arena

You let out a sigh of relief as you finish the last paper. “That’s the lot.”

“Good work, ma’am,” says Regalo, your squire. “I was almost afraid we’d be here until midnight.”

“Don’t worry, Regalo, I wouldn’t do a thing like that, especially on my first healthy day after the flu. In any case, Dora wants me home by eight. The papers look dry, so you can take them to Clara’s office.”

As Regalo carries the papers to the adjoining office, you stand up and stretch your aching muscles. You then look through the window and see a flash of lightning outside. It looks like quite a storm is brewing.

“I’m beginning to think my calendar is set wrong,” you say as Regalo returns. “Dibre’s supposed to be cool, dry, and full of good cheer; so far, we’ve had summer heat, constant rain, and far too many death certificates. Perhaps this storm will blow out the heat.”

“I hope it blows out the plague with it, ma’am. I’ve lost three friends already, and my wife just picked it up yesterday. No one likes it when the coroner’s staff is overworked.”

“It doesn’t help that Clara and Resa are both still sick. If we’re lucky, we’ll have Resa back tomorrow, which I’m sure your feet would appreciate. I presume Ernando and Miranda have already left for the day?”

“Yes ma’am.”

“Now I’m really worried. The only thing worse than being the victim of one of Miranda’s pranks is going a day without one of her pranks -– it usually means you missed something. Perhaps she decided to be discrete [sic] for a change.”

“I didn’t get the impression her sense of humor was taking the day off, but I don’t know what she did. It can wait until tomorrow. Is there anything else you need me to do before I leave?”

Written by David S. Raley, The Jeweled Arena was the co-winner of what would turn out to be the last of the annual competitions organized by AGT’s steward, David M. Malmberg, before he released the programming language as freeware and stepped away from further involvement with the interactive-fiction community. Set in a fantasy world, but a thankfully non-Zorkian and non-Tolkienesque one, it’s both an impressive piece of world-building and a game of unusual narrative ambition for its time.

In fact, the world of Valdalan seems like it must have existed in the author’s head for a long time before this game was written. The environment around you has the feeling of being rooted in far more lore and history than is explicitly foregrounded in the text, always the mark of first-class world-building. As far as I can tell from the text, Valdalan is roughly 17th-century in terms of its science and technology, but is considerably more enlightened philosophically. Interestingly, magic seems to have no place here, making it almost more of an alternative reality than a conventional fantasy milieu.

The story takes place in the city of Kumeran as it’s in the throes of a plague — a threat which is, like so much else in this game, handled with more subtlety than you might expect. The plot plays out in four chapters, during each of which you play the role of a different character. The first chapter is worthy of becoming a footnote in interactive-fiction history at the very least, in that it casts you as one half of a lesbian couple. In later years, certain strands of interactive fiction — albeit more of the hypertext than the parser-driven type — would become a hotbed of advocacy for non- hetero-normative lifestyles. The Jeweled Arena has perhaps aged better in this respect than many of those works have (or will); it presents its lesbian protagonist in a refreshingly matter-of-fact way, neither turning her into an easy villain or victim, as an earlier game might have done, nor celebrating her as a rainbow-flag-waving heroine, as a later game might have done. She’s just a person; the game takes it as a given that she’s worthy of exactly the same level of respect as any of the rest of us. In 1993, this matter-of-fact attitude toward homosexuality was still fairly unusual. Raley deserves praise for it.

Unfortunately, The Jeweled Arena succeeds better as a place and a story than it does as a game, enough so that one is tempted to ask why Raley elected to present it in the form of a text adventure at all. He struggles to come up with things for you to really do as you wander the city. This tends to be a problem with a lot of interactive fiction where the puzzles aren’t the author’s primary focus; A Mind Forever Voyaging struggles to some extent with the same issue when it sends you wandering through its own virtual city. But The Jeweled Arena, which doesn’t have a mechanic like A Mind Forever Voyaging’s commandment to observe and record to ease its way, comes off by far the worse of the two. Most of the tasks it sets before you are made difficult not out of  authorial intention but due to poor authorial prompting and the inherent limitations of AGT. In other words, first you have to figure out what non-obvious trigger the game is looking for to advance the plot a beat, and then you have to figure out the exact way the parser wants you to say it. This constant necessity to read the author’s mind winds up spoiling what could have been an enjoyable experience, and makes The Jeweled Arena a game that can truly be recommended only to those with an abiding interest in text-adventure history or the portrayal of homosexuality in interactive media. A pity — with more testing and better technology, it could have been a remarkable achievement.

Klaustrophobia

You are standing at the top of an ocean bluff. Wind is whipping through your hair and blowing your voluminous black cape out behind you. You can hear the hiss of the surf crashing far below you. Out towards the horizon, a distant storm sends flickers of lightning across the darkening sky. The last rays of the setting sun reflect red off the windows of the grey stone mansion to the East. As you turn towards the house, you catch a glimpse of a haunting face in one of the windows. That face, you will never forget that face......

> wait
The surf and cliffs fade from sight............

You awake to find yourself in your living room,lying on the couch. Your cat, Klaus, is chewing and pulling on your hair. Static is hissing from the TV, as the screen flickers on a station long off the air. You look at your watch and realize that it is 3 AM.

You must have fallen asleep on the couch right after you got home from work, and settled down to read the newspaper.

I noted earlier that the Adventions games are “free of the gawky authorial asides and fourth-wall-breakings” that mark most early amateur interactive fiction. That statement applies equally to The Jeweled Arena, but not at all to Carol Hovick’s Klaustrophobia. The other winner of the final AGT competition, its personality could hardly be more different from its partner on the podium. This is a big, rambling, jokey game that’s anything but polished. And yet it’s got an unpretentious charm about it, along with puzzles that turn out to be better than they first seem like they’re going to be.

What Klaustrophobia lacks in polish or literary sophistication, it attempts to make up for in sheer sprawl. It’s actually three games in one — so big that, even using the most advanced and least size-constrained version of AGT, Hovick was forced to split it into three parts, gluing them together with some ingenious hacks that are doubtless horrifying in that indelible AGT way to any experienced programmer. The three parts together boast a staggering 560 rooms and 571 objects, making Klaustrophobia easily one of the largest text adventures ever created.

Like the Unnkulia series and so much else from the interstitial period, Klaustrophobia is hugely derivative of the games of the 1980s. The story and puzzles here draw heavily from Infocom’s Bureaucracy, which is at least a more interesting choice than yet another Zork homage. You’ve just won an all-expenses-paid trip to appear on a quiz show, but first you have to get there; this exercise comes to absorb the first third of the game. Then, after you’ve made the rounds of not one but several quiz shows in the second part, part three sends you off to “enjoy” the Mexican vacation you’ve won. As a member of that category of text adventure which the Interactive Fiction Database dubs the “slice of life,” the game has that time-capsule quality I’ve mentioned before as being such a fascinating aspect of amateur interactive fiction. Klaustrophobia is a grab bag of pop-culture ephemera from the United States of 1993: Willard Scott, Dolly Parton, The Price is Right. If you lived through this time and place, you might just find it all unbearably nostalgic. (Why do earlier eras of history almost invariably seem so much happier and simpler?) And if you didn’t… well, there are worse ways to learn about everyday American life in 1993, should you have the desire to do so, than playing through this unforced, agenda-less primary source.

The puzzles are difficult in all the typical old-school ways: full of time limits, requiring ample learning by death. Almost inevitably given the game’s premise, they sometimes fail to fall on the right side of the line between being comically aggravating and just being aggravating. And the game is rough around the edges in all the typical AGT ways: under-tested (a game this large almost has to be) and haphazardly written, and subject to all the usual frustrations of the AGT parser and world model. Yet, despite it all, the author’s design instincts are pretty good; most of the puzzles are clued if you’re paying attention. Many of them involve coming to understand and manipulate some surprisingly complex dynamic sequences taking place around you. The whole experience is helped immensely by the episodic structure which exists even within each of the three parts: you go from your home to the bank to the airport, etc., with each vignette effectively serving as its own little self-contained adventure game. This structure lets Klaustrophobia avoid the combinatorial explosion that can make such earlier text-adventure epics as Acheton and Zork Zero all but insoluble. Here, you can work out a single episode, then move on to the next at your leisure with a nice sense of achievement in your back pocket — as long, of course, as you haven’t left anything vital behind.

Klaustrophobia is a game that I regard with perhaps more affection that I ought to, given its many and manifest flaws. While much of my affection may be down to the fact that it was one of the first games I played when I rediscovered interactive fiction around the turn of the millennium, I like to believe this game has more going for it than nostalgia. It undoubtedly requires a certain kind of player, but, whether taken simply as a text adventure or as an odd sort of sociological study — a frozen-in-amber relic of its time and place — it’s not without its intrinsic appeal. Further, it strikes me as perfect for its historical role as the final major statement made with AGT; something more atypically polished and literary, such as Shades of Gray or even Cosmoserve, just wouldn’t work as well in that context. Klaustrophobia’s more messy sort of charm, on the other hand, feels like the perfect capstone to this forgotten culture of text adventuring, whose games were more casual but perhaps in some ways more honest because of it.

The Legend Lives!

A pattern of bits shifts inside your computer. New information scrolls up the screen.

It is not good.

As the impact of the discovery settles on your psyche, you recall the preceding events: your recent enrollment at Akmi Yooniversity; your serendipitous discovery of the joys of Classical Literature – a nice change of pace from computer hacking; your compuarchaeological discovery of the long-forgotten treasures that will make your thesis one of the most important this decade. But now that’s all a bit moot, isn’t it?

How ironic: You were stunned at how *real* the primitive Unnkulian stories seemed. Now you know why.

David Baggett’s The Legend Lives! is the only game on this curated list that dates from 1994, the particularly fallow year just before the great flowering of 1995. The very last production of the Adventions partnership, it was originally planned as another shareware title, but was ultimately released for free, a response to the relatively tepid registration rate of Advention’s previous games. Having conceived it as nothing less than a Major Statement meant to prod the artistic growth of a nascent literary medium, Baggett stated that he wished absolutely everyone to have a chance to play his latest game.

Ironically, the slightly uncomfortable amalgamation that is The Legend Lives! feels every bit as of-its-time today as any of the less artistically ambitious text adventures I’ve already discussed in this article. Set in the far future of Adventions’s Unnkulia universe, it reads like a checklist of what “literary” interactive fiction circa 1994 might be imagined to require.

There must, first and foremost, be lots and lots of words for something to be literary, right? Baggett has this covered… oh, boy, does he ever. The first room description, for the humble dorm room of the university student you play, consists of six substantial paragraphs — two or three screenfuls of text on the typical 80-column monitor displays of the day. As you continue to play, every object mentioned anywhere, no matter how trivial, continues to be described to within an inch of its life. While Baggett’s dedication is admirable, these endless heaps of verbiage do more to confuse than edify, especially in light of the fact that this game is, despite its literary aspirations, far from puzzleless. There’s a deft art to directing the player’s attention to the things that really matter in a text adventure — an art which this game comprehensively fails to exhibit. And then there are the massive non-interactive text dumps, sometimes numbering in the thousands of words, which are constantly interrupting proceedings. Sean Molley, reviewing the game in the first gush of enthusiasm which accompanied its release, wrote that “I certainly don’t mind reading 10 screens of text if it helps to advance the story and give me something to think about.” I suspect that most modern players wouldn’t entirely agree. The Legend Lives! is exhausting enough in its sheer verbosity to make you long for the odd minimalist poetry of Scott Adams. “Ok, too dry. Fish die” starts looking pretty good after spending some time with this game.

And yet, clumsy and overwrought though the execution often is, there is a real message here — one I would even go so far as to describe as thought-provoking. The Legend Lives! proves to be an old-school cyberpunk tale — another thing dating it indelibly to 1994 — about a computer virus that has infected Unnkulia’s version of the Internet and threatens to take over the entirety of civilization. The hero that emerges and finally sacrifices himself to eliminate the scourge is known mostly by his initials: “JC.” He’s allegedly an artificial intelligence, but he’s really, it would seem, an immaculate creation, a divinity living in the net. An ordinary artificial intelligence, says one character, “is smart with no motivation, no goals; no creativity, ya see. JC, he’s like us.” What we have here, folks, is an allegory. I trust that I need not belabor the specific parallels with another famous figure who shares the same initials.

But I don’t wish to trivialize the message here too much. It’s notable that this argument for a non-reductionist view of human intelligence — for a divine spark to the human mind that can’t be simulated in silicon — was made by a graduate student in MIT’s artificial-intelligence lab, working in the very house built by Marvin Minsky and his society of mind. Whatever one’s feelings about the Christian overtones to Baggett’s message, his impassioned plea that we continue to allow a place for the ineffable has only become more relevant in our current age of algorithmization and quantization.

Like all of the Adventions games, this one has been virtually forgotten today, despite being widely heralded upon its release as the most significant work of literary interactive fiction to come along since A Mind Forever Voyaging and Trinity. That’s a shame. Yes, writers of later text adventures would learn to combine interactivity with literary texture in more subtle and effective ways, but The Legend Lives! is nevertheless a significant way station in the slow evolution of post-Infocom interactive fiction, away from merely reflecting the glory of a storied commercial past and toward becoming a living, evolving artistic movement in its own right.

Perdition’s Flames

*** You have died. ***

All is dark and quiet. There is no sensation, no time. Your mind floats peacefully in a void. You perceive nothing, you feel nothing, you think nothing. Sleep without dreams.

All is hazy and gray. Sensation is vague and indistinct. Your mind is sluggish, sleepy. You see gray shapes in a gray fog; you hear distant, muffled sounds. You think, but your thoughts are fleeting, disconnected, momentary flashes of light in a dark night. Time is still frames separated by eons of nothing, brief awakenings in a long sleep.

All is clear and sharp. Sensation crystalizes from a fog. You see, you hear, you feel. Your mind awakens; you become aware of a place, and a time.

You are on a boat.

Last but far from least, we come to the real jewel of this collection, a game which I can heartily recommend to everyone who enjoys text adventures. Perdition’s Flames was the third game written by Mike Roberts, the creator of the TADS programming language. While not enormous in the way of Klaustrophobia, it’s more than substantial enough in its own right, offering quite a few hours of puzzling satisfaction.

The novel premise casts you as a soul newly arrived in Hell. (Yes, just as you might expect, there are exactly 666 points to score.) Luckily for you, however, this is a corporate, postmodern version of the Bad Place. “Ever since the deregulation of the afterlife industry,” says your greeter when you climb off the boat, “we’ve had to compete with Heaven for eternal souls — because you’re free to switch to Heaven at any time. So, we’ve been modernizing! There really isn’t much eternal torment these days, for example. And, thanks to the Environmental Clean-up Superfund, we have the brimstone problem mostly under control at this point.”

As the game continues, there’s a lot more light satire along those lines, consistently amusing if not side-splittingly funny. Finishing the whole thing will require solving lots and lots of puzzles, which are varied, fair, and uniformly enjoyable. In fact, I number at least one of them among the best puzzles I’ve ever seen. (For those who have already played the game: that would be the one where you’re a ghost being pursued by a group of paranormal researchers.)

Although Perdition’s Flames is an old-school puzzlefest in terms of categorization, it’s well-nigh breathtakingly progressive in terms of its design sensibility. For this happens to be a text adventure — the first text adventure ever, to my knowledge — which makes it literally impossible for you to kill yourself (after all, you are already dead) or lock yourself out of victory. It is, in other words, the Secret of Monkey Island of interactive fiction, an extended proof that adventure games without deaths or dead ends can nevertheless be intriguing, challenging, and immensely enjoyable. Roberts says it right there in black and white:

Note that in Perdition’s Flames, in contrast to many other adventure games, your character never gets killed, and equally importantly, you’ll never find yourself in a position where it’s impossible to finish the game. You have already seen the only “*** You have died ***” message in Perdition’s Flames. As a result, you don’t have to worry as much about saving game positions as you may be accustomed to.

I can’t emphasize enough what an astonishing statement that is to find in a text adventure from 1993. Perdition’s Flames and its author deserve to be celebrated for making it every bit as much as we celebrate Monkey Island and Ron Gilbert.

Yet even in its day Perdition’s Flames was oddly overlooked in proportion to its size, polish, and puzzly invention alone, much less the major leap it represents toward an era of fairer, saner text adventures. And this even as the merciful spirit behind the humble statement above, found buried near the end of the in-game instructions, was destined to have much more impact on the quality of the average player’s life than all of the literary pretensions which The Legend Lives! so gleefully trumpets.

Roberts’s game was overshadowed most of all by what would go down in history as the text adventure of 1993: Graham Nelson’s Curses!. Said game is erudite, intricate, witty, and sometimes beautifully written — and runs on Infocom’s old Z-Machine, which constituted no small part of its appeal in 1993. But it’s also positively riddled with the types of sudden deaths and dead ends which Perdition’s Flames explicitly eschews. You can probably guess which of the pair holds up better for most players today.

So, as we prepare to dive into the story of how Curses! came to be, and of how it turned into the seismic event which revitalized the near-moribund medium of interactive fiction and set it on the path it still travels today, do spare a thought for Perdition’s Flames as well. While Curses! was the first mover that kicked the modern interactive-fiction community into gear, Perdition’s Flames, one might argue, is simply the first work of modern interactive fiction, full stop. All of its contemporaries, Curses! included, seem regressive next to its great stroke of genius. Go forth and play it, and rejoice. An Interactive Fiction Renaissance is in the offing.

(All of the games reviewed in this article are freely available via the individual links provided above and playable on Windows, Macintosh, and Linux using the Gargoyle interpreter among other options.)

Comments
57 Responses

- Kruthers

May 24, 2019 at 5:03 pm

Re-read your first sentence. Is this just an expression I’ve never heard before? :)

- Rich H

May 24, 2019 at 5:37 pm

Fag-end? Yes, that’s an expression for things coming to an end – just like “dying embers”.

- Jeff Nyman

May 24, 2019 at 5:49 pm

“Fag end” (Google search: https://www.google.com/search?q=%22fag+end%22).

Cigarettes were known colloquially as “fags” and a “fag-end” was the name given to the end part of one.

- D Thompsen

May 24, 2019 at 5:53 pm

Still a little cringy.

- Andrew Pam

May 24, 2019 at 5:58 pm

Are you referring to “fag end”? It’s not particularly obscure – Google it.

- matt w

May 24, 2019 at 6:39 pm

I believe the use of that word for “cigarette” is much more common in the UK (perhaps the Commonwealth? perhaps not Canada?) than in the US, where it’s definitely not the first thing most people think of.

- mycophobia

May 24, 2019 at 10:16 pm

lol yeah did kind of a double take on that one

- Not Fenimore

May 24, 2019 at 10:46 pm

really, now, have “few Americans ever seen” sights advertised in every bog-standard package tour of Europe?

In the early nineties barely any Americans so much as held a passport. Pre-9/11 that wasn’t quite as much a barrier as it is now, and “ever seen in person” is probably more strictly accurate, but, basically, yeah. I think your globetrotting adventures alluded to occasionally on this blog has kinda misled you on how actually not standard tourism outside of North America is and even more was a generation ago. (And hey, I’m in the same boat – that article kinda gobsmacked me.)

- Not Fenimore

May 24, 2019 at 10:55 pm

Arguably, the “From the mansions of England to the beaches of Greece, you’ve walked in the footsteps of the Crusaders and seen sights that few Americans have ever seen” line is as much a marker of its time of creation as Willard Scott, Dolly Parton, and Wheel of Fortune are for Klaustropohbia; just one that seems much more alien and implausible from twenty-odd years away (“Jolene” is still a masterpiece, after all).

- Jimmy Maher

May 25, 2019 at 8:35 am

Oh, I’m pretty well aware that most Americans didn’t and don’t travel; most of my family has never left the United States and, even more weirdly to me, express no desire to do so. (I’m pretty sure that a disconcerting number of them aren’t even sure what country I live in — just that place known as “foreign” to them, marked with “Here be dragons!” on their mental maps.) But enough Americans did and do travel that the “few Americans” line, which implies that the beaches of Greece, for God’s sake, are some exotic destination like Antarctica still jars.

- Tom

May 27, 2019 at 9:11 am

Part of the reason that a lot of Americans don’t leave the States, I think, is that there’s just so much to see and do here. One can enjoy nearly any kind of environment without needing to go to another country.

- Martin

May 27, 2019 at 6:04 pm

There’s more to travelling than just locations, there are also differing cultures. That’s why they say travelling broadens the mind.

- whomever

May 27, 2019 at 10:44 pm

In fact while kind of off-topic this is a perfect way to plug Jimmy’s other blog, which has been covering the Pyramids. With all due respect to the USA, there is nothing at all like that there. (Honestly, with all due respect to the USA, having been to 35+ countries at this point I’ve seen a LOT of stuff you can’t see in the USA, like it’s not even hard to think of examples). So head on over to https://analog-antiquarian.net/ to do some virtual travel.

- Doug Orleans

May 28, 2019 at 3:37 am

I’ve never been to Giza, but the Cahokia Mounds outside of St. Louis are pretty cool…

- M. Sean Molley

May 24, 2019 at 11:10 pm

Just for the record, I still don’t mind reading 10 screens of text if it helps to advance the story and gives me something to think about. :)

Great article, as always!

- Keith Palmer

May 25, 2019 at 12:48 am

Having started reading SPAG in 1995, most of these games sound somewhat familiar to me now even if I wasn’t especially good at getting around to playing the adventures I read about. Aware the narrative here was approaching this point, though, I’ve been contemplating an entirely personal anecdote that might have some very small bearing on the “advertisement and distribution” mentioned in the first paragraph. My family subscribed to a “software of the month club” that would mail floppy disks with assorted shareware and freeware programs, and one month I found a text adventure on the disk (as a self-contained application), to which I recall reacting with something like “hey, how about that! I wonder how they managed it”… although I didn’t play very far into the game. It took making disk images of the disks still readable not that long ago to find the adventure again and see it was listed on IFDB as, perhaps appropriately, “Lost“… Anyway, getting to Curses is another entirely personal anecdote for me.

- Jimmy Maher

May 25, 2019 at 8:25 am

TADS had tools for embedding the story files into executables — much like, come to think of it, the ones Infocom used to distribute their Z-Machine games. This was a fairly common method of distribution during the shareware era.

- Ross

May 25, 2019 at 3:27 pm

As i recall, that’s a bit of a misnomer; infocom’s dos releases (as least, the Masterpieces release) didnt bundle the interpreter and the game file; rather, they included a game file and interpreter as a .exe and a .dat with the same base filename, and the interpreter was written to just find its data file based on the name

- Jimmy Maher

May 25, 2019 at 3:38 pm

I was thinking more of the 8-bit platforms. On the Commodore 64, for example, you just got a disk with a single runnable file called “story.” The Z-Code was hidden away, written directly to the disk’s sectors, bypassing the normal directory structure.

- Martin

May 25, 2019 at 2:52 am

Ok I’ll bite. How are you supposed to pronounce “Unnkulia”. Are you supposed to pretend there is only one ‘n’ in it?

- Jimmy Maher

May 25, 2019 at 8:21 am

“Un-cool-ia.” That’s the joke. And no, it’s not a very good one.

- Carl Muckenhoupt

May 27, 2019 at 7:36 pm

On the basis of other jokey names in the Unnkulia games, I’m pretty sure it’s pronounced like “uncool-ia”.

- Joey

May 25, 2019 at 9:37 am

Ten screens of text that certianly advanced the story and gave me something to think about. Thanks!

- Jacen

May 25, 2019 at 11:20 am

Would you kindly remove the second F word in the first sentence?

I know it’s completely different in British English, but as an American LGBTQIA+ person, it was extremely jarring in an already rough climate.

I know you value the LGBTQIA+ community and always have treated it with respect so far.

Thank you,

Jacen

- Jimmy Maher

May 25, 2019 at 1:44 pm

A “faggot” is a piece of firewood. Thus a cigarette — something else you burn — can be called a “fag.” A “fag end” references the dying embers of a cigarette just before it expires. It’s a lovely, evocative image, I think, and not one I’m willing to sacrifice to the bigots.

I greatly appreciate your contributions to this blog, and I do fully support LGBT rights, but as a writer in love with words I don’t think the solution to problems like this is to make our wonderfully rich language poorer by allowing the bigots to censor us. The solution is rather education — i.e., exactly what has already happened in this comments section.

- Jacen

May 25, 2019 at 4:11 pm

It’s also a very hurtful slur applied to a lot of vulnerable people.

Why not change it to sunset or twilight?

Is it really letting bigots win to change a word some people only associate with pain and hatred?

Admittedly, it’s a less common word, but is it ok to use ‘niggardly’?

- Jimmy Maher

May 25, 2019 at 4:25 pm

Because “sunset” or “twilight” doesn’t convey the same sense of exhaustion and disappointment as “fag end.” Language is all about nuance.

And yes, “niggardly” is absolutely okay. Shall we stop referring to embankments that hold back water as “dikes?”

A number of gay people I’ve known have taken to referring to themselves by the f-word, in the same way that many black people have reappropriated the n-word. That’s a brilliant strategy for stripping hateful words of their power to wound, much more effective than policing the language of others.

But I don’t think we’re going to see eye to eye on this one, so I’ll leave it at that. I look forward to a day when a “faggot” is just a piece of firewood again. Hopefully we can at least agree on that.

- Lisa H.

May 25, 2019 at 4:44 pm

Yes, because “niggard” isn’t related to the word you’re thinking of.

- Jacen

May 25, 2019 at 5:17 pm

Yes, I double checked the etymology to confirm that before I posted.

- Patrick

May 27, 2019 at 3:25 pm

It seems to me Jimmy is rightfully attempting to make the word not be solely associated with pain and hatred.

- Ross

May 27, 2019 at 8:40 pm

Tricky. Redeeming and reclaiming words from assholes is a noble goal, but on the other hand, when your word choice causes people undeserved pain, it doesn’t really matter if your goal was noble or your intention pure, and “Yeah but you shouldn’t be hurt by it because I didn’t mean it that way,” isn’t a satisfying response when someone tells you your language has hurt them. If you get to “I didn’t mean to upset you by using that word”, the next place generally should be “I failed at writing,” not “You failed at reading.”

- Jacen

May 28, 2019 at 9:56 am

Well said. Thank you

- Sam L-L

May 26, 2019 at 2:02 pm

Since you are a writer who is in love with words, I would suggest choosing those words so as to convey your message to your audience. A large section of your audience will find your current word choice jarring, distracting, and detracting from what you are trying to say. I suggest, respectfully, that this makes your current word choice bad writing.

- DZ-Jay

December 28, 2019 at 6:05 pm

Said the guy who makes it a statement to use “she” and “her” as the generic person pronoun …

- Peter Olausson

May 25, 2019 at 3:36 pm

Re “another famous figure who shares the same initials” — the very first one I thought of was JC Denton. Wonder if Warren Spector knew of The Legend Lives?

- Martin

May 26, 2019 at 1:14 am

That was the first JC I thought of too. Guess neither of us are going to get to the other side of the pearly gates.

- Mike Taylor

May 28, 2019 at 10:38 pm

It refers to Jeremy Corbyn, of course.

- Lisa H.

May 25, 2019 at 5:37 pm

Unkuulia, one N, three U’s.

Although the game has a few more potential walking-dead scenarios than is perhaps ideal

Sounds like most of the game is a walking-dead scenario! *rimshot*

really, now, have “few Americans ever seen” sights advertised in every bog-standard package tour of Europe?

Proportionally? Probably few, I’d agree. I’ve never been to Europe. Never been further afield from California than Nova Scotia and that only because my husband is from there. Absent him I’d probably never have left the United States yet, at age 40.

the screen flickers on a station long off the air. You look at your watch and realize that it is 3 AM.

Wow. Remember when there was such a thing as an end to the broadcast day?

Akmi Yooniversity

Sooo… the 90s, ladies and gentlemen!

As you continue to play, every object mentioned anywhere, no matter how trivial, continues to be described to within an inch of its life.

Stretching out into the vast space available on a 1.44 MB floppy?

- Jimmy Maher

May 25, 2019 at 6:39 pm

Not sure what your first comment means. The correct spelling is definitely “Unnkulia.”

- Lisa H.

May 27, 2019 at 7:00 pm

I’ve usually seen it spelled the other way, but you and I have been here before, it seems. (I couldn’t figure out how to link to a specific comment, so scroll down one.) I could have sworn that the copy of Unkuulian Underworld I used to have spelled it that way, but I don’t have it to check, so.

- BB Durall

May 27, 2019 at 11:04 pm

The master’s name was spelled “Kuulest,” but the game title doesn’t have double ‘U’s.

- Lisa H.

May 28, 2019 at 9:50 pm

Aha, I figured it out: https://www.filfre.net/2017/02/tads/#comment-292815 But anyway, I just wanted to mention it’s not like I had that link hanging around to drag out just in case – I found it when Googling to see if there was anything definitive. Time flies.

- Adam Thornton

May 26, 2019 at 12:32 am

I feel compelled to point out that, after his debut in the unlamented _The Incredible Erotic Adventures Of Stiffy Makane_, that the inestimable Mr. Makane (in various incarnations) vigorously championed sexuality inclusive of, but certainly not restricted to, heteronormativity, in a usually parser-driven environment ( _The Cavity Of Time_ being the exception to the rule).

Also, you should absolutely listen to Jolene at 33 RPM. Sounds like Roy Orbison. https://www.youtube.com/watch?v=doz1QJ7LwjA

- Jimmy Maher

May 26, 2019 at 7:00 am

We’ll get there someday…

- Brygo

May 26, 2019 at 4:50 am

Great article! Although I must admit I didn’t get the joke in “Unnkulia” until it was explained. Just too subtle for us philistines.

- Jimmy Maher

May 26, 2019 at 7:01 am

Or too stupid…

- Aula

May 26, 2019 at 11:35 am

“horror in interactive fiction tends to hew more to either H.P. Lovecraft or zombie movies than the Gothic archetypes which Horror of Rylvania intermittently manages to nail”

In contrast, just in 1993 there were at least three graphical adventure games where vampires featured prominently (BloodNet, Dracula Unleashed, Veil of Darkness).

“a computer virus that has infected Unnkulia’s version of the Internet and threatens to take over the entirety of civilization”

If the game wasn’t so old, I’d say it took that part of its plot straight out of Terminator 3. Which incidentally also has a JC willing to die to eliminate the threat.

“While Curses! was the the first mover”

Surprisingly many earlier commenters have failed to notice the “the the” in that.

- Jimmy Maher

May 26, 2019 at 11:55 am

Thanks!

- Sam L-L

May 26, 2019 at 2:16 pm

Interesting survey article! I’ll have to go take a look at Perdition’s Flames – never heard of it before. Thanks as always for sharing your knowledge!

- Daphne B

May 27, 2019 at 11:06 pm

I have to quibble with your description of the goal in Perdition’s Flames — the goal is not to get to heaven, but rather to join an adventuring club to make your stay in Hell worthwhile and interesting. In the course of doing this, you do get to Heaven, but that is a rather minor interlude actually. To be fair, this goal isn’t revealed until partway through the game, but it sounded like you’d played the whole thing, so.

- Jimmy Maher

May 28, 2019 at 6:42 am

Fair enough. I was looking for something succinct — it’s not as if the game’s plot is of all that much importance — and perhaps simplified to the point of inaccuracy. Thanks!

- Jacen aka Jaina

May 28, 2019 at 11:34 pm

So… I’m not particularly happy leaving this on an intellectual level. This is my last post on this topic, I promise.

I suspect, without knowing much about you, that this is just a word to you. A word with uncomplicated meaning in a common vernacular.

It’s all well and good for your LGBTQIA+ friends to choose to reclaim it. But not everyone reading your blog did so. Not everyone agrees with ‘reclaiming’ or ‘fighting bigotry by using the same language bigots do’

I grew up playing many of the games discussed on this blog. I used them as an escape from an unhappy childhood as a LGBTQIA+ person without the space or freedom to learn about who I really was, let alone express it.

And now, that slur reminds me that people hate me. That people are willing to kill me because… I wear dresses? I love who I love? Because I’m different?

It reminds me that a significant portion of my government uses me as a convenient vote scrounging demonized booogey(wo)man. That they are actively attempting -and often succeeding- to restrict my rights, to make my life harder, and riskier.

I had to choose to live a life made harder by bigotry, or I can still choose to quietly pretend to be ‘normal’. Not a target, not something that stands out like a neon sign as very, very different. One might get me killed, one would unquestionably kill me.

I’ve made my choice. Hopefully I can continue to live with it in peace and freedom for a good long time.

This is your blog, but and you can do whatever you want with it. That’s your choice. But choices do sometimes have unintended consequences.

Jacen, real name Jaina

- Jimmy Maher

May 30, 2019 at 7:01 am

Okay, my friend, the word is gone.

I was going to do this last night, but my site was down due to database maintenance at my hosting provider. So, taking that as a potential sign from the universe, I had a talk with my wife about it instead. Bless her heart, her first reaction when I read this comment out loud was that you “seem to be in a lot of pain.”

In the end, though, her advice was to leave the word, for much the same reasoning I gave in my first comment or two on this subject. But I decided this morning, after a fair amount of tossing and turning last night, to go against her advice. (It usually doesn’t turn out well when I do so, what with her being so much smarter than I and all; we’ll have to hope for the best this time.) I continue to suspect that this is a symptom rather than a cause of your pain, but perhaps that’s beside the point. While I could continue to dig in my heels and advance principled arguments about why the word is perfectly okay, it’s perhaps better when in doubt to fall back on Henry James’s three great rules for living: “be kind, be kind, and be kind.” I hope with all my heart that things improve for you, and I hope to see you around the blog in the future.

- Jaina

May 31, 2019 at 3:19 am

Thank you both. I appreciate it a lot. Hopefully the universe agrees with your decision, and your sleep is very peaceful.

Despite my passion, and emotions on the matter.. I am in a pretty good place. American politics…. Isn’t, but.

I know a lot of people in similar situations have it worse than me. It’s one reason I try to speak up if I can.

Thank you for the kindness and well wishes. I absolutely will continue enjoying the blogs, and pointing out any spllng errrs I find.

Best wishes to you and yours!!!

Jacen/Jaina

- Carlton Little

May 29, 2019 at 6:28 pm

Dude, please just *change the word.* Personally I’m not particularly bothered by it, but when a significant portion of your readership complains, you ought to pay attention, no?

You should tailor your expressions according to the sensitivity(s) of your specific audience. And that’s my 2 cents.

Here’s an idea. Why not change it to “bell-end” ?

- Josh

May 30, 2019 at 3:02 am

Really doesn’t seem worth it to use that word in the name of “reclamation” or w/e when it’s clearly making people uncomfortable. I mean it’d feel weird for me to recommend this blog to other people now if that’s the first thing they’re gonna see.

- Ibrahim Gucukoglu

June 11, 2019 at 4:12 am

I really enjoyed the Unnkulia games from Adventions, mind you I was only 16 at the time and it was an alternative to doing the revision for my GCSE exams LOL. I particularly enjoyed Unnkulia Zero which has you searching from the princess Amanda who has been kidnapped in the days of old. Lots of cheap gags, like the famous lake Drown’ere and of course you can’t swim had me splitting my sides with laughter. It’s a light hearted dig at Zork, just like games like Pork: the Undiscovered sewer system or its follow-up the gizard of showbiz. I’ll be taking all these games on holiday with me so plan to have some retro gaming time with these and of course with the latest incarnation of Frotz on iOS we can enjoy these classics on our phones and iPad’s too. @Lisa H: I don’t think the Legend Lives could actually fit in 640K of conventional memory when I played it under DOS at the time; I think you had to use a specially modified version of TADS called DJGPP or somethin which allowed it to access higher memory blocks, my DOS skills aren’t what they once were LOL.

Day of the Tentacle
June 7, 2019

Although they didn’t know one another at the time, Dave Grossman and Tim Schafer both found themselves at a similar place in life in the summer of 1989: just out of university and uncertain what to do next. Both saw the same unusual advertisement in the newspaper: an advertisement for programmers who could also write. Both applied, both were shocked when they were called out to George Lucas’s beautiful Skywalker Ranch for an interview, and both were fortunate enough to be hired to work for a division of Lucas’s empire that was still known at the time as Lucasfilm Games rather than LucasArts. It was quite a stroke of luck for two innately funny and creative souls who had never before seriously considered applying their talents to game development. “If I hadn’t seen that job listing,” says Schafer, “I would have ended up a database engineer, I think.” Similar in age and background as they were, Grossman and Schafer would remain all but inseparable for the next four years.

They spent the first weeks of that time working intermittently as play testers while they also attended what their new colleagues had dubbed “SCUMM University,” a combination technical boot camp and creative proving ground for potential adventure-game designers. Schafer:

A group of us were thrown into SCUMM University, because all of the LucasArts games used SCUMM [Script Creation Utility for Maniac Mansion]. The four of us were messing around with it, writing our own dialogue. They gave us some old art to work with, so we were just writing goofy stuff and joking around, trying to make each other laugh. I think LucasArts was watching us the whole time, and they picked me and [Grossman] out and said that they liked the writing.

Grossman and Schafer were assigned to work as understudies to Ron Gilbert on the first two Monkey Island games. Here they got to hone their writing and puzzle-making chops, even as they absorbed the LucasArts philosophy of saner, fairer adventure-game design from the man most responsible for codifying and promoting it. In early 1992, shortly after the completion of Monkey Island 2, Gilbert announced that he was quitting LucasArts to start a company of his own specializing in children’s software. He left behind as a parting gift an outline of what would have been his next project had he stayed: the long-awaited, much-asked-for sequel to his very first adventure game, 1987’s Maniac Mansion. The understudies now got to step into the role of the stars; Maniac Mansion: Day of the Tentacle became Grossman and Schafer’s baby.

Times were changing quickly inside LucasArts, keeping pace with changes in the industry around them. After first conceiving of Day of the Tentacle as a floppy-disk-based game without voice acting, LucasArts’s management decided midway through its development that it should be a real technological showpiece in all respects — the first adventure game to be released simultaneously on floppy disk and CD-ROM. Along with X-Wing, the first actual Star Wars game LucasArts had ever been allowed to make, it would be one of their two really big, high-profile releases for 1993.

It was a lot of responsibility to heap on two young pairs of shoulders, but the end result  demonstrates that Grossman and Schafer had learned their craft well as understudies. Day of the Tentacle is a spectacularly good adventure game; if not the undisputed cream of the LucasArts crop, it’s certainly in the conversation for the crown of their best single game ever. It achieves what it sets out to do so thoroughly that it can be very difficult for a diligent critic like yours truly to identify any weaknesses at all that don’t sound like the pettiest of nitpicking. The graphics are as good as any ever created under the limitations of VGA; the voice acting is simply superb; the puzzle design is airtight; the writing is sharp and genuinely, consistently laugh-out-loud funny; and the whole thing is polished to a meticulous sheen seldom seen in the games of today, much less those of 1993. It’s a piece of work which makes it hard for a critic to avoid gushing like a moon-eyed fanboy, as Evan Dickens of Adventure Gamers did when that site declared it to be the best game of its genre ever made:

The 1993 CD “talkie” version of Day of the Tentacle is a perfectly flawless adventure, the rarest of rare games, that which did nothing wrong. Nothing. There is no weakness in this game, no sieve. Stop waiting for the “but” because it won’t come. This is the perfect adventure game, the one adventure that brought every aspect of great adventures together and created such an enjoyable masterpiece, it almost seems to transcend the level of computer games.

Of course, there’s no accounting for taste. If you loathe cartoons, perhaps you might not like this game. If you prefer more serious plots or more rigorously cerebral puzzles, perhaps you won’t love it. Still, it’s hard for me to imagine very many people not being charmed by its gloriously cracked introductory movie and wanting to play further.

Link to video:
https://www.filfre.net/wp-content/uploads/2019/06/dott.mp4

One of the few negative things I can say about Day of the Tentacle is that it’s more fun than it is truly innovative; it doesn’t break any new formal or thematic ground, being content to work entirely within a template which LucasArts and others had long since established by the point of its release. It remains at the end of the day a slapstick cartoon comedy, always the lowest-hanging fruit for an adventure-game design. Within that template, though, it executes everything so well that it’s almost annoying. This is the cartoon-comedy graphic adventure perfected, serving as the ultimate proof that much of what is sometimes forgiven or dismissed as “just the way adventure games are” is really the product of poor adventure-game design. Most of the problems that so many players consider to be intractable ones for the genre simply don’t exist here. The puzzles are goofy but always soluble, the dreaded sudden deaths and dead ends are nonexistent, and pixel hunts aren’t a problem amidst the game’s bright, clearly delineated scenes.

Day of the Tentacle’s predecessor Maniac Mansion stood out from other adventure games in 1987, as it still does today, for allowing the player to select her own “party” of three characters, each with his or her own special skills, from a total of seven possibilities. The result was an unusual amount of replayability for the adventure-game genre; every possible combination of characters was capable of solving the game, but each would have to do so in a different way. Although this made Maniac Mansion a much more interesting game than it might otherwise have been, it was all nightmarishly complex for the game’s designer Ron Gilbert to map out. He would later state that only sheer naivete could ever have prompted him to expose himself to such pain — and, indeed, his first statement after finishing the game was, “I’m never doing anything like that again!” He held to that resolution throughout the rest of his time at LucasArts; his 1990 game The Secret of Monkey Island was at least as good as Maniac Mansion, but it owed its goodness to its writing, humor, art direction, and puzzle design, not to a similar formal ambition.

Against Gilbert’s advice, Grossman and Schafer first envisioned Day of the Tentacle operating along the same lines as Maniac Mansion, with another group of a half-dozen or so kids from which to choose a team. But the escalating cost of art and sound in the multimedia age played as big a role in nixing those plans as did the additional design complications; the two soon settled for giving the player control of a fixed group of three characters — which, they didn’t hesitate to point out, was still two more than most adventure games.

As this anecdote illustrates, Day of the Tentacle was never overly concerned with aping the details of its predecessor. Certainly if you play it without having played Maniac Mansion before, you’ll hardly be lost. Grossman:

We really couldn’t imitate the style of the original in the way you normally would with a sequel. Too much time had passed and the state of the art was radically different. We stopped thinking of it as a sequel almost immediately and just did our own thing, slathering our own personalities on top of that of Maniac Mansion.

Grossman and Schafer did reuse those elements of the earlier game that amused them most: the mad scientist Doctor Fred and his equally insane wife and son; the rambling old mansion where they all live; a memorable gag involving a hamster and a microwave; a pair of wise-cracking sentient tentacles, one of whom became the centerpiece of their plot and provided their sequel with its name. But of the kids the player got to control in Maniac Mansion, only Bernard, the über-nerd of the bunch, shows up again here. (Not coincidentally, Bernard had always been the favorite of the original game’s players, perhaps because of his range of unusual technical skills, perhaps because — if we’re being totally honest here — he was the teenage archetype who most resembled the typical young player.) Notably, Dave, the oddly bland default protagonist of the earlier game — he’s the only one you have to take with you, even though he’s the dullest of the lot — doesn’t show up at all here. In the place of Dave and the other kids, Grossman and Schafer augmented Bernard with two new creations of their own: a bro-dude “MegaBreth” roadie named Hoagie and a terminally nervous medical student named Laverne.

The story here does follow up on that of Maniac Mansion, but, once again, it doesn’t really matter whether you realize it or not. Five years after his previous adventure, Bernard receives a plea for help from Green Tentacle, informing him that Purple Tentacle has drunk some toxic sludge, which has instilled in him superhuman (supertentacle?) intelligence and a burning desire to enslave the world. Now, Doctor Fred has decided to deal with the problem by killing both tentacles; this is an obviously problematic plan from Green Tentacle’s perspective. Bernard convinces his two reluctant pals Hoagie and Laverne to head out to Doctor Fred’s mansion and stage an intervention. In attempting to do so, they unwittingly help Purple Tentacle to escape, and he sets out to take over the world. And so, just like that, we’re off to save the world.

It doesn’t take Day of the Tentacle long to introduce its secret puzzling weapon: time travel. Doctor Fred, you see, just happens to have some time machines handy; known as “Chron-O-Johns,” they’re made from outdoor port-a-potties. With his plan for summary tentacle execution having failed, he hatches an alternative plan: to send the kids one day back in time, where they’ll prevent Purple Tentacle from ever drinking the toxic waste in the first place. But the time machines turn out to work about as well as most of Doctor Fred’s inventions. One sends Hoagie back 200 years instead of one day into the past, where he finds Ben Franklin and other Founding Fathers in the midst of writing the American Constitution in what will someday become Doctor Fred’s mansion; another sends Laverne 200 years into the future, when Purple Tentacle has in fact taken over the world and the mansion is serving as the dictatorial palace for him, his tentacle minions, and their human slaves; and the last time machine leaves Bernard right where (when?) he started.

You can switch between the kids at any time, and many of the more elaborate puzzles require you to make changes in one time to pave the way for solving them in another. In some instances, the kids can “flush” objects through time to one another using the Chron-O-John. On other occasions, a kid must find a way to hide objects inside the mansion, to be collected by another kid two or four centuries further down the time stream. “It was really fun to think about the effects of large amounts of time on things like wine bottles and sweaters in dryers,” remembers Grossman, “and to imagine how altering fundamentals of history like the Constitution and the flag could be used to accomplish petty, selfish goals like the acquisition of a vacuum and a tentacle costume.” Of course, just like in Maniac Mansion, it doesn’t pay to question how the kids are communicating their intentions to one another over such gulfs. Just go with it! This is, after all, a cartoon adventure.

Hoagie’s part of the plot coincidentally shares a setting and to some extent a tone with another clever and funny time-traveling adventure game that was released in 1993: Sierra’s Pepper’s Adventures in Time. Both games even feature a cartoon Ben Franklin in important roles. Yet it must be said that LucasArts’s effort is even sharper and funnier, its wit and gameplay polished to a fine sheen, with none of the wooliness that tends to cling even to Sierra’s best games. The inability to die or get yourself irrevocably stuck means that you’re free to just enjoy the ride — free, for instance, to choose the funniest line of dialog in any conversation without hesitation, safe in the knowledge that you’ll be able to do it over again if it all goes horribly wrong. “The player is never, ever punished for doing something funny,” wrote Charles Ardai, the best writer ever to work for Computer Gaming World magazine, in his typically perceptive review of the game. “Doing funny things is the whole point of Day of the Tentacle.”

Although Grossman and Schafer were and are bright, funny guys, their game’s sparkle didn’t come from its designers’ innate brilliance alone. By 1993, LucasArts had claimed Infocom’s old place as makers of the most consistently excellent adventure games you could buy. And as with the Infocom of old, their games’ quality was largely down to a commitment to process, including a willingness to work through the hard, unfun aspects of game development which so many of their peers tended to neglect. Throughout the development of Day of the Tentacle, Grossman and Schafer hosted periodic “pizza orgies,” first for LucasArts’s in-house employees, later for people they quite literally nabbed off the street. They watched these people play their game — always a humbling and useful experience for any designer — and solicited as much feedback thereafter as their guinea pigs could be convinced to give. Which parts of the game were most fun? Which parts were less fun? Which puzzles felt too trivial? Which puzzles felt too hard? They asked their focus groups what they had tried to do that hadn’t worked, and made sure to code in responses to these actions. As Bob Bates, another superb adventure-game designer, put it to me recently, most of what the player tries to do in an adventure game is wrong in terms of advancing her toward victory. A game’s handling of these situations — the elses in the “if, then, else” model of game logic — can make or break it. It can spell the difference between a lively, “juicy” game that feels engaging and interesting and a stubbornly inscrutable blank wall — the sort of game that tells you things don’t work but never tells you why. And of course these else scenarios are a great place to embed subtle hints as to the correct course of action.

Indeed, Grossman and Schafer continually asked themselves the same question in the context of every single puzzle in the game: “How is the player supposed to figure this out?” Grossman:

That [question] has stuck with me as a hallmark of good versus bad adventure-game design. Lots of people design games that make the designer seem clever — or they’re doing it to make themselves feel clever. They’ve forgotten that they’re in the entertainment business. The player should be involved in this thing too. We always went to great lengths to make sure all the information was in there. At these “pizza orgies,” one of the things we were always looking for was, are people getting stuck? And why?

The use of three different characters in three completely different environments also helps the game to avoid that sensation every adventurer dreads: that of being absolutely stuck, unable to jog anything loose because of one stubborn roadblock of a puzzle. If a puzzle stumps you in Day of the Tentacle, there’s almost always another one to go work on instead while the old one is relegated to the brain’s background processing, as it were.

And yet, as in everything, there is a balance to strike here as well: gating in adventure design is an art in itself. Grossman:

We were very focused on making things non-linear, but what we weren’t thinking about was that it’s possible to take that too far. Then you get a paralysis of choice. There’s kind of a sweet spot in the middle between the player being lost because they have too much to do and the player feeling railroaded because you’re telling them what to do. People don’t like either of those extremes very much, but somewhere in the middle, it’s like, “I’ve got enough stuff to think about, and I’m accomplishing some things, and I’ve got some new challenges.” That’s the right spot.

Day of the Tentacle nails this particular sweet spot, as it does so many others. It could never have done so absent extensive testing and — just as importantly — an open-mindedness on the part of its designers about what the testers were saying. It’s due to a lack of these two things that the adventure games of LucasArts’s rivals tended to go off the rails more often than not.

In addition to the superb puzzle design, Day of the Tentacle looks and sounds great — even today, even in its non-remastered version. The graphics are not only technically excellent but also evince an aesthetic sophistication rare in games of this era. The art department was greatly inspired by the classic Warner Bros. cartoons of Chuck Jones — Bugs Bunny, Daffy Duck, Wile. E. Coyote and the Road Runner, etc. One day near the beginning of the project, the entire team made a field trip to sit at the feet of the 80-year-old Jones for a day and absorb some of his wisdom. Warner Bros. cartoons were always more visually skewed, more manic, and more deviously subversive than the straighter, more wholesome reels of Disney, and both the visuals and writing in Day of the Tentacle consciously mimic their style. Just as in the cartoons, there isn’t a straight line or right angle to be seen anywhere in the game. Everything, right down to the font in which text is printed, is bent, leaning, crooked, a fun-house world viewed through a fish-eye lens.

The art team, the unsung heroes of Day of the Tentacle. Standing from left to right are Lela Dowling, Sean Turner, Larry Ahern, and Peter Chan. Kneeling in front are Jesse Clark and Purple Tentacle. One additional artist, Kyle Balda, wasn’t present for this photograph.

Peter Chan, one of the artists on the team, notes that Grossman and Schafer “really trusted us and just let us go to town with what we believed would look best. If anybody on the art team had a good idea or suggestion, it was considered.” Here’s Schafer, speaking in an interview at the time of the game’s release, and obviously somewhat in awe himself at what LucasArts’s animators have come up with:

The kids have all kinds of grimaces and gestures and facial twists and contortions while they’re talking. They smile and their mouths open bigger than their heads and their tongues can hang out. They don’t just stand there. They blink, tap their feet, sigh, and even scratch their butts.

As soon as a character appears, you laugh, and that’s really important. You stare at the main characters for about thirty hours when you play the game, so they’d better be entertaining. With Bernard, as soon as you see him walking around for the first time, before he even says or does anything, you laugh. He walks goofy, he talks goofy, he’s even entertaining when he stands still. Walking Hoagie around is like piloting a blimp through a china shop, and Laverne is fun just to walk around because she seems to have a mind of her own — like she might do something dangerous at any moment.

The sound effects are drawn from the same well of classic animation. LucasArts actually bought many of them from a “major cartoon house,” resulting in all of the good old “boings” and “ka-pows” you might expect.

Tamlynn Barra in the production booth at Studio 222.

And the voice acting too is strikingly good. LucasArts was better equipped than almost any of the other game studios to adapt to the brave new world of CD-ROM audio, thanks to the connections which went along with being a subsidiary of a major film-production company. The actors’ dialog, totaling more than 4500 lines in all, was recorded at Hollywood’s Studio 222 under the supervision of a LucasArts associate producer named Tamlynn Barra. Although still in her twenties at the time, she had previously worked with many stage and video productions. She was thus experienced enough to recognize and find ways to counteract the most fundamental challenge of recording voice work for a computer game: the fact that the actors are expected to voice their lines alone in a production box, with no other actors to play off of and, too often, little notion of the real nature of the scene being voiced. “Getting the actors into character is very difficult,” she acknowledged. “Half the studio [time] is spent cueing up the actor for the scene.” And yet the fact that she knew she had to do this cueing was in a way half the battle. In contrast to many other computer-game productions — even those featuring a stellar cast of experienced actors, such as Interplay’s two contemporaneous Star Trek adventures — Day of the Tentacle has an auditory liveliness to it. It rarely feels as if the actor is merely reading lines off a page in a sound-proof booth, even if that’s exactly what she’s doing in reality.

Jane Jacobs, who voiced the Irish maid found inside the past-tense version of the mansion, performs before the microphone.

Unsurprisingly given LucasArts’s connections, the voice actors, while not household names, were seasoned professionals who arrived with their union cards in hand. The most recognizable among them was Richard Sanders, best known for playing the lovable but inept newscaster Les Nessman on the classic television sitcom WKRP in Cincinnati. During their initial discussions with Barra, Grossman and Schafer had actually suggested Les as the specific role model for Bernard, whereupon Barra made inquiries and found that Sanders was in fact available. He really was a perfect fit for Bernard; the character was “a bit of a stretch” for him, he said with a wink, because he was used to playing “more manly sorts of roles.”

Barra found the other voice talent using a process typical of television and radio productions but not so much of computer games: she sent sketches and descriptions of the characters out to Hollywood agents, who called their clients in to record audition tapes of their impressions. Then she and the rest of the development team chose their favorites. Many another game studio, by contrast, was recruiting its voice talent from its secretarial pool.

All of it led to an end result that feels today like it’s come unstuck from the time which spawned it. Certainly my own feeling upon firing up Day of the Tentacle for the first time in preparation for this article was that I had crossed some threshold into modernity after living in the ancient past for all of the years I’d previously been writing this blog. This impression is undoubtedly aided by the way that LucasArts steered clear of the approaches that generally date a game indelibly to the mid-1990s. Just to name the most obvious dubious trend they managed to resist: there are no digitized images of real actors shoehorned into this game via once cutting-edge, now aesthetically disastrous full-motion-video sequences.

Yet the impression of modernity encompasses more than the game’s audiovisual qualities; it really does encompass the sum total of the experience of playing it. The interface too just works the way a modern player would expect it to; no need to pick up a manual here to figure out how to play, even if you’ve never played an adventure game before. (The sole exception to this rule is the save system, which still requires you to know to press the F5 key in order to access it. On the other hand, keeping it hidden away does allow the game to avoid cluttering up its carefully honed aesthetic impression with a big old disk icon or the like.) Polish is a difficult quality to quantify, but I nevertheless feel fairly confident in calling Day of the Tentacle the most polished computer game made up to its release date of mid-1993. It looks and feels like a professional media production in every way.

The most telling sign in Day of the Tentacle of how far computer gaming had come in a very short time is found on an in-game computer in the present-day mansion. There you’ll find a complete and fully functional version of the original Maniac Mansion in all its blocky, pixelated, bobble-headed glory. This game within a game was inspired by an off-hand comment which Grossman and Schafer had heard Ron Gilbert make during the Monkey Island 2 project: that the entirety of Maniac Mansion had been smaller than some of the individual animation sequences in this, LucasArts’s latest game. Placed in such direct proximity to its progeny, Maniac Mansion did indeed look “downright primitive,” wrote Charles Ardai in his review of Day of the Tentacle. “Only nostalgia or curiosity will permit today’s gamers to suffer through what was once state-of-the-art but is by today’s standards crude.” And yet it had only been six years…

Ardai concluded his review by writing that “it may not hold up for fifty years, like the cartoons that inspired it, but I expect that this game will keep entertaining people for quite some time to come.” And it’s here that I must beg to differ with his otherwise perceptive review. From the perspective of today, halfway already to the game’s 50th anniversary, Day of the Tentacle still holds up perfectly well as one of the finest examples ever of the subtle art of the adventure game. I see no reason why that should change in the next quarter-century and beyond.

(Sources: Computer Gaming World of July 1993 and September 1993; LucasArts’s newsletter The Adventurer of Fall 1992 and Spring 1993; Play of April 2005; Retro Gamer 22 and 81; Video Games and Computer Entertainment of July 1993. Online sources include Dev Game Club podcast 19; Celia Pearce’s conversation with Tim Schafer for Game Studies; 1Up’s interview with Tim Schafer; The Dig Museum’s interview with Dave Grossman; Adventure Gamers’s interview with Dave Grossman.

A remastered version of Day of the Tentacle is available for purchase on GOG.com.)

Comments
43 Responses

- JP

June 7, 2019 at 6:16 pm

“[Maniac Mansion’s character selection] was all nightmarishly complex for the game’s designer Dave Gilbert to map out. He would later state that only sheer naivete could ever have prompted him to expose himself to such pain — and, indeed, his first statement after finishing the game was, “I’m never doing anything like that again!””

Ron must have changed his mind at some point, because 25-ish years later we designed The Cave, another game where you choose 3 playable characters from a cast of 7, and the game changes somewhat significantly based on that. Ron came in with a pretty clear idea of how to make it less painful than Maniac Mansion, though. :]

- Jason Dyer

June 7, 2019 at 6:31 pm

This game is glorious and everyone should play it.

- Sam L-L

June 7, 2019 at 7:11 pm

Great article about a great game!

- AY

June 7, 2019 at 7:32 pm

“Although this made Maniac Mansion a much more interesting game than it might otherwise have been, it was all nightmarishly complex for the game’s designer Dave Gilbert to map out.”

While the other Gilbert has his own virtues, this one should read Ron Gilbert, I think. :)

- Jimmy Maher

June 7, 2019 at 8:42 pm

Man, second time I’ve done that in an article. Thanks!

- Mike Taylor

June 7, 2019 at 7:33 pm

“It was all nightmarishly complex for the game’s designer Dave Gilbert to map out.”

Is that RON Gilbert?

- Alex Freeman

June 7, 2019 at 7:51 pm

another sends Laverne 200 years into the future, when Purple Tentacle has in fact taken over the world and the mansion is serving as the dictatorial palace for him, his tentacle minions, and their human slaves

The Top 100 Things I’d Don If I Ever Became An Evil Overlord
41. Once my power is secure, I will destroy all those pesky time-travel devices.

http://www.eviloverlord.com/lists/overlord.html

- Tharavin

June 7, 2019 at 9:21 pm

Hi, Usually read but rarely post. Love both your series, though. Here’s a nitpick for you – the photo caption for voice recording reads Tamlynn Bara, but everywhere else seems to read Tamlynn Barra.

- Jimmy Maher

June 7, 2019 at 9:56 pm

Thanks!

- Keith Palmer

June 7, 2019 at 10:30 pm

I’d been anticipating the next piece here to be “the reverse-engineering of the Z-Machine and the creation of Inform,” but along with the surprise of “Day of the Tentacle” showing up instead came a sort of personal reproach. Having heard good things about the adventure without managing to play it “back in the day,” I managed several years ago to acquire an official CD-ROM to provide the necessary game files for SCUMMVM, only to be hit with the feeling once I’d got through the opening that the game presented its characters “as if you ought to know about them already.” In getting SCUMMVM set up I had managed to make the “Maniac Mansion” Easter Egg available for instant play, but there too I was hit at once with a “too much of an in media res” impression without a copy of the manual to introduce the problem to be solved, and never quite got around to playing either adventure, always finding some other way to fritter my time away. I certainly don’t feel as if I have any of the possible sticking-points-towards-the-game you came up with early on, anyway, so I suppose the only thing that holds me back from it is myself.

- Jimmy Maher

June 8, 2019 at 7:21 am

I was originally planning to continue directly with the Z-Machine stuff, but I’ve still got a couple of irons in the fire as far as research goes that I hope will really pay off. (What a tangle of metaphors that sentence was!) So, I’ve pushed that topic back until it’s ready. Not quite sure exactly when that will be, but we’ll get there.

- Nate Owens

June 8, 2019 at 1:01 am

This really is a terrific game, and along with Sam & Max Hit The Road and the first Monkey Island is my favorite. Some of the late puzzle solutions actually made me laugh out loud when I figured them out.

I feel like Tim Schafer would never hit these heights again, honestly. There’s a lot to recommend his later work, but more than any of the other LucasArts designers he became a true gaming personality, and while I wouldn’t say he’s coasted on goodwill since then, he definitely seems to benefit from a collaborative hand in his games.

- Aula

June 8, 2019 at 11:04 am

“player testers”

Were they really testing players in some way, or should this be “playtesters” instead?

“it doesn’t pay to question how the kids are communicating their intentions to one another”

Presumably they can pass written notes to each other just like they pass actual in-game objects.

“to jog anything lose”

should be “loose”

- Jimmy Maher

June 8, 2019 at 12:18 pm

Thanks!

- typolice

June 8, 2019 at 2:55 pm

“Pepper’s Adventures in TIme” has an extra capital.

- Jimmy Maher

June 8, 2019 at 3:16 pm

Thanks!

- Michael

June 8, 2019 at 4:30 pm

I didn’t notice any article about the previous game. Maybe I missed it, but otherwise it seems odd to exclude it. Perhaps the issue is that there’s not much to reference material available to properly discuss the original Maniac Mansion?

- Brian Bagnall

June 8, 2019 at 5:50 pm

Right here:
https://www.filfre.net/2015/07/a-new-force-in-games-part-3-scumm/

- Jrhy

June 11, 2019 at 12:45 am

For anyone wanting to play, Day of the Tentacle Remastered is available for iOS as:

Day of the Tentacle Remastered by Double Fine Productions, Inc.

It’s well worth the few dollars to get back into!

- Ignacio

June 8, 2019 at 6:09 pm

Great piece, as always, Mr. Maher. Thanks!

Maybe I am nitpicking but “similar in […] personality” doesn’t seem that accurate to me, based on my impression after reading/ listening/ watching several interviews to both. Maybe something like “and with complementary personalities”?

- Jimmy Maher

June 8, 2019 at 8:36 pm

A fair point. Thanks!

- Brian Bagnall

June 8, 2019 at 6:10 pm

Great article as usual. I had something of a Zelda Wind Waker reaction to Day of the Tentacle when it first came out, having grown accustomed to the art style at LucasArts that was last seen in LeChuck’s Revenge. I used to get very offended at anything that wasn’t very original, and saw the game as a blatant ripoff of Loony Tunes, which I was over with at that point in my young adult life. Guess I didn’t understand what an “homage” was yet. I was also bummed out, like so many others, that Ron Gilbert had decided to leave LucasArts and we would no longer see mature SCUMM games from him. I bought the game day one anyway and eventually my initial criticisms wore off and it won me over despite my grumpiness.

- GeoX

June 9, 2019 at 3:26 am

I dunno, man. Articles like this are enough to make me doubt my own sanity. Because the main thing I remember from playing Day of the Tentacle was that there were at AWFUL lot of places where I would have no clear idea what I was doing and then I would randomly stumble into the characters doing thing that would make me think, okay, there was a response to that command, so obviously it was something I was meant to do, but I have NO idea why or how it relates to anything else in the game (and contra the article’s claims, I spent A LOT of time being absolutely stuck). Sure, there were some good puzzles, but there were also loads of maddeningly opaque nonsense. I did not have this problem with Monkey Island, so I’m just going to go ahead and assume that it’s not JUST my own mental failings.

- Matt

June 9, 2019 at 4:14 pm

No, it’s not just you. Many reviews at the time called out the cat puzzle as an example of the worst in adventure game design – opaque and counter-intuitive.

That said, I don’t think you can do something as grand as this game and not risk it. That was also a late-game puzzle, which may not have gotten as much testing.

My only other criticism of this amazing game would be that the finale felt rushed. Once everyone is back together (ha!), there is almost nothing left to do.

- Aula

June 10, 2019 at 7:38 am

Well, the cat puzzle is a direct homage to Chuck Jones cartoons, specifically Pepe le Pew; back in 1993, it wasn’t completely unreasonable to expect that the target audience was familiar with that trope. And this puzzle still isn’t as bad as the infamous “cat hair mustache” puzzle from Gabriel Knight 3.

- Ignacio

June 9, 2019 at 5:03 pm

Another minor detail. In Sources, the link to ‘The Dig Museum‘s interview with Dave Grossman’ actually points to 1Up’s interview with Tim Schafer.

- Jimmy Maher

June 10, 2019 at 7:49 am

Thanks!

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- Steven Marsh

June 11, 2019 at 2:47 am

I think my absolutely favorite element that shows the level of care that went into this game:

Bernard finds a pile of quarters, which he “figures” at “about” $876,600 worth of quarters. Okay; at a casual listen it’s just a funnily absurd amount of money . . . especially when you realize it’s over 3.5 MILLION quarters.

But, no. If you do the math: $876,600 = 3,506,400 quarters, which (because of events elsewhere in the game) ends up equalling 105,192,000 minutes. That’s equal to 1,753,200 hours, which is equal to 73,050 days . . . which, divided by 365.25, equals 200 years exactly.

And why 365.25? Because of LEAP YEARS. They took into account the math for the leap years in two centuries, for a throwaway “joke” that was actually a significant clue. (And yes, I know that there’s one non-leap-year day in there because of the centennial rule, but I still think it’s amazing enough that I give them full credit.)

I love this game so much.

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- Paul

June 11, 2019 at 3:12 pm

Thanks for covering my one favourite adventure game of all time, and doing it justice! Another great article on a blog full of those.

- Seffles

June 12, 2019 at 10:42 pm

I adore this game – so much I have a half-sleeve tattoo dedicated to it on my left arm. However, as a British player, I will note that some of the puzzles are so centred (see) on a knowledge of American history and culture, they were initially baffling. George Washington had a rep for cutting down cherry trees? News to me! A Hoagie is a sandwich? Also a revelation. I had no idea who Betsy Ross was, and only knew Ben Franklin from his kite experiment (fortunate, for the puzzle). I had no idea why he was lumped in with the other characters creating the Constitution. (Be nice, I was 8 when I first tried to play it). In the context of its release – pre-internet, especially high-speed and widespread – that was a big challenge.

- Jimmy Maher

June 13, 2019 at 6:01 am

Infuriated by Zork II’s infamous baseball puzzle, the Brit Graham Nelson wrote this problem into his Player’s Bill of Rights. The player has a right, he said, “not to have to be American to understand a puzzle.”

Personally, I’m more on the fence about it. Connections like these add depth and texture to a game, in the same way that many great novels assume a degree of cultural literacy of one kind or another on the part of their readers. As a Briton, you may ironically have gotten the worst of it. LucasArts’s language localization teams were quite good at translating not just the raw text but the cultural idiom of many puzzles into something that would be comprehensible to their players. British players didn’t get that luxury — chalk it up as just another curse of sharing a common language. ;)

- Aula

June 14, 2019 at 1:51 pm

I don’t think DotT (or any game with purely menu-driven dialogue) can be really blamed for references like that; even if you’ve never heard of George Washington and cherry trees, you can still choose the option to ask him about it from the dialogue menu. It would be much worse if you had to actually type in the question yourself.

- Max

June 13, 2019 at 7:26 pm

I’m always wondering how were the budgets in LucasArts adventures compared to their counterparts, for example, Sierra. That level of talent can’t be cheap and they were basically extremely lucky to work under George Lucas. Sierra were also pretty rich at that point and could afford decent voiceovers. A lot of other developers weren’t so wealthy so that’s why VO work, art, music and, of course, game design is often so bad.

Also I doubt that they literally took people off the street because they did all their work on Lucas ranch. There was no street anywhere close :)

- Jimmy Maher

June 14, 2019 at 12:02 am

LucasArts moved from Skywalker Ranch in 1990. At the time of Day of the Tentacle, they were working out of an office complex in San Rafael.

But they still got to enjoy some of the glamor of being a subsidiary of Lucasfilm. They shared their building with part of Industrial Light and Magic, and some movie scenes were shot in their parking lot. Reportedly a pretty sizable chunk of the staff show up as extras in the crowd scene from Die Hard 2.

- Rob

June 16, 2019 at 10:18 am

Played this game when it came out when and had a great time. The first game of its type that I really got into, which then took me to Sam and Max. Good times.

Being a Brit I agree that some US-focused references left me a bit lost, but I got through with help from friends. And it didn’t spoil my enjoyment.

PS Great article, again. Each time I read similar things from other authors makes me realise how good your writing really is. Keep up the good work!

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- MalcolmM

June 16, 2019 at 6:09 pm

I played and completed the original, floppy disk version of the game and thought it was fantastic.

I bought the remastered version on Steam and expected to just tinker around with it for a trip down memory lane. Instead I was captivated with it and completed it a second time. A classic that has aged very well. My favourite adventure game, and I’ve played hundreds of them.

- Alberto

June 23, 2019 at 6:21 pm

> All of it led to an end result that feels today like it’s come unstuck from the time which spawned it

Indeed, as I saw the title of your new post in this blog, I thought you had somehow skipped some years of gaming history to talk about a more recent game. DotT really seems not to belong to 1993.

It is interesting how the non-cartoonish graphic of “Indiana Jones and the Fate of Atlantis”, a very similar title under many respects, aged much worse in comparison.

And yet, thanks for conceding that choosing which game is the best graphic adventure of all times is a matter of taste. I think that the Indiana Jones title, even if it does not look shiny any more, accomplishes much more as an adventure game. It slowly brings the player into a really epic story, accompanying Indy from the everyday setting of the Barnett College to the verge of the supreme power. Day of the Tentacle left the 12-year-old me unimpressed, despite my fondness for Wile Coyote and Co…

A minor typo: the link to Evan Dickens’ “best game of its genre” review is wrong, it should be https://adventuregamers.com/articles/view/18101

- Brian Bagnall

September 23, 2019 at 4:29 pm

I had a similar reaction, actually. I was entering university and thought, “Oh great, now I have to play this little kiddie game” because frankly there were no other adventure games at the same level as Lucas Arts. When you are going from high school to university as a young man, you are pretty eager to leave your childhood toys behind. I think it won me over though, but to this day I have a suspicion that Tim Schafer is overrated.

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- Leo Vellés

June 14, 2020 at 7:05 pm

Am i the only one that think that Bernard’s voice sounds like Woody Allen?

Sam and Max Hit the Road
June 21, 2019

Day of the Tentacle wasn’t the only splendid adventure game which LucasArts released in 1993. Some five months after that classic, just in time for Christmas, they unveiled Sam & Max Hit the Road.

At first glance, the two games may seem disarmingly, even dismayingly similar; Sam and Max is yet another cartoon comedy in an oeuvre fairly bursting with the things. Look a little harder, though, and some pronounced differences in the two games’ personalities quickly start to emerge. Day of the Tentacle is clever and funny in a mildly subversive but family-friendly way, very much of a piece with the old Warner Bros. cartoons its aesthetic presentation so consciously emulates. Sam & Max, however, is something else entirely, more in tune with an early 1990s wave of boundary-pushing prime-time cartoons for an older audience — think The Simpsons and Beavis & Butt-Head — than the Saturday morning reels of yore. Certainly there are no life lessons to be derived herein; steeped in postmodern cynicism, this game has a moral foundation that is, as its principal creator once put, “built on quicksand.” Yet it has a saving grace: it’s really, really funny. If anything, it’s even funnier than Day of the Tentacle, which is quite a high bar to clear. This is a game with some real bite to it — and I’m not just talking about the prominent incisors on Max, the violently unhinged rabbit who so often steals the show.

Max’s partner Sam is a modestly more stable Irish wolfhound in a rumpled three-piece suit who walks and talks like a cross between Joe Friday and Maxwell Smart. Together, the two of them solve crimes in the tradition of hard-bitten detectives like Sam Spade. Or, as Sam the dog prefers to put it, they’re “freelance police,” working “to protect the rights of all those whose rights seem to require protecting at whatever particular time seems appropriate or convenient to all involved parties.” As for Max, he just likes to beat, blow, shoot, and generally eff stuff up.

Sam and Max first made their names as the stars of an indie comic book, and carried a certain indie sensibility with them when they strolled onto our monitor screens. The safe suburban world of gaming had never seen anything quite like this duo — boldly but also smartly written, aggressively confrontational, and absolutely hilarious as they wandered a landscape built out of junk media and decrepit Americana.

This not-so-cuddly duo of anthropomorphized animals was the brainchild of one Steve Purcell, a San Francisco artist who invented them with a little help from his brother while both were still children. When he enrolled at the California College of Arts and Crafts circa 1980, he started drawing them for the student newspaper there. They fell by the wayside, however, when Purcell graduated and started taking work as an independent illustrator wherever he could find it, drawing everything from computer-game boxes to Marvel comics.

While Purcell was making ends meet thusly, a friend of his named Steve Moncuse was enjoying considerable buzz within the San Francisco hipster scene for his self-published series of Fish Police comics, which bore some obvious conceptual similarities to Sam and Max. Eager to add some mammals to his stable of marine investigators, Moncuse convinced Purcell to make a full-fledged Sam & Max comic book for his own Fishwrap Productions. “I had never written, penciled, and inked my own comic book before that,” remembers Purcell — but he was up for the challenge. In 1987, the first issue of Sam & Max: Freelance Police was published, containing two stories in its 32 pages. Over the next six years or so, more showcases for the animal detectives appeared intermittently under a variety of formats and imprints, whenever Purcell could spare enough time from his paying gigs — there was very little money at all in independent comics — to draw them. By 1993, their scattered canon was enough to fill perhaps half a dozen traditional comic books.

Said canon was marked not only by conventional comics storytelling — if anything involving the pair could ever be described as conventional — but also by a number of more interactive “activities” for the reader: Sam and Max paper dolls, puppets, etc., all sketchily described and sketchily implemented in cheap black-and-white newsprint. (The sketchiness of it all was, of course, part of the joke.) There was even a Sam & Max On the Road Official Board Game, a roll-and-move exercise in random happenstance: “Go back 2 spaces for dried-up donuts and soda”; “Kids unconscious from poisoned hamburgers. Zoom 3 spaces past Santa’s village without a tantrum”; “Get gas — lose a turn and don’t touch anything in the rest room.”

In the meanwhile, Steve Purcell the respectable above-ground commercial artist found himself working for none other than LucasArts. Shortly after the publication of the first Sam & Max comic, he was hired by them to illustrate what he intriguingly describes as “a role-playing game with cat-head babes.” When that project rather unsurprisingly got cancelled, he was laid off, but was soon brought back on again to draw the box art for the second SCUMM adventure game, Zak McKracken and the Alien Mindbenders. That work won him a full-time job, upon which there followed much more in-game and box art for more adventures: Indiana Jones and the Last Crusade, Loom, the first two Monkey Island games.

Steve Purcell circa 1988.

Purcell didn’t come to LucasArts alone: a certain dog and rabbit accompanied him to his new job. The place was filled with bright young men, with young men’s taste for humor that might not always pass muster with the censors in the executive suites. (For proof, one need only look to the acronyms associated with key components of the SCUMM engine, which were tortured into conformance with various forms of bodily fluid: SPIT, FLEM, BYLE, MMUCUS.) Sam and Max fit right into this milieu. Indeed, the pair began to infiltrate LucasArts’s computers almost immediately, as, bowing to his colleagues’ demands, Purcell conjured up some graphics of them for everyone to play around with. Already by the time a couple of new hires named Dave Grossman and Tim Schafer were enrolled in the so-called “SCUMM University” in late 1989, Purcell’s creations had become fixtures of office life. Schafer:

Every afternoon Ron [Gilbert] would come up and tell us how to do one thing, like, “Here’s how you add a room to the game” or “Here’s how you add a character.” We had this Sam & Max art that Steve Purcell had made just for SCUMM U, which was Sam and Max’s office, which I don’t think ever saw the light of day. It had a few animation states — a staticy television set, rabbit ears made out of a coat hanger that could be in two different positions, and we’d go, “I’m gonna make the static on the TV animate,” and then we’d spend all day doing that, and by the end of it we were pooling in art assets from Indiana Jones, and all the Scummlets started making their own crazy, weird, improvisational SCUMM games set partially in the Sam & Max universe. I had a remote-control car in mine that would drive through a mouse hole in their office and then would come out of a filing cabinet in Nazi Germany…

Except for Nazi Germany, most of these things — including the office, the television with a coat-hanger antenna, and even the mouse hole — would later appear in the official Sam & Max game, albeit with dramatically upgraded graphics.

But even well before that came to be, Sam and Max were already getting a form of official recognition from LucasArts, one that the people in the executive suites probably weren’t really aware of. The first two Monkey Island games, the first two Indiana Jones games, and Day of the Tentacle all found somewhere to shoehorn in a mention of the LucasArts staff’s favorite comics characters. When in 1990 LucasArts instituted a newsletter for their fans in the tradition of Infocom’s old New Zork Times, they asked Purcell to provide a Sam & Max comic strip for each issue.

Still, there’s a considerable distance between such sly insertions as these and a full-fledged Sam & Max computer game. The latter may well owe its existence to expediency as much as anything else. In 1992, LucasArts’s management wanted a second adventure to join Day of the Tentacle on their release docket for 1993, but had yet to approve a project plan for same. As time ran short, Sam and Max had virtually the entire creative staff pulling for them, along with a wealth of rough art and design ideas that had been kicked around through the likes of SCUMM University for years by that point. So, Sam and Max got to make an unlikely transition from indie comics characters to the stars of a very mainstream, very mass-market computer game from The House That Star Wars Built.

Link to video:
https://www.filfre.net/wp-content/uploads/2019/06/SM.mp4

Ironically, the Sam & Max game got the green light just as Purcell himself was pulling back a bit from LucasArts. After some three years of full-time employment there, he’d just elected to return to freelancing, sometimes for LucasArts but sometimes for others. Thus the official designers for the game became a heretofore unheralded pair named Sean Clark and Mike Stemmle, who had worked as programmers on earlier SCUMM games. One can all too easily imagine such an arrangement going horribly wrong, missing the unique tone of the comics entirely. But thankfully, Clark and Stemmle proved to have a gift of their own for that trademark Sam & Max form of comedic mayhem, while Purcell himself and his soon-to-be wife Collette Michaud — another LucasArts artist, whom he had met on the job — made time to write or at least to edit most of the dialog.

Another obvious risk to the project was that of bowdlerization by nervous managers and marketers. Here again, though, it got lucky. Purcell:

I think the game is really close to the spirit of the comics. There’s violence, mild cursing, and a commendable lack of respect for authority, not to mention circus freaks and yetis. There’s less gunplay in the game simply because a gun is a terrible object to give someone to use in an adventure game unless you carefully guide the player to use it in a more interesting way. I don’t remember anything getting cut by management. Much to their credit, I think they trusted our judgment.

The theme of the game whose full title became Sam & Max Hit the Road was drawn from that old joke of a board game, as well as from kitschy roadside America more generally. By 1993, the cozy tradition of the cross-country family road trip — Route 66 and all that jazz — was starting to feel a little shabby in a post-oil embargo, post-interstate highway, postmodern America. Sam & Max steers into that shabbiness with a gonzo sensibility that’s more Hunter S. Thompson than Jack Kerouac; none of that romance-of-the-open-road nonsense for this duo! Instead they take us to pathetic would-be tourist traps like “The World’s Largest Ball of Twine!”, “Gator Golf,” “The Mystery Vortex,” “The Celebrity Vegetable Museum,” and “Frog Rock” (which doesn’t look much like a frog at all). The game tempers any sepia-toned nostalgia it might be tempted to evoke with an awareness that, really, all of this stuff was pretty tacky and stupid even in its heyday. And I haven’t even mentioned the spot-on parody of Graceland — presented here as Bumpusville, home of Conroy Bumpus, singer of the country classic “Let’s Get Drunk and Shoot Things.”

Smuckey’s convenience store, a monument to a homogeneous junk-food culture that stretches from sea to shining sea; there are several Smuckey’s in the game, and they all look exactly the same. “Max, crack open the Tang and those little cereal boxes with the perforated backs. I love that crap!”

And the reason for all this cross-country travel? Well, Sam and Max themselves never seem all that interested in the central mystery of the game, so why should we be? For the record, though, it’s something about a Sasquatch or yeti or something who’s escaped — or been kidnapped — from a carnival show. Jump through enough hoops and you’ll be rewarded with a bizarre denouement involving, as Sam puts it, “the wholesale destruction of the modern symbols of civilization in the western United States. You bet we’re proud!”

Suffice to say that you don’t play this game for the plot; you play it for the humor. A quarter century on from its creation, the latter has lost none of its sharpness. Sam & Max Hits the Road remains a veritable master class in comedy writing, with a sense of effortlessness about it that many another adventure game, huffing and puffing all too visibly in its own desperate efforts to be funny, could stand to learn from. Writing this game wasn’t truly effortless, of course, but rather involved countless hours of careful honing; as any of the great comedians working in any medium will tell you, being funny is first and foremost hard work. Yet the end result ought to feel spontaneous and easy, as it does here. The verbal jokes and visual gags are never belabored, never beat into the ground. On the contrary: they come so thick and fast that they can sometimes be a bit difficult to catch and appreciate. This is one of the few games I can think of that benefit from replaying just in order to savor all of the layers of its writing and presentation.

A Brief, Unsatisfying Interview with Sam and Max

Could you introduce yourselves?

Sam: I’m Sam. He’s Max. He’s a bunny. I’m a dog. We’re dangerous, but we work cheap.

How did you two form the Freelance Police?

Max: It was easy once we filed the monolithic heap o’ documents with the local government. They didn’t even notice that in the paperwork I claimed to be a nine-foot hamster and referred to myself as The Scatman.

Sam: Did you know that anybody can walk into a store and buy a real police badge? It really comes in handy when you want to enter the homes of people you don’t know.

What’s the toughest case you’ve ever cracked?

Sam: I guess the toughest case we cracked was when I lost the car keys and went as far as to have Max’s stomach pumped before I realized they fell down behind the radiator.

What special skills do each of you bring to the job?

Sam: Well, I have the ability to drive a car, enjoy a home-cooked meal, and get lost in a good book simultaneously.

Max: I can open a can of tuna fish with my own face.

In the best spirit of postmodern comedy, Sam and Max unleash a constant stream of blatant or subtle meta-textual commentary. When other games try to do this sort of thing, they tend to overplay their hand, with the result coming off as nervous tics on the part of creators who lack confidence in the integrity of their own fictions. Sam & Max Hit the Road, however, knows its fiction has no integrity, and revels in it. Likewise, it knows that we know how the highly artificial guide rails of genre-based storytelling run, and acknowledges that shared understanding. The selection of media tropes the game riffs off of is deep and broad, placing high and low culture on an equal footing, as any good postmodernist should. (“Every time I catch enough fish to fill a net, the helicopter swoops down and carries the fish to the Ball of Twine diner,” says one poor Sisyphus of a fisherman. “It’s like being stuck in a Norman Mailer novel.”)

But the greatest comedy goldmine here is always Max, who’s fun to watch even when he’s not really doing anything. He prowls restlessly about every area you visit, a perpetual live wire who looks likely to do something highly inappropriate and profoundly dangerous at every moment. LucasArts took an interesting approach to controlling the two protagonists. Rather than being able to switch direct control between Sam and Max, as in their previous multi-protagonist games Maniac Mansion and Day of the Tentacle, you ostensibly control Sam alone, but can “use” Max upon things in the world like you might an inventory object. It’s a brilliant choice. Max’s greatest comedic virtue is his sheer unpredictability, and this approach preserves that; even when you’re consciously “using” Max on something, you never know quite what he’s going to do.

Dialog works the same way; instead of presenting you with a cut-and-dried menu of questions or statements to make in conversations, the game lets you choose between the abstract options of a question, an exclamation, or the always worthwhile choice of the complete non sequitur. For “nothing would kill a joke worse than reading it before you hear it,” as Steve Purcell puts it.

In other ways as well, Sam and Max became a field for considerable experimentation with what had been the standard LucasArts adventure interface ever since Maniac Mansion: an interactive picture of your surroundings filling the top three-quarters or so of the screen, a menu of verbs filling the bottom of the screen. Sam and Max’s design team eliminated the latter entirely for the first time since Loom; instead of clicking a verb on a menu here, you right-click to cycle the mouse cursor through them. Although welcome in the sense that it gave LucasArts’s talented artists more room to paint their scenes, the new approach can be just a little awkward to work with, requiring an awful lot of repetitive clicking even once you’ve managed to cement in your mind what each of the cursor icons actually means.

One can make vaguely similar complaint about other aspects of Sam & Max. Certainly in comparison to Day of the Tentacle, a game which LucasArts polished to a well-nigh unprecedented sheen, Sam & Max can come across as ever so slightly ramshackle. Its scenes are often designed to scroll as the protagonists move across them. This is fair enough in itself, but it’s sometimes difficult to identify what is and isn’t a hard edge, especially in certain scenes where you must click in just the right vertical spot on one edge or the other to progress further to the left or right. This was such a problem for me when I played the game recently that I wound up consulting a walkthrough on a few occasions when I thought I was completely stumped, only to find that I simply hadn’t fully explored a location due to this interface confusion. These sorts of issues — sometimes referred to as “fake difficulty” in that they’re fundamentally external to the world being explored — were admittedly par for the course in the games from LucasArts’s contemporaries. But LucasArts themselves had made their name by rising above them to a perhaps greater extent than they manage here.

A particularly hard-nosed critic might also find reason to complain about some of the individual puzzles. Although the game does stay scrupulously true to the letter of the LucasArts design philosophy of no deaths and no dead ends, quite a few of the puzzles here are so warped that they can really only be solved via the tried-and-true “use everything on everything else” approach. While this feels thoroughly true to the anarchic spirit of the game’s source material, it’s much more debatable in the context of good adventure design in the abstract.

But then again, the whole game is so lively, and so full of funny responses and hilarious Easter eggs, that it’s usually more entertaining than tedious to lawn-mower through its scenes in this way. And there is a smattering of really good set-piece puzzles to enjoy as well. The “Gator Golf” scene, in which Sam gets to play golf on an alligator-infested swamp of a course, is an example of a puzzle that’s both intellectually stimulating and absolutely hilarious, the sort of thing that could only have appeared in Sam & Max Hit the Road. To alleviate the tension when you aren’t sure how to proceed, there’s also a few superfluous action games, like the rather grisly take on Battleship that’s known here as Car Bomb and a concoction known as Highway Surfin’ which combines a speeding automobile, Max on the roof of said automobile, and a bunch of low-hanging road signs. If not exactly good in the way we conventionally define such things, the mini-games are, like just about everything else about Sam & Max Hit the Road, really, really funny.

But the game’s rougher edges perhaps aren’t all down to the gleefully low-rent nature of its source material. Once again, a comparison with Sam & Max’s immediate predecessor on the LucasArts release docket can be instructive in this context. Superlative though Day of the Tentacle’s execution was, that game was also at the end of the day a thoroughly safe choice for LucasArts — the sequel to a beloved game, built around a style of cartoon humor with which Middle America was long-acquainted. Sam & Max, on the other hand, was a more dangerous proposition in more than one sense of the word. Even as we laud LucasArts’s management for the real bravery it took to let their creative staff make and release it at all, we can also see signs that they weren’t willing to pour quite the same amount of time and money into such a relatively risky concept. Tellingly, they didn’t pull out all the stops to release a CD-ROM-based “talkie” version of Sam & Max at the same time as the floppy-disk-based version, as they had for Day of the Tentacle. Instead they decided to wait a bit, to make sure there was in fact a market out there worthy of the additional investment.

Some of the first reviews would actually seem to confirm any suspicions LucasArts’s management might have had that Sam & Max could be more of a niche taste than a crowd pleaser. Charles Ardai, writing for Computer Gaming World, found all of the “self-referential jokes, sneering remarks, deadpan derision, sarcasm, and ridicule” — even the “unnerving” jazz-influenced soundtrack — to be decidedly off-putting. “Sarcastic New York intellectuals like [some of] my friends will find its tone wholly agreeable,” he concluded, “but whether it plays in Peoria remains to be seen” — thereby echoing a question that was doubtless much on the mind of some at LucasArts.

But, happily for everyone concerned, Sam & Max didn’t prove the commercial disaster which some of the Nervous Nellies at LucasArts might have feared. Right from the beginning, significant numbers of gamers responded strongly to the same edgy humor that seemed to leave some reviewers a little nonplussed. And, make no mistake, some reviewers loved it as well. Certainly Rick Barba, writing for Electronic Entertainment, loved it unreservedly: “It’s hip, funny, adult, and well-written. It’s what literate adventure gamers have been craving for years.” Interestingly, the early British reviews were much more uniformly positive than the American ones, perhaps reflecting the longstanding British taste for a drier, less literal stripe of humor — or perhaps just reflecting the longstanding British fascination with the weirder aspects of Americana.

With the game’s sales and very positive reception in at least some quarters having sufficiently allayed any doubts at LucasArts, the CD-ROM version appeared about six months after the floppy-based version. It was well worth the wait. The same production team that had made Day of the Tentacle such a lesson to the rest of the industry in how to do a talkie right took charge of Sam & Max as well, with similarly stellar results. Sam and Max themselves were voiced by a pair of cartoon veterans named Bill Farmer and Nick Jameson respectively, both of whom were perfect for their roles. After hearing its stars for the first time, it becomes almost impossible to imagine playing Sam & Max without their voices. And this, of course, is just the reaction a talkie ought to provoke.

Since Sam & Max Hit the Road, the titular pair have continued their exploits in the pages of more comic books, in a brief-lived and sadly bowdlerized television series, and eventually in a string of episodic adventure games from Telltale Games, who positioned themselves as the post-millennial heirs apparent to the LucasArts adventure tradition. Yet I’m not sure whether they’ve ever again been quite as sharp and funny as they were here, in their very first computer game. I can certainly write that, despite the competition from all of these other iterations of what’s developed into a minor media franchise in its own right, the stature of the original Sam & Max computer game has only grown over the years. Today it continues to stand out from the field of its contemporaries as a harbinger of a gaming future that would admit more diverse voices to the dialog, drawing from a more sophisticated palette of non-ludic cultural influences. Most of all, however, it remains what it has always been: one of the funniest games ever made. What better reason could you need to play it?

(Sources: the omnibus comic Sam & Max Surfin’ the Highway by Steve Purcell; Computer Gaming World of April 1991, January 1992, August 1993, and February 1994; Retro Gamer 22, 28, 70, 110, and 116; CD-ROM Today of August/September 1994; Edge of February 1994; Electronic Entertainment of March 1994; Game Developer of March 2006; LucasArts’s newsletter The Adventurer of Fall 1990, Spring 1991, Fall 1991, Spring 1992, Fall 1992, Spring 1993, and Winter 1994. Also “The History of Sam & Max,” as presented on the old Telltale Games home page.

Sam & Max Hit the Road is available for purchase from GOG.com and other digital storefronts.)

Comments
41 Responses

- Infinitron

June 21, 2019 at 4:11 pm

Telltale Games, who have positioned themselves

I take it you wrote the draft for this a while ago!

- Jimmy Maher

June 21, 2019 at 9:22 pm

Ah, yes, they just recently went belly-up, didn’t they? I was sorry to hear all the sorry tales that out of the place at the end. I still remember the excitement when they started up.

- TT

June 21, 2019 at 4:37 pm

I rec’d a bunch of promotional material from Steve Purcell for this game when I was working for The Adventure Company, we published Sam and Max Season One with Tell Tale around 2006. Some art books and animation cells etc

This property has some nostalgic value for me for sure.

Purcell was militant about the advertising I designed for the game re maintaining artistic consistency, he seemed like a nice guy though.

- Schnuckelpü

June 21, 2019 at 4:40 pm

> A remastered version of Sam & Max Hit the Road is available for purchase from GOG.com and other digital storefronts.)

As far as I know, there is no remastered version of this game. The GOG version you linked consists of the original game files bundled with ScummVM.

- Jimmy Maher

June 21, 2019 at 9:24 pm

Fair enough. Still playing from my original CD, personally, one of those have followed me to Europe and through about seven moves in the past ten or eleven years.

- Aula

June 21, 2019 at 4:58 pm

“That worked won him”

should be “work”

“With the games’ sales”

should be “game’s”

- Jimmy Maher

June 21, 2019 at 9:25 pm

Thanks!

- Steven Marsh

June 21, 2019 at 5:21 pm

There’s so much I love about the humor of this game and can quote verbatim decades later. (“Mind if I drive?” “Not if you don’t mind me clawing at the dash and shrieking like a cheerleader.” . . . “BUT WHO’S JOHN MUIR?” . . . “Read my lips: I. CAN’T. PICK. THAT. =UP= [etc.]” . . . “Throw the bomb out the window, Sam! There’s nobody but strangers out there!”)

As a minor nit, I’m all-but-certain the version on GOG isn’t “Remastered” in any meaningful sense (compared to the remastered version of Day of the Tentacle); I think it’s just the classic version kludged to work on modern machines.

- Pedro Timóteo

June 21, 2019 at 5:47 pm

Yeah, it says “This game is powered by ScummVM” at the bottom of the GOG page.

It does have a few extras over playing the original back then, such as a number of optional video filters, speech and subtitles at the same time (I think the CD-ROM version didn’t have subtitles, though I could be wrong), and a choice of emulated music hardware, but those are basic ScummVM features.

- Richard Mutt

June 21, 2019 at 6:09 pm

Having played the Telltale Sam & Maxes as well as the LucasArts one I can say that I found the former equally as funny and subversive as the original. Specially when it plays with the evolution of the characters throughout the episodes.

- Jimmy Maher

June 21, 2019 at 9:28 pm

The voices in the Telltale games always bothered me, perhaps because the original LucasArts voice acting was just *so* perfect. And I do agree with Benjamin…. the writing, while frequently funny and entertaining in its own right, just isn’t honed to quite the same laser edge of comedic perfection. As I remember, though, both the writing and the game design did get better as the series progressed.

- Pedro Timóteo

June 22, 2019 at 9:21 am

I guess the first version one hears is always “the one”, isn’t it? :) Since back in the day I only played the floppy version of Hit the Road, and never watched the cartoon until recently, to me Sam *is* David Nowlin, from the Telltale games. I especially love his exclamations (“holy…” or “sweet…”), usually at the end of the phone call with the Commissioner (“Sweet suffering Saint Sebastian on the sousaphone in a short story by Susan Sontag!”). Bill Farmer, on Hit the Road, actually sounds quite similar, IMO, but his voice sounds more nasal, and he (and everyone else) speaks slower, and, I don’t know, doesn’t seem to be having as much fun with the role. But, like I said, that could be simply the fact that I heard Nowlin first (and, indeed, heard him for 3 whole seasons, plus Poker Night 2, before the CD version of Hit the Road.)

- Benjamin Vigeant

June 21, 2019 at 6:18 pm

The Telltale seasons were ok to pretty good – the third season was a real treat – but as much as I enjoyed them, the writing was never as sharp as their Lucasarts forerunner. The episodic format probably harmed that to some extent, who knows how many revisions a gag would go through with the hard deadlines they had.

That said, it’s unfair to compare the relatively meager resources of the late Telltale to the far more luxe Lucasarts. It’s a real shame we won’t see any future S&M seasons.

- Thomas

June 21, 2019 at 9:14 pm

Smuckey’s is a reference not just to junk food stores in general, but to Stuckey’s, it’s own strange slice of Americana famous for southern candies like divinity and Goo Goo clusters and weird knick knacks. They still exist, at least on the east coast, but they already seemed like a relic of the past when Sam and Max came out.

https://en.m.wikipedia.org/wiki/Stuckey's

- Andrew McCarthy

June 22, 2019 at 7:08 am

And Steve Purcell’s original Sam & Max comics used the real name of Stuckey’s. I guess LucasArts’ legal department prevailed on the game designers to use a parody name.

- Alice G

June 21, 2019 at 10:14 pm

Great stuff. I played Hit the Road for the first time about a year ago, then powered through the entire Telltale series immediately afterwards, and loved every bit of it. I feel like it’s just as well that I didn’t play Hit the Road as a kid, because it’s probably one of those games where I wouldn’t have gotten half the jokes. Then again, there’s nothing quite like revisiting a game from your childhood, realizing which jokes you didn’t get then and do get now, and finding a whole new level of enjoyment in that. :D

One nitpick: “with one of your options being that aforementioned Max ‘verb'”. Max isn’t a verb, he’s an inventory item.

- Keith Palmer

June 22, 2019 at 12:23 am

Sam and Max is another adventure game I acquired an old legitimate copy of a while ago and could easily play in SCUMMVM, but unfortunately never quite get around to. Still, I do have a copy of the graphic novel collection of the original comics mentioned in the sources section, and can still dip back into its “sketchily” entertaining mayhem ranging as far as the spoof strips from the LucasArts newsletters… (“Max, if I start to freeze, I may have gut you and crawl inside you for warmth.” “Please do!”)

However, while it’s a minor quibble, I don’t quite recall the term “underground” being often applied to the black-and-white comics of the 1980s for all that there’s doubtless a line of descent between them and the 1960s and 70s works more often called that.

- Steve McCrea

June 22, 2019 at 4:43 am

Yes, I’d describe the comics as independent rather than underground.

- Jimmy Maher

June 22, 2019 at 8:19 am

Fair enough. Thanks!

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- Hoagie

June 22, 2019 at 7:54 am

Electronic Entertainment was an American magazine, not a Britsh one. Yet the British magazines gave the game extremely positive reviews (93% almost everywhere).

The French localization was excellent.I love how they translated the name of the mountain made out of tyres, “Mount Badrich” (if it’s a pun, I don’t get it), as “Mont Saint-Michelin”, a portmanteau of Mont Saint-Michel and Michelin.

- Jimmy Maher

June 22, 2019 at 8:18 am

Thanks!

And yes, LucasArts was always known for the creative verve and sheer quality of their localizations. It’s really remarkable how the commitment to quality extended all through the organization.

- Hoagie

June 22, 2019 at 4:26 pm

LucasArts assumed the French localization of their games themselves until the first Monkey Island. Starting from Indiana Jones and the Fate of Atlantis, they were done by the French company Art of Words, who also realized the localization of many Virgin games (Command & Conquer, Kyrandia).
If I’m not wrong, it was the first CD-ROM game fully localized in French with all voices re-recorded (the French DOTT CD-ROM still had the American voices). Because of the delay between the floppy and CD-ROM versions, the voices of the intro were not performed by the same voice actors (same thing in Germany), but in both cases the voices of both Sam and Max were done by the same actor, Jean-Claude Donda..Sam’s voice is significantly different from his US voice and sounds like the French voice of inspector Columbo.

- Buck

June 22, 2019 at 11:55 am

I suspect Badrich is a play on Goodrich, a well known tire company in the US.

- ATMachine

June 22, 2019 at 12:49 pm

“Goodrich” is an American maker of automobile tires (tyres). A quick Google reveals they’re now owned by Michelin, funnily enough.

- Brian Bagnall

June 22, 2019 at 5:28 pm

I have to admit, I had layers of contempt for this game when it first came around in 1993. For starters, I had never heard of Sam & Max before, and to my knowledge no one else had either. It seemed like there was no organic fandom or objective critical praise behind this creation by the box artist working for LucasArts. Reading about it in The Adventurer magazine, it seemed more like an artificial corporate push by LucasArts to try to make us care about this thing because they had a game coming out later.

The other big thing is there were many other adventure games I would have wanted at that point instead of Sam & Max. LucasArts was already coming out with its own Star Wars games in 1993. How about a Star Wars game that let you explore old abandoned Rebel bases, sneak into Imperial strongholds, and visit cantinas across the galaxy? That would have been awesome in 1993 to do with the SCUMM engine.

Or in a similar vein to Day of the Tentacle, how about a sequel to Zak McKracken? They still had David Fox as far as I can tell. But no, they poured their resources into a supposed comic book that no one had ever heard of.

As for Sam & Max itself, my comic sensibilities back then were more aligned with Monty Python, Douglas Adams, and clever Airplane/Top Secret visual gags. I was never much for the Three Stooges style of comedy: “If I yell louder does that make it funnier?” Going through university at the time, you can imagine how I reacted to the style of Sam & Max, which seemed like something a 10 year old would come up with (and it turns out I wasn’t wrong with that assessment).

Eventually in the 2000s I held my nose and played the Sam & Max series on the Wii from Telltale games because there wasn’t much choice for adventure games on that platform, and it was pretty awesome using the Wiimote like a mouse for point and click adventuring. To my surprise they were actually worth playing from start to finish, although they never reached the heights of other LucasArts games. That led me to playing Sam & Max Hit the Road on SCUMMVM for the Wii and, years later, without the context of the early 1990s, it stood on its own merits as its own thing. But still, it seemed like an odd game to make when they had so many better options for SCUMM games in 1993.

- Hoagie

June 24, 2019 at 9:33 am

I can relate to that. Without having in mind the relationship between Purcell and LucasArts, when I saw the first preview of S&M in the issue of Joystick magazine that run the laudative review of DOTT (making me wanting eagerly to play it), I was less than impressed. This story of a barefoot detective dog and a rabbit with a unpleasant grin looked like a Humongous child game. I was also very unhappy with the decision to replace the verb bar with an imitation of the Sierra interface. Sure, it’s nice to have full-screen graphics, but the menu bar was a trademark of LucasArts games and it gave you the feeling that you had a lot of ways to interact with the environment.

I played the game later and almost completely changed my mind.S&M has lots of good things to praise, except an annoying gambling puzzle : the giant magnets behind the mirror at the Mystery Vortex, that you must switch randomly to make a door accessible (you don’t even know which one).It was the first time LucasArts did something like that (there were similar things in the catacombs in Indiana Jones and the Last Crusade, but you weren’t supposed to move them randomly because the solution was in Henry Jones’ diary), and unfortunately it wouldn’t be the last.

- Cliffy

June 25, 2019 at 3:46 pm

I knew the comic, but I guess I was lucky to live in the creative mecca of Akron, Ohio.

- Ben Galbraith

August 27, 2019 at 7:58 am

Thanks for this comment. I was wondering why I hadn’t played this growing up; I was a LucasArts fan and was aware of it. Your reasoning lit up some old mental pathways and I recall feeling as you did.

Wonder what it was more specifically that triggered it? Something about the copy in the newsletter or promotions somewhere that perhaps assumed S&M were known and beloved, some misinterpreted sarcasm perhaps…

- Sig

June 22, 2019 at 6:29 pm

This was my favorite of the LucasArts adventure games. I still have my full talkie CD-ROM, and I came across a back cover comic from the newsletter you mentioned among some of my older artifacts in the garage just last week.

“Either termites are burrowing through my skull, or one of us is ticking.”

- Michael Davis

June 23, 2019 at 2:24 am

“…a menu of verbs filling the bottom of the screen. Sam and Max‘s design team eliminated the latter entirely for the first (and only) time since Loom;”

What about The Dig in 1995?

- Jimmy Maher

June 23, 2019 at 2:30 pm

That was a really confused sentence. Fixed. Thanks!

- Pedro Timóteo

June 23, 2019 at 9:29 am

A few suggestions to any readers interested in Sam & Max, if I may:

– the Surfin’ the Highway comic book (which includes all S&M comics except the one Purcell drew in the 2000s for Telltale, but it *does* include the color ones from Lucasarts’ newsletter) is available digitally on Comixology. From what I’ve seen, the physical version is out of print, but maybe you can get it second-hand, if you prefer that.

– the GOG version of Hit the Road (and, I assume, its Steam equivalent) has ScummVM configured for Adlib music, for maximum compatibility (that’s what you hear in the video in this post). You can get better quality music by switching to General MIDI (press F5 inside the game, then select Return to Launcher, and change settings from there). You can use Windows’ default MIDI, but an even better option, IMO, is to select FluidSynth and give the location of a SoundFont file on your disk (I like GeneralUser).

– the Telltale games are currently still available on Steam (TT games have been disappearing from digital stores — Tales of Monkey Island is gone, for instance –, so I don’t know how long they’ll remain there), and there’s a collection of all three seasons as the “Sam and Max Complete Collection”. Season 1, at least, is not compatible with Windows 10 (you get a blank white screen and have to kill the application in Task Manager) unless you download the TTres patch utility, copy it to each episode’s installation directory, run it there, and select a new resolution (I use 1920×1080, my monitor’s native resolution). As a bonus, you can play the first seasons in 16:9, when they originally supported 4:3 only. :)

- Sniffnoy

June 23, 2019 at 6:20 pm

I have to say, watching that intro clip, the humor is really dulled by the failure of the visuals to match up with the script. Might be less of a problem without the voice-over, IDK.

- James Turley

June 24, 2019 at 6:05 am

> there are several Smuckey’s in the game, and they all look exactly the same

Not quite! One of my favourite little sight gags is that they all have slightly different stuff on the forecourt – like the one in the South has a hideous sculpture of a shrimp IIRC. A lovely little nod to to the attempts by giant corporate franchises to look ‘local’ and ‘authentic’ … Whenever I see that kind of thing in a Macdonald’s, I think of Smuckeys

- Aula

June 24, 2019 at 7:54 am

Also, each Smuckey’s has a slightly different looking employee, even if they all are obviously clones of Bernard from Day of the Tentacle.

- anonymous

June 24, 2019 at 11:29 pm

“Max’s partner Sam is a modestly more stable Irish wolfhound in a rumpled three-piece suit who walks and talks like a cross between Joe Friday and Maxwell Smart.”

I thought it was a two-piece suit; hard to tell with that giant necktie.

- Heike

July 2, 2019 at 11:32 pm

A bunch of deplorable white men making misogynistic humor and flirting with Nazism. My, how things haven’t changed in the gaming industry. If there’s a table with a Nazi and ten people talking to him, you got a table with 11 Nazis.

- Carlton Little

July 3, 2019 at 7:02 pm

Erm, this comment seems misplaced. Are you thinking of a different game?

- Mike Taylor

July 8, 2019 at 3:43 pm

LOL! I think you may be right!

- Helge Frisenette

July 17, 2019 at 4:50 am

The TT games are all of them crummy, mediocre, forgettable excuses for adventure games.

Mediocrity has no place in something as time consuming and design driven as adventure games.
There is no fallback to basic tenets and tropes (like shooting is fun in itself).
The game IS the design. Both assets and gameplay.

Perhaps they had good intentions when they started out, but it soon turned into turn of the mill, formulaic adventures.

When you have something as great as Hit the Road. You have to be at least as good.
TT fell way short.

All the Infocom and Lucas Film Games/Arts imitators lack something vital:
The sheer accumulation of exceptional talent and will to use it.

The only team that has come close enough to criticize is Thimbleweed Park.
But still there, you can feel the lack of collective taste and knowledge of the old
companies.
It is the only really good adventure to come out in the last twenty five years though.

The Mortgaging of Sierra Online
July 5, 2019

The Sierra Online of the 1980s and very early 1990s excelled at customer relations perhaps more than anything else. Through the tours of their offices (which they offered to anyone who cared to make the trip to rural Oakhurst, California), the newsletter they published (which always opened with a folksy editorial from their founder and leader Ken Williams), and their habit of grouping their games into well-delineated series with predictable content, they fostered a sense of loyalty and even community which other game makers, not least their arch-rivals over at LucasArts, couldn’t touch — this even though the actual games of LucasArts tended to be much better in design terms. Here we see some of the entrants in a Leisure Suit Larry lookalike contest sponsored by Sierra. (Yes, two of the contestants do seem suspiciously young to have played a series officially targeted at those 18 and older.) Sadly, community-building exercise like these would become increasingly rare as the 1990s wore on and Sierra took on a different, more impersonal air. This article will chronicle the beginning of those changes.

“The computer-game industry has become the interactive-entertainment industry.”

— Ken Williams, 1992

Another even-numbered year, another King’s Quest game. Such had been the guiding rhythm of life at Sierra Online since 1986, and 1992 was to be no exception. Why should it be? Each of the last several King’s Quest installments had sold better than the one before, as the series had cultivated a reputation as the premier showcase of bleeding-edge computer entertainment. Once again, then, Sierra was prepared to pull out all the stops for King’s Quest VI, prepared to push its development budget to $1 million and beyond.

This time around, however, there were some new and worrisome tensions. Roberta Williams, Sierra’s star designer, whose name was inseparable from that of King’s Quest itself in the minds of the public, was getting a little tired of playing the Queen of Daventry for the nation’s schoolchildren. She had another, entirely different game she wanted to make, a sequel to her 1989 mystery starring the 1920s girl detective Laura Bow. So, a compromise was reached. Roberta would do Laura Bow in… The Dagger of Amon Ra and King’s Quest VI simultaneously by taking a sort of “executive designer” role on both projects, turning over the nitty-gritty details to assistant designers.

Thus for the all-important King’s Quest VI, Sierra brought over Jane Jensen, who was fresh off the task of co-designing the rather delightful educational adventure EcoQuest: The Search for Cetus with Gano Haine. Roberta Williams described her working relationship with her new partner in a contemporary interview, striking a tone that was perhaps a bit more condescending than it really needed to be in light of Jensen’s previous experience, and that was oddly disparaging toward Sierra’s other designers to boot:

I took on a co-designer for a couple of reasons: I wanted to train Jane because I didn’t want Sierra to be dependent on me. Someone else needs to know how to do a “proper” adventure game. We’re all doing a good job from a technology standpoint, but not on design. In my opinion, the best way to learn it properly is side by side. Overall, it was a positive experience, and it was very good for the series because Jane brought in some new ideas. She learned a lot, too, and can take what she’s learned to help create her new games.

There’s something of a consensus among fans today that the result of this collaboration is the best overall King’s Quest of them all. This strikes me as a fair judgment. While it’s not a great adventure game by any means, King’s Quest VI: Heir Today, Gone Tomorrow isn’t an outright poor one either in terms of writing or design, and this is sufficient for it to clear the low bar of the previous games in the series. The plot is still reliant on fairy-tale clichés: a princess imprisoned in a tower, a prince who sets out to rescue her, a kingdom in turmoil around them. Yet the writing itself is more textured and coherent this time around, the implementation is far more complete (most conceivable actions yield custom messages of some sort in response), the puzzles are generally more reasonable, and it’s considerably more difficult than it was in the earlier games to wander into a walking-dead situation without knowing it. Evincing a spirit of mercy toward its players of a sort that Sierra wasn’t usually known for, it even has a branching point where you can choose from an easier or a harder pathway to the end of the game. And when you do get to the final scene, there are over a dozen possible variants of the ending movie, depending on the choices you’ve made along the way. Again, this degree of design ambition — as opposed to audiovisual ambition — was new to the series at the time.

The fans often credit this relative improvement completely to Jensen’s involvement. And this judgment as well, unkind though it is toward Roberta Williams, is not entirely unfounded, even if it should be tempered by the awareness that Jensen’s own later games for Sierra would all have significant design issues of their own. Many of the flaws that so constantly dogged Roberta’s games in particular were down to her insistence on working at a remove from the rest of the people making them. Her habit was to type up a design document on her computer at home, then give it to the development team with instructions to “call if you have any questions.” For all practical purposes, she had thus been working as an “executive designer” long before she officially took on that role with King’s Quest VI. This method of working tended to result in confusion and ultimately in far too much improvisation on the part of her teams. Combined with Sierra’s overarching disinterest in seeking substantive feedback from players during the development process, it was disastrous more often than not to the finished product. But when the time came for King’s Quest VI, Jane Jensen was able to alleviate at least some of the problems simply by being in the same room with the rest of the team every day. It may seem unbelievable that this alone was sufficient to deliver a King’s Quest that was so markedly better than any of the others — but, again, it just wasn’t a very high bar to clear.

For all that it represented a welcome uptick in terms of design, Sierra’s real priority for King’s Quest VI was, as always for the series, to make it look and sound better than any game before. They were especially proud of the opening movie, which they outsourced to a real Hollywood animation studio to create on cutting-edge graphics workstations. When it was delivered to Sierra’s offices, the ten-minute sequence filled a well-nigh incomprehensible 1.2 GB on disk. It would have to be cut down to two minutes and 6 MB for the floppy-disk-based release of the game. (It would grow again to six minutes and 60 MB for the later CD-ROM release.) A real showstopper in its day, it serves today to illustrate how Sierra’s ambitions to be a major media player were outrunning their aesthetic competencies; even the two-minute version manages to come off as muddled and overlong, poorly framed and poorly written. In its time, though, it doubtless served its purpose as a graphics-and-sound showcase, as did the game that followed it.

My favorite part of the much-vaunted King’s Quest VI introductory movie are the sailors that accompany Prince Alexander on his quest to rescue Princess Cassima. All sailors look like pirates, right?

A more amusing example of the company’s media naiveté is the saga of the King’s Quest VI theme song. Sierra head Ken Williams, who like many gaming executives of the period relished any and all linkages between games and movies, came up with the idea of including a pop song in the game that could become a hit on the radio, a “Glory of Love” or “I Will Always Love You” for his industry. Sierra’s in-house music man Mark Seibert duly delivered a hook-less dirge of a “love theme” with the distressingly literal title of “Girl in the Tower,” then hired an ersatz Michael Bolton and Celine Dion to over-emote it wildly. Then, Sierra proceeded to carpet-bomb the nation’s radio stations with CD singles of the song, whilst including an eight-page pamphlet in every copy of the game with the phone numbers for all of the major radio stations and a plea to call in and request it. Enough of Sierra’s loyal young fans did so that many a program director called Ken in turn to complain about his supremely artificial “grass-roots” marketing strategy. His song was terrible, they told him (correctly), and sometimes issued vague legal threats regarding obscure Federal Communications Commission laws he was supposedly violating. Finally, Ken agreed to pull the pamphlet from future King’s Quest VI boxes and accept that he wasn’t going to become a music as well as games impresario. Good Taste 1, Sierra 0. Rather hilariously, he was still grousing about the whole episode years later: “In my opinion, the radio stations were the criminals for ignoring their customers, something I believe no business should ever do. Oh, well… the song was great.”

The girl in the tower. Pray she doesn’t start singing…

While King’s Quest VI didn’t spawn a hit single, it did become a massive hit in its own right by the more modest sales standards of the computer-games industry. In fact, it became the first computer game in history to be certified gold by the Software Publishers Association — 100,000 copies sold — before it had even shipped, thanks to a huge number of pre-orders. Released in mid-October of 1992, it was by far the hottest game in the industry that Christmas, with Sierra struggling just to keep up with demand. Estimates of its total sales vary widely, but it seems likely that it sold 300,000 copies in all at a minimum, and quite possibly as many as 500,000 copies.

But for all its immediate success, King’s Quest VI was a mildly frustrating project for Sierra in at least one way. Everyone there agreed that this game, more so than any of the others they had made before, was crying out for CD-ROM, but too few consumers had CD-ROM drives in their computers in 1992 to make it worthwhile to ship the game first in that format. So, it initially shipped on nine floppy disks instead. Once decompressed onto a player’s hard drive, it filled over 17 MB — this at a time when 40 MB was still a fairly typical hard-disk size even on brand-new computers. Sierra recommended that players delete the 6 MB opening movie from their hard disks after watching it a few times just to free up some space. With stopgap solutions like this in play, there was a developing sense that something had to give, and soon. Peter Spears, author of an official guide to the entire King’s Quest series, summed up the situation thusly:

King’s Quest VI represents a fin de siecle, the end of an era. It is a game that should have been — needed to be — first published on CD-ROM. For all of its strengths and gloss, it is ill-served being played from a hard drive. If only because of its prominence in the world of computer entertainment, King’s Quest VI is proof that the era of CD playing is upon us.

Why? It is because imagination has no limits, and current hardware does. There are other games proving this point today, but King’s Quest has always been the benchmark. It is the end of one era, and when it is released on CD near the beginning of next year, it should be the beginning of another. Kill your hard drives!

Sierra had been evangelizing for CD-ROM for some time by this point, just as they earlier had for the graphics cards and sound cards that had transformed MS-DOS computers from dull things suitable only for running boring business applications into the only game-playing computers that really mattered in the United States. But, as with those earlier technologies, consumer uptake of CD-ROM had been slower than Sierra, chomping at the bit to use it, would have liked.

Thankfully, then, 1993 was the year when CD-ROM, a technology which had been around for almost a decade by that point, finally broke through; this was the year when the hardware became cheap enough and the selection of software compelling enough to power a new wave of multimedia excitement which swept across the world of computing. As with those graphics cards and sound cards earlier on, Sierra’s relentless prodding doubtless played a significant role in this newfound consumer acceptance of CD-ROM. And not least among the prods was the CD-ROM version of King’s Quest VI, which boasted lusher graphics in many places and voices replacing text absolutely everywhere. The voice acting marked a welcome improvement over the talkie version of King’s Quest V, the only previous game in the series to get a release on CD-ROM. The fifth game had apparently been voiced by whoever happened to be hanging around the office that day, with results that were almost unlistenably atrocious. King’s Quest VI, on the other hand, got a professional cast, headed by Robby Benson, who had just played the Beast in the hit Disney cartoon of Beauty and the Beast, in the role of Prince Alexander, the protagonist. Although Sierra could all too often still seem like babes in the woods when it came to media aesthetics, they were slowly learning on at least some fronts.

In the meantime, they could look to the bottom line of CD-ROM uptake with satisfaction. They shipped just 13 percent of their products on CD-ROM in 1992; in 1993, that number rose to 36 percent. Already by the end of that year, they had initiated their first projects that were earmarked only for CD-ROM. The dam had burst; the floppy disk was soon to be a thing of the past as a delivery medium for games.

This ought to have been a moment of unabashed triumph for Sierra in more ways than one. Back in the mid-1980s, when the company had come within a whisker of being pulled under by the Great Home Computer Crash, Ken Williams had decided, against the conventional wisdom of the time, that the long-term future of consumer computing lay with the operating systems of Microsoft and the open hardware architecture inadvertently spawned by the original IBM PC. He’d stuck to his guns ever since; while Sierra did release some of their games for other computer platforms, they were always afterthoughts, mere ways to earn a little extra money while waiting for the real future to arrive. And now that future had indeed arrived; Ken Williams had been proved right. The monochrome cargo vans of 1985 had improbably become the multimedia sports cars of 1993, all whilst sticking to the same basic software and hardware architecture.

And yet Ken was feeling more doubtful than triumphant. While he remained convinced that CDs were the future of game delivery, he was no longer so convinced that MS-DOS was the only platform that mattered. On the contrary, he was deeply concerned by the fact that, while MS-DOS-based computers had evolved enormously in terms of graphics and sound and sheer processing power, they remained as cryptically hard to use as ever. Just installing and configuring one of his company’s latest games required considerable technical skill. His ambition, as he told anyone who would listen, was to build Sierra into a major purveyor of mainstream entertainment. Could he really do that on MS-DOS? Yes, Microsoft Windows was out there as well — in fact, it was exploding in popularity, to the point that it was already becoming hard to find productivity software that wasn’t Windows-based. But Windows had its own fair share of quirks, and wasn’t really designed for running high-performance games under any circumstances.

Even as MS-DOS and Windows thus struggled with issues of affordability, approachability, and user-friendliness in the context of games, new CD-based alternatives to traditional computers were appearing almost by the month. NEC and Sega were selling CD drives as add-ons for their TurboGrafx-16 and Genesis game consoles; Philips had something called CD-i; Commodore had CDTV; Trip Hawkins, founder of Electronic Arts, had split away from his old company to found 3DO; even Tandy was pushing a free-standing CD-based platform called the VIS. All of these products were designed to be easy for ordinary consumers to operate in all the ways a personal computer wasn’t, and they were all designed to fit into the living room rather than the back office. In short, they looked and operated like mainstream consumer electronics, while personal computers most definitely still did not.

But even if one assumed that platforms like these were the future of consumer multimedia, as Ken Williams was sorely tempted to do, which one or two would win out to become the standard? The situation was oddly similar to that which had faced software makers like Sierra back in the early 1980s, when the personal-computer marketplace had been fragmented into more than a dozen incompatible platforms. Yet the comparison only went so far: development costs for the multimedia software of the early 1990s were vastly higher, and so the stakes were that much higher as well.

Nevertheless, Ken Williams decided that the only surefire survival strategy for Sierra was to become a presence on most if not all of the new platforms. Just as MS-DOS had finally, undeniably won the day in the field of personal computers, Sierra would ironically abandon their strict allegiance to computers in general. Instead, they would now pledge their fealty to CDs in the abstract. For Ken had grander ambitions than just being a major player on the biggest computing platform; he wanted to be a major player in entertainment, full stop. “Sierra is an entertainment company, not a software company,” he said over and over.

So, at no inconsiderable expense, Ken instituted projects to port the SCI engine that ran Sierra’s adventure games to most of the other extant platforms that used CDs as their delivery medium. In doing so, however, he once again ran into a problem that Sierra and other game developers of the early 1980s, struggling to port their wares to the many incompatible platforms of that period, had become all too familiar with: the fact that every platform had such different strengths and weaknesses in terms of interface, graphics, sound, memory, and processing potential. Just because a platform of the early 1990s could accept software distributed on CD didn’t mean it could satisfactorily run all of the same games as an up-to-date personal computer with a CD-ROM drive installed. Corey Cole, who along with his wife Lori Ann Cole made up Sierra’s most competent pair of game designers at the time, but who was nevertheless pulled away from his design role to program a port of the SCI engine to the Sega Genesis with CD drive:

The Genesis CD system was essentially identical to the Genesis except for the addition of the CD. It had inadequate memory for huge games such as the ones Sierra made, and it could only display 64 colors at a time from a 512 color palette. Sierra games at the time used 256 colors at a time from a 262,144 color palette. So the trick became how to make Sierra games look good in a much smaller color space.

Genesis CD did supply some tricks that could be used to fake an expanded color space, and I set out to use those. The problem was that the techniques I used required a lot of memory, and the memory space on the Genesis was much smaller than we expected on PCs at the time. One of the first things I did was to put a memory check in the main SCI processing loop that would warn me if we came close to running out of memory. I knew it would be close.

Sierra assigned a programmer from the Dynamix division to work with me. He had helped convert Willy Beamish to the Genesis CD, so he understood the system requirements well. However, he unintentionally sabotaged the project. In his early tests, my low-memory warning kicked in, so he disabled it. Six months later, struggling with all kinds of random problems (the hard-to-impossible kind to fix), I discovered that the memory check was disabled. When I turned it back on, I learned that the random bugs were all caused by insufficient memory. Basically, Sierra games were too big to fit on the Genesis CD, and there was very little we could do to shoehorn them in. With the project now behind schedule, and the only apparent solution being a complete rewrite of SCI to use a smaller memory footprint, Sierra management cancelled the project.

While Corey Cole spun his wheels in this fashion, Lori Ann Cole was forced to design most of Quest for Glory III alone, at significant cost to this latest iteration in what had been Sierra’s most creative and compelling adventure series up to that point.

The push to move their games to consoles also cost Sierra in the more literal sense of dollars and cents, and in the end they got absolutely no return for their investment. Some of the porting projects, like the one on which Corey worked, were abandoned when the target hardware proved itself not up to the task of running games designed for cutting-edge personal computers. Others were rendered moot when the entire would-be consumer-electronics category of multimedia set-top boxes for the living room — a category that included CD-i, CDTV, 3DO, and VIS — flopped one and all. (Radio Shack employees joked that the VIS acronym stood for “Virtually Impossible to Sell.”) In the end, King’s Quest VI never came out in any versions except those for personal computers. Ken Williams’s dream of conquering the living room, like that of conquering the radio waves, would never come to fruition.

The money Sierra wasted on the fruitless porting projects were far from the only financial challenge they faced at the dawn of the CD era in gaming. For all that everyone at the company had chafed against the restrictions of floppy disks, those same restrictions had, by capping the amount of audiovisual assets one could practically include in a game, acted as a restraint on escalating development budgets. With CD-ROM, all bets were off in terms of how big a game could become. Sierra felt themselves to be in a zero-sum competition with the rest of their industry to deliver ever more impressive, ever more “cinematic” games that utilized the new storage medium to its full potential. The problem, of course, was that such games cost vastly more money to make.

It was a classic chicken-or-the-egg conundrum. Ken Williams was convinced that games had the potential to appeal to a broader demographic and thus sell in far greater numbers than ever before in this new age of CD-ROM. Yet to reach that market he first had to pay for the development of these stunning new games. Therein lay the rub. If this year’s games cost less to make but also come with a much lower sales cap than next year’s games, the old financial model — that of using the revenue generated by this year’s games to pay for next year’s — doesn’t work anymore. Yet to scale back one’s ambitions for next year’s games means to potentially miss out on the greatest gold rush in the history of computer gaming to date.

As if these pressures weren’t enough, Sierra was also facing the slow withering of what used to be another stable source of revenue: their back catalog. In 1991, titles released during earlier years accounted for fully 60 percent of their sales; in 1992, that number shrank to 48 percent, and would only keep falling from there. In this new multimedia age, driven by audiovisuals above all else, games that were more than a year or two old looked ancient. People weren’t buying them, and stores weren’t interested in stocking them. (Another chicken-or-the-egg situation…) This forced a strike-while-the-iron-is-hot mentality toward development, increasing that much more the perceived need to make every game look and sound spectacular, while also instilling a countervailing need to release it quickly, before it started to look outdated. Sierra had long been in the habit of amortizing their development costs for tax and other accounting purposes: i.e., mortgaging the cost of making each game against its future revenue. Now, as the size of these mortgages soared, this practice created still more pressure to release each game in the quarter to which the accountants had earmarked it. None of this was particularly conducive to the creation of good, satisfying games.

At first blush, one might be tempted to regard what came next as just more examples of the same types of problems that had always dogged Sierra’s output. Ken Williams had long failed to instill the culture and processes that consistently lead to good design, which had left well-designed games as the exception rather than the rule even during the company’s earlier history. Now, though, things reached a new nadir, as Sierra began to ship games that were not just poorly designed but blatantly unfinished. Undoubtedly the most heartbreaking victim of these pressures was Quest for Glory IV, Corey and Lori Ann Cole’s would-be magnum opus, which shipped on December 31, 1993 — the last day of the fiscal quarter to which it had been earmarked — in a truly woeful condition, so broken it wasn’t even possible to complete it. Another sorry example was Outpost, a sort of SimCity in space that was rendered unplayable by bugs. And an even worse one was Alien Legacy, an ambitious attempt to combine strategy with adventure gaming in a manner reminiscent of Cryo Interactive’s surprisingly effective adaptation of Dune. We’ll never know how well Sierra’s take on the concept would have worked because, once again, it shipped unfinished and essentially unplayable.

Each of these games had had real potential if they had only been allowed to realize it. One certainly didn’t need to be an expert in marketing or anything else to see how profoundly unwise it was in the long run to release them in such a state. While each of them met an arbitrary accounting deadline, thus presumably preventing some red ink in one quarter, Sierra sacrificed long-term profits on the altar of this short-term expediency: word quickly got around among gamers that the products were broken, and even many of those who were unfortunate enough to buy them before they got the word wound up returning them. That Sierra ignored such obvious considerations and shoved the games out the door anyway speaks to the pressures that come to bear as soon as a company goes public, as Sierra had done in 1988. Additionally, and perhaps more ominously, it speaks to an increasing disconnect between management and the people making the actual products.

Through it all, Ken Williams, who seemed almost frantic not to miss out on what he regarded as the inflection point for consumer software, was looking to expand his empire, looking to make Sierra known for much more than adventure games. In fact, he had already begun that process in early 1990, when Sierra acquired Dynamix, a development house notable for their 3D-graphics technology, for $1 million in cash and some stock shenanigans. That gambit had paid off handsomely; Dynamix’s World War II flight simulator Aces of the Pacific became Sierra’s second biggest hit of 1992, trailing only the King’s Quest VI juggernaut whilst — and this was important to Ken — appealing to a whole different demographic from their adventure games. In addition to their flight simulators, Dynamix also spawned a range of other demographically diverse hits over this period, from The Incredible Machine to Front Page Sports: Football.

With a success story like that in his back pocket, it was time for Ken to go shopping again. In July of 1992, Sierra acquired Bright Star Technology, a Bellevue, Washington-based specialist in educational software, for $1 million. Ken was convinced that educational software, a market that had grown only in fits and starts during earlier years, would become massive during the multimedia age, and he was greatly enamored with Bright Star’s founder, a real bright spark himself named Elon Gasper. “He thinks, therefore he is paid,” was Ken’s description of Gasper’s new role inside the growing Sierra. Bright Star also came complete with some innovative technology they had developed for syncing recorded voices to the mouths of onscreen characters — perhaps not the first problem one thinks of when contemplating a CD-ROM-based talkie of an adventure game, but one which quickly presents itself when the actual work begins. King’s Quest VI became the first Sierra game to make use of it; it was followed by many others.

Meanwhile Bright Star themselves would deliver a steady stream of slick, educator-approved learning software over the years to come. Less fortunately, the acquisition did lead to the sad demise of Sierra’a in-house “Discovery Series” of educational products, which had actually yielded some of their best designed and most creative games of any stripe during the very early 1990s. Now, the new acquisition would take over responsibility for a “second, more refined generation of educational products,” as Sierra’s annual report put it. But in addition to being more refined — more rigorously compliant with established school curricula and the latest pedagogical theories — they would also be just a little bit boring in contrast to the likes of The Castle of Dr. Brain. Such is the price of progress.

Sierra’s third major acquisition of the 1990s was more complicated, more expensive, and more debatable than the first two had been. On October 29, 1993, they bought the French developer and publisher Coktel Vision for $4.6 million. Coktel had been around since 1985, unleashing upon European gamers such indelibly (stereotypically?) French creations as Emmanuelle: A Game of Eroticism, based on a popular series of erotic novels and films. But by the early 1990s, Coktel was doing the lion’s share of their business in educational software. In 1992, estimates were that 50 to 75 percent of the software found in French schools came from Coktel. The character known as Adi, the star of their educational line, is remembered to this day by a whole generation of French schoolchildren.

Sierra had cut a deal more than a year before the acquisition to begin distributing Coktel’s games in the United States, and had made a substantial Stateside success out of Gobliiins, a vaguely Lemmings-like puzzle game. That proof of concept, combined with Coktel’s educational line and distributional clout in Europe — Ken was eager to enter that sprawling market, where Sierra heretofore hadn’t had much of a footprint — convinced the founder to pull the trigger.

But this move would never quite pan out as he had hoped. Although the text and voices were duly translated, the cultural idiom of Adi just didn’t seem to make sense to American children. Meanwhile Coktel’s games, which mashed together disparate genres like adventure and simulation with the same eagerness with which they mashed together disparate presentation technologies like full-motion video and 3D graphics, encountered all the commercial challenges that French designs typically ran into in the United States. Certainly few Americans knew what to make of a game like Inca; it took place in the far future of an alternate history where the ancient Incan civilization had survived, conquered, and taken to the stars, where they continued to battle, Wing Commander-style, with interstellar Spanish galleons. (The phrase “what were they smoking?” unavoidably comes to mind…) Today, the games of Coktel are remembered by American players, if they’re remembered at all, mostly for the sheer bizarreness of premises like this one, married to puzzles that make the average King’s Quest game seem like a master class in good adventure design. Coktel’s European distribution network undoubtedly proved more useful to Sierra than the company’s actual games, but it’s doubtful whether even it was useful to the tune of $4.6 million.

Inca, one of the strangest games Sierra ever published — and not really in a good way.

Ken Williams was playing for keeps in a high-stakes game with all of these moves, as he continued to do as well with ImagiNation, a groundbreaking, genuinely visionary online service, oriented toward socializing and playing together, which stubbornly refused to turn a profit. All together, the latest moves constituted a major shift in strategy from the conservative, incrementalist approach that had marked his handling of Sierra since the company’s near-death experience of the mid-1980s. From 1987 — the year the recovering patient first managed to turn a profit again — through 1991, Sierra had sold more games and made more money each year. The first of those statements held true for 1992 as well, as sales increased from $43 million to within a whisker of $50 million. But profits fell off a cliff; Sierra lost almost $12.5 million that year alone. Sales increased impressively again in 1993, to $59.5 million. Yet, although the bottom line looked less ugly, it remained all too red thanks to all of the ongoing spending; the company lost another $4.5 million that year.

In short, Ken Williams was now mortgaging Sierra’s present against its future, in precisely the way he’d sworn he’d never do again during those dark days of 1984 and 1985. But he felt he had to make his play for the big time now or never; CD-ROM was a horse he just had to ride, hopefully all the way to the nerve center of Western pop culture. And so he did something else he’d sworn he would never do: he left Oakhurst, California. In September of 1993, Ken and Roberta and select members of Sierra’s management team moved to Bellevue, Washington, to set up a new “corporate headquarters” there; sales and marketing would gradually follow over the months to come. Ken had long been under pressure from his board to move to a major city, one where it would be easier to recruit a “first-rate management team” to lead Sierra into a bold new future. Bellevue, a suburb of Seattle that was close to Microsoft, Nintendo of America, and of course Sierra’s own new subsidiary of Bright Star, seemed as good a choice as any. Ken promised Sierra’s creative staff as well as their fans that nothing would really change: most of the games would still be made in the cozy confines of Oakhurst. And he spoke the truth —  at least in literal terms, at least for the time being.

Nevertheless, something had changed. The old dream of starting a software company in the woods, the one which had brought a much younger, much shaggier Ken and Roberta to Oakhurst in 1980, had in some very palpable sense run its course. Sierra had well and truly gone corporate; Ken and Roberta were back in the world they had so consciously elected to escape thirteen years before. Oh, well… the arrows of both revenue and profitability at Sierra were pointing in the right direction. One more year, Ken believed, and they ought to be in the black again, and in a stronger position in the marketplace than ever at that. Chalk the rest of it up as yet one more price of progress.

(Sources: the book Influential Game Designers: Jane Jensen by Anastasia Salter; Sierra’s newsletter InterAction of Spring 1992, Fall 1992, Winter 1992, June 1993, Summer 1993, Holiday 1993, Spring 1994, and Fall 1994; The One of April 1989; ACE of May 1989; Game Players PC Entertainment of Holiday 1992; Compute! of May 1993; Computer Gaming World of January 1992; press releases, annual reports, and other internal and external documents from the Sierra archive at the Strong Museum of Play. An online source was the Games Nostalgia article on King’s Quest VI. And my thanks go to Corey Cole, who took the time to answer some questions about this period of Sierra’s history from his perspective as a developer there.)

Comments
43 Responses

- dan

July 5, 2019 at 2:36 pm

Correction: it’s Jane Jensen.

- Jimmy Maher

July 5, 2019 at 2:45 pm

A good Scandinavian name at that. :) Thanks!

- M. Casey

July 5, 2019 at 2:50 pm

Oh, I remember this time well. I plunked down my hard-saved fifty bucks for Outpost on the first day of its release only to find some interesting concepts but a nevertheless horrifyingly bad game.

Never bought anything Sierra ever again.

- James Schend

July 5, 2019 at 4:30 pm

Not really an editing thing, but I don’t understand what is implied by “The green-screened cargo vans”? Googling the phrase doesn’t provide any clarity, although there are several images of cargo vans literally in front of green screens.

I get that the intent of the sentence is that DOS computers went from boring work machines to colorful gaming machines. Simply removing the word “green-screened” might make the sentence clearer?

- Jimmy Maher

July 5, 2019 at 4:57 pm

Just a metaphor, not an idiom. “Green-screened cargo vans” -> “multimedia sports cars.” It’s possible that it’s too cute of one, however.

- James Schend

July 5, 2019 at 5:05 pm

Ok, fair warning, maybe I’m an idiot, but I don’t see the comparison between “green-screened” and “multimedia”.

Like… multimedia productions use green screens all the time, right? So it’s weird to say that if you are doing multimedia, that green screens is the old obsolete thing you’re no longer doing. Heck, modern high-budget productions are like 80% green screens. It’s not really that it’s cute, it’s that I literally don’t get it, because “green screens” and “multimedia” aren’t mutually-exclusive, nor is there like a linear sense that you go from one to the other.

Well, anyway, that’s my feedback. Great article as usual; I particularly enjoyed the bit about Girl in the Tower, which is truly one of the worst pop songs ever recorded.

- Jimmy Maher

July 5, 2019 at 5:41 pm

Okay, so we’re conflating green monitor screens with green-screen productions. I can see how that could happen. Before I give up on my metaphor entirely, let’s try “amber-screened” instead.

- James Schend

July 5, 2019 at 5:52 pm

Oh. See now with that one sentence of explanation, I get it.

Why don’t you say “monochrome?” I grew up on the classic Mac computers, which were firmly monochrome, but weren’t green screens. So it’s more universal that way, and also removes the confusion.

- Jimmy Maher

July 6, 2019 at 5:01 am

A good suggestion. Thanks!

- Ross

July 5, 2019 at 6:17 pm

I think even if you’re familiar with the green-hued monitors of old, the fact that “greenscreen” is its own term with its own meaning and considerably more common makes it confusing. I couldn’t parse “green-screened cargo vans” but I think I’d have understood nearly any other phrasing to describe old-fashioned characteristically green character terminals. though I can’t offhand think of one that fits the cadence of the sentence.

- Keith Palmer

July 5, 2019 at 5:48 pm

I recognized “green screen” as referring to the green-phosphor monitors that were considered easier on the eyes for text-only productivity applications. (My family’s TRS-80 wound up with green plastic stuck to the front of its included monitor, which had infamously begun as an RCA surplus black-and-white television…) I can understand the phrase calling more modern technology to mind, though.

- Sean

July 5, 2019 at 10:05 pm

He’s talking about the very old CRT monitors that only printed in shades of green on a field of black. This is entirely different from the modern green screen used to film with CGI in mind.

- Kevin Ragsdale

July 5, 2019 at 10:09 pm

I get the reference, mainly because in my line of work we still have them. In my case it’s an IBM 5250 emulator connected to our IBM iSeries.

- Andrew Plotkin

July 5, 2019 at 5:13 pm

I clicked on the “Girl in the Tower” link, as I’d never heard of this particular sprout of the (not yet called) transmedia industry.

I made it through about three minutes. It felt more like ten or fifteen.

- Chris Floyd

July 5, 2019 at 7:16 pm

Boy, that was exactly my reaction to Inca. The style of the packaging and the screenshots looked great, but the game itself was just bizarre. It does have some interesting similarities to Dune and Captain Blood–I think French devs were drawn to hybrid gameplay and surreal settings.

I think of Outpost as being a much bigger debacle than Alien Legacy, but probably because I only encountered Alien Legacy later in the bargain bin, in the CD-ROM version. Probably they had patched it a bit for that release. But as far as I know, Outpost never got patches that made it playable. Alien Legacy on the other hand, while maybe a little too ambitious for its own good, was a pretty compelling space strategy game along the lines of Ybarra’s Starflight or Star Control 2. Also, not unlike Dune, although with a different sensibility. It’s not easily playable these days, so I’m relying on memories from college that probably obscure its faults, but I actualyl want to say Alien Legacy (CD version) is a good game.

- Joaquim Nogueira

July 7, 2019 at 9:43 am

My thoughts exactly. I also have very fond memories of Alien Legacy and playing it I found something that reminded me a lot of Starflight 1 and 2, which I loved.
Possibly I purchased a patched version of the game, thus not recalling any particular bug (or, at least, any game-breaking bug). I also remember that Outpost and Alien Legacy were out more or less at the same time, and although Outpost was receiving all the praises by the reviewers, it seemed to me that Alien Legacy was the best of the two.
.

- Josh Lawrence

July 10, 2019 at 2:38 pm

(I think my comment might have gotten eaten because I included a link – trying again linkless).

I also remember Outpost as a bigger debacle. I bought both Outpost and Alien Legacy back in the day. I must have had a patched later release of Alien Legacy as well, as I got a fair number of hours out it, and when I put it aside, it was because I got distracted by other games, not because of any bugs I’d encountered. (Also note, Alien Legacy is not only Starflight-like, but was designed by Starflight producer Joe Ybarra.)

With Outpost on the other hand, brokenness was evident within the first 30 mins of playing, as some things described in the manual didn’t work, and it really was just a pretty, semi-functional shell instead of a game. Very disappointing, as I’d been taken in by gaming magazine hype about its hard science approach and dazzling visuals. It does seem like it never got a redeeming patch, as despite its initial warm reception by some reviewers (I suppose wowed by visuals as Sierra hoped), its reputation has soured enough by 1996 that Computer Gaming World put it in the #1 slot in its “50 Worst Games of All Time” list. The description there is spot-on:

“The idea was a good one. To make a realistic space strategy game based on real scientific principles. What would it be like to found a colony on an alien world? Well, it couldn’t be any more frightening that the way this product shipped…the design was so incomplete that many of the actions you made made no difference in the game’s outcome. Poor documentation forced players to buy the strategy guide-conveniently authored by the games’s designer-and the interface design was no help either. Rightfully vilified as ‘the greatest screen saver of all time,’ this game, more than any other, tries to hide its vague concepts, and near-total lack of substance behind pretty pictures-with little success.”
(CGW, November 1996, pg. 84)

There is a single Mobygames review that claims Alien Legacy is unfinishable due to a timer bug that runs events before the player is ready, but multiple other reviews and a forum discussion I’ve found online discuss the game end (and are generally positive), so I think that might be an outlier experience, whereas Outpost seems universally recognized as an unplayable fiasco.

- Reiko

August 14, 2019 at 2:51 am

Yes! That was my experience too. Alien Legacy is one of the few games of that era that I have replayed as an adult and still thoroughly enjoyed. Its combination of strategy and resource-collecting to set up colonies and research technologies as well as seeking out clues to figure out what happened to the other colony ship made for very compelling gameplay. It wasn’t completely bug-free, and the turn-count had some odd behavior, but that didn’t interfere very much at all.

I was young enough when I got it that Outpost was still quite fun for a while, as broken as it was, but I’ll never go back to it now. I was most disappointed when I realized that the satellites advertised on the back of the game box were completely unavailable in the actual game. I was even more disappointed when Outpost 2 ended up being an RTS instead of a proper turn-based sequel to the original. We’ll never have what Outpost should have been; the closest thing now might be something like Planetbase?

But I’ll never forget the AI’s voice at the beginning of Outpost warning the player that failing to take the right mix of supplies would result in the colony suffering “certain death.” Then: “Have a nice day.” (Said in a level metallic tone that was simultaneously chilling and hilarious.) A good game, it was not, but it was certainly memorable. I also came to love Holst’s Mars because I discovered it as a track on the game CD and played it over and over for a while, even when I wasn’t playing the game. For me, it came to represent not only the Red Planet and war, but also the danger and uncertainty of planetary colonization.

- Chuck

July 5, 2019 at 8:01 pm

Hearing “Girl in the Tower” while playing King’s Quest VI is when I knew Sierra had ‘jumped the shark.’ They were losing sight of what gamers like me had wanted and were pursuing… what? A Disney-esque mass market product, perhaps: hit-driven, technically adept, but without the creative fire or best effort in the story department.

- Jason

July 5, 2019 at 11:08 pm

The Beast Within came out after KQ6. I wouldn’t say that it lacked creative fire or best effort in the story department. I’m sure it had the usual Sierra problems, but I remember only the good parts.

- Seth A. Robinson

July 6, 2019 at 8:59 am

Great stuff, a lot here I’ve never heard before.

I couldn’t parse “down to her insistence on working at a remove from the rest of the people making them”, should be “working removed” or “working remotely”?

- Jimmy Maher

July 6, 2019 at 9:09 am

It’s somewhat idiomatic or even archaic, but not overly so. Means just what you think it does.

- David Boddie

July 6, 2019 at 11:47 am

A couple of typos:
“For all that everyone at the company had chaffed” (chafed)
“Ken Williams had long failed to install” (instill?)

“Now, the new acquisition would take over responsibility for a “second, more refined generation of educational products,” as Sierra’s annual report put it. But in addition to being more refined — more rigorously compliant with established school curricula and the latest pedagogical theories — they would also be just a little bit boring in contrast to the likes of The Castle of Dr. Brain. Such is the price of progress.”

It’s interesting to see how the educational and entertainment industries influenced each other, and the ways they could have benefited each other. Educational games needed to look more interesting to appeal to children, and adventure games could have used the development processes that educational games (should have) had by this point. I’m not sure that it always worked out quite as well as one could have hoped.

- Jimmy Maher

July 6, 2019 at 1:00 pm

Thanks!

It is interesting to note how Sierra’s educational adventures in the Discovery line were so much more carefully designed than their others. Makes one wish they had designed all of their games for children… ;) I’ve always held that a good educational product should be fun for an adult as well, at least once you get beyond the grammar-school level.

- Rowan Lipkovits

July 6, 2019 at 11:45 pm

I’m not sure that it always worked out quite as well as one could have hoped.

There’s a tremendous historical story awaiting Jimmy’s telling in SoftKey’s consolidation of the edutainment software industry (“acquiring no fewer than _sixty_ rivals, such as WordStar, Brøderbund and Spinnaker Software”, also including PCGlobe, MECC, Mindscape, Software Toolworks and SSI) and its catastrophic sale to Mattel.

- Aula

July 6, 2019 at 12:42 pm

“In its its time”

shouldn’t have repeated “its”

“Gobliiins, a vaguely Lemmings-like puzzle game”

The likeness is vague enough to be virtually undetectable by anyone who actually plays both games; they have more differences than similarities.

“Chalk the rest of it up as yet one more price of progress”

I have a couple of problems with that. First, “yet one more” seems clumsier than “yet another” even if it were applied to a countable noun. Second, “price” is an uncountable noun, so it makes no sense to imply that there are multiple prices of progress. Maybe “as further price” would be better.

- Jimmy Maher

July 6, 2019 at 1:19 pm

I have to disagree on the second two points. Gobliiins was frequently compared to Lemmings at the time of its release based on its surface qualities: a puzzle game in which you have to coordinate the actions of several “cute” characters to progress over a series of levels. Yes, there are enormous differences in the two games’ personalities and approaches, so much that no one who has spent even five minutes with each of them could ever confuse them, but I think the adverb “vaguely” makes the comparison sufficiently broad.

The last is largely an aesthetic judgment, which is fair enough, but I prefer my construction. “Price” actually isn’t an uncountable noun. (“The prices in this store are way too high!”)

But you got me on the first one. ;) Thanks!

- Ross

July 6, 2019 at 2:46 pm

You might even say that Gobliiins seems incredibly similar to Lemmings (even to the point of being a rip-off) right up until you actually play both games, whereupon the similarities largely disappear.

Is there any evidence that this was intentional, like the period in Italian cinema where they’d take any old unrelated movie and try to sell it as a sequel to a successful (or at least recognizable) American film franchise?

- Jimmy Maher

July 6, 2019 at 2:51 pm

It’s an interesting question to which I don’t know the answer. The timing at least would suggest that some degree of inspiration was possible: Lemmings appeared in early 1991, Gobliiins in mid-1992. It does strike me that Gobliiins could be what you ended up with if you set out to make a Lemmings clone but only had access to an SCI/SCUMM-like adventure engine to make it in.

- Cliffy

July 9, 2019 at 9:58 pm

I think Gobliiins was probably inspired by Lemmings in the sense that the earlier game defined a genre. I had all three but never got too far in any of them.

- Reiko

August 14, 2019 at 3:40 am

The later Goblins games involved much less coordination, though. Each game had one fewer active character. And really, Gobli(ii)ns is much more of an adventure game than a puzzle game in the sense that each “puzzle” is a set-piece, and the result of any individual action isn’t necessarily predictable from what went before. Part of the fun is trying things just to see what will happen.

Whereas Lemmings is precisely a pure puzzle game in the sense that you have one core mechanic that gradually increases in complexity while you figure out how to use that mechanic to achieve specific goals. The lemmings’ behavior is quite predictable based on the explained mechanics (although that predictability might become more difficult when multiple types are interacting). The fun is in mastering the mechanic to achieve more difficult goals.

I really don’t see the resemblance at all. I could maybe see inspiration in the sense that earlier games of any sort can inspire later games, but the gameplay has a completely different philosophy. So are we saying that the art style is similar? That the goblin characters vaguely resemble lemmings? I don’t even agree with that, but in any case, saying “a vaguely Lemmings-like puzzle game” is a comparison that’s “sufficiently broad” enough to be meaningless.

I don’t understand why anyone was even comparing them in the first place. Just because they were made by the same company? You might as well say that The Incredible Machine was a vaguely Dr. Brain-like adventure game, just because they were both somewhat educational and made by Sierra. (I’m flipping the analogy here: The Incredible Machine was a pure puzzle game, like Lemmings, while Dr. Brain was an adventure game consisting of a series of classic puzzles – it had minimal plot, but it still had one. Like Gobliiins.)

- Jacen aka Jaina

July 6, 2019 at 1:11 pm

“The situations was oddly similar to that ”

Situation?

- Jimmy Maher

July 6, 2019 at 1:20 pm

Thanks!

- Jeremy

July 6, 2019 at 1:22 pm

“revenue and profitably” -> “revenue and profitability”

“whilst” appears several times. Is there a reason not to use “while” instead?

“The monochrome cargo vans of 1985 had improbably become the multimedia sports cars of 1993” is a great turn of phrase.

Thanks for these articles. They’re wonderful.

- Jimmy Maher

July 6, 2019 at 1:31 pm

Just that I like the sound of it better in the rhythm of the sentences/paragraphs where it’s used. And note that James Schend deserves some of the credit for that turn of phrase. ;) Thanks!

- glorkvorn

July 7, 2019 at 6:42 am

How big of a player was Sierra in the PC games industry of the MS-DOS era? I know they were big, but what kind of share did they have?

What I’m really wondering is, did Ken Williams just get lucky by betting on MS-DOS as the main gaming platform, or did he actually *cause* that to become true? If he had gone all in on Apple, Amiga, or whatever, would that system have become the dominant system for games? It always struck me as weird how Microsoft operating systems have become the standard for both stodgy business applications *and* gaming. If only from a marketing/branding perspective, you’d think there’d be a different system for both.

- Jimmy Maher

July 7, 2019 at 9:20 am

Sierra was a very big fish in the relatively small pond of computer games. Coming into the 1990s, they were neck and neck with Electronic Arts and Broderbund for the biggest of all. Shortly thereafter, EA hit the afterburners and left the other two behind, but that growth spurt was almost entirely fueled by their move into the console space.

I don’t think Ken was either lucky per se or the prime mover behind MS-DOS’s consumer acceptance. I think he saw the state of the industry clearly and made a *calculated* bet on the right horse. Sierra’s relentless advocacy for MS-DOS in general and for sound cards, graphics cards, and finally CD-ROM in particular quite likely did push the process along a bit, but I don’t think it was the determining factor. As an open hardware platform where hundreds of companies could compete on price and performance, the ecosystem of MS-DOS was a tough one to compete against. Apple’s insistence on sky-high profit margins prevented them from ever having a chance, and Commodore’s moronic management never even seemed to understand they were in a fight for their lives until their company crashed down around their ears.

- hlabrande

July 7, 2019 at 2:00 pm

As a French person, i feel you are being a bit dismissive of Coktel Vision ;) They certainly did make Emmanuelle, and also several games inspired by European comics (Astérix, Spirou, etc), and European themes (Paris-Dakar, the Renaissance, etc.), if you want to underline the European-ness of their work. And you’re right to stress Adi/Adibou’s importance – it’s basically the cultural equivalent of the Oregon Trail, if I understand american culture correctly.

A very interesting perspective on this studio is also the importance of Muriel Tramis, the most prominent (first?) black female game designer in France, who wrote games set in French Carribean culture, co-wrote Gobliiins and the Adi/Adibou line of games; she was recently awarded a national medal for the arts, and sounds like (one of ?) the powerhouses in Coktel Vision.

Not saying what you wrote about the alien/weird nature of their games to an American perspective is wrong! It’s just frustrating to see a studio who was very important in the history of french computer games being categorized as “the weird European games, what were they smoking” – and since i dont think you’ll be covering them any further, i felt i had to say something :)

- Jimmy Maher

July 7, 2019 at 2:14 pm

Fair enough. For what it’s worth, it’s not really the themes of the Coktel games that bother me. I’d *love* to play a *good* game about the Renaissance or Paris-Dakar or for that matter the Caribbean slave experience (to name the game by Muriel Tramis that’s recently gotten a lot of belated attention.) What bothers me is rather a disinterest in good design not all that far removed from what I’m constantly criticizing Sierra for. I don’t know exactly why this is such a trait of Coktel games and many other French games; maybe the puzzles are being made nonsensical by bad translations, and they’re much better in their native language. I just know I find them very frustrating precisely because I want to like them more than I wind up being able to. After all, so many of them are artsy, literary, thematically ambitious, original in terms of setting, aesthetically beautiful. These are all the things I tend to look for in games. But then I try to play them, and the dream quickly fades…

What I seem to detect — and I could be completely wrong here — are designers who implicitly believe that being artsy and all those other things ought to absolve them from the responsibility of testing, refining, and balancing their games. This is, needless to say, a point of view I don’t agree with. Unlike many other creative pursuits, game design is as much a science as it is an art form.

- Michael

July 9, 2019 at 6:02 pm

Aww, I actually really like the song Girl in the Tower. The part where it plays while the two lovers are stuck on opposite sides of a door, just appreciating each other’s company, is one of my favorite gaming moments, because of how it conveys both hope and longing via the (less than poetic) lyrics and the upbeat tone.

- Casey Muratori

July 10, 2019 at 6:24 am

I don’t know if this is actually an error or not, but I thought I’d mention it: suggesting that Sierra’s new home of Bellevue was also home to Microsoft and Nintendo felt a little weird since I think of both of those companies as being headquartered in Redmond, not Bellevue. Since the two cities are neighboring, I can understand why it’s close enough for horseshoes, but to me it feels substantially different :) I think of Sierra’s old headquarters as being down by the 405/90 interchange, whereas Nintendo and Microsoft are up by the 520 terminus…

Anyway, that is my largely irrelevant comment. That said, thanks for the excellent read, as always!

Cheers,
– Casey

- Jimmy Maher

July 10, 2019 at 8:18 am

Not at all. Edit made. I’d been meaning to change that “Nintendo” to “Nintendo of America” forever anyway, but it kept slipping my mind. Thanks!

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Chief Gates Comes to Oakhurst: A Cop Drama
July 19, 2019

One day in late 1992, a trim older man with a rigid military bearing visited Sierra Online’s headquarters in Oakhurst, California. From his appearance, and from the way that Sierra’s head Ken Williams fawned over him, one might have assumed him to be just another wealthy member of the investment class, a group that Williams had been forced to spend a considerable amount of time wooing ever since he had taken his company public four years earlier. But that turned out not to be the case. As Williams began to introduce his guest to some of his employees, he described him as Sierra’s newest game designer, destined to make the fourth game in the Police Quest series. It seemed an unlikely role based on the new arrival’s appearance and age alone.

Yet ageism wasn’t sufficient to explain the effect he had on much of Sierra’s staff. Josh Mandel, a sometime stand-up comic who was now working for Sierra as a writer and designer, wanted nothing whatsoever to do with him: “I wasn’t glad he was there. I just wanted him to go away as soon as possible.” Gano Haine, who was hard at work designing the environmental-themed EcoQuest: Lost Secret of the Rainforest, reluctantly accepted the task of showing the newcomer some of Sierra’s development tools and processes. He listened politely enough, although it wasn’t clear how much he really understood. Then, much to her relief, the boss swept him away again.

The man who had prompted such discomfort and consternation was arguably the most politically polarizing figure in the United States at the time: Daryl F. Gates, the recently resigned head of the Los Angeles Police Department. Eighteen months before, four of his white police officers had brutally beaten a black man — an unarmed small-time lawbreaker named Rodney King — badly enough to break bones and teeth. A private citizen had captured the incident on videotape. One year later, after a true jury of their peers in affluent, white-bread Simi Valley had acquitted the officers despite the damning evidence of the tape, the Los Angeles Riots of 1992 had begun. Americans had watched in disbelief as the worst civil unrest since the infamously restive late 1960s played out on their television screens. The scene looked like a war zone in some less enlightened foreign country; this sort of thing just doesn’t happen here, its viewers had muttered to themselves. But it had happened. The final bill totaled 63 people killed, 2383 people injured, and more than $1 billion in property damage.

The same innocuous visage that was now to become Sierra’s newest game designer had loomed over all of the scenes of violence and destruction. Depending on whether you stood on his side of the cultural divide or the opposite one, the riots were either the living proof that “those people” would only respond to the “hard-nosed” tactics employed by Gates’s LAPD, or the inevitable outcome of decades of those same misguided tactics. The mainstream media hewed more to the latter narrative. When they weren’t showing the riots or the Rodney King tape, they played Gates’s other greatest hits constantly. There was the time he had said, in response to the out-sized numbers of black suspects who died while being apprehended in Los Angeles, that black people were more susceptible to dying in choke holds because their arteries didn’t open as fast as those of “normal people”; the time he had said that anyone who smoked a joint was a traitor against the country and ought to be “taken out and shot”; the time when he had dismissed the idea of employing homosexuals on the force by asking, “Who would want to work with one?”; the time when his officers had broken an innocent man’s nose, and he had responded to the man’s complaint by saying that he was “lucky that was all he had broken”; the time he had called the LAPD’s peers in Philadelphia “an inspiration to the nation” after they had literally launched an airborne bombing raid on a troublesome inner-city housing complex, killing six adults and five children and destroying 61 homes. As the mainstream media was reacting with shock and disgust to all of this and much more, right-wing radio hosts like Rush Limbaugh trotted out the exact same quotes, but greeted them with approbation rather than condemnation.

All of which begs the question of what the hell Gates was doing at Sierra Online, of all places. While they were like most for-profit corporations in avoiding overly overt political statements, Sierra hardly seemed a bastion of reactionary sentiment or what the right wing liked to call “family values.” Just after founding Sierra in 1980, Ken and Roberta Williams had pulled up stakes in Los Angeles and moved to rural Oakhurst more out of some vague hippie dream of getting back to the land than for any sound business reason. As was known by anyone who’d read Steven Levy’s all-too-revealing book Hackers, or seen a topless Roberta on the cover of a game called Softporn, Sierra back in those days had been a nexus of everything the law-and-order contingent despised: casual sex and hard drinking, a fair amount of toking and even the occasional bit of snorting. (Poor Richard Garriott of Ultima fame, who arrived in this den of iniquity from a conservative neighborhood of Houston inhabited almost exclusively by straight-arrow astronauts like his dad, ran screaming from it all after just a few months; decades later, he still sounds slightly traumatized when he talks about his sojourn in California.)

It was true that a near-death experience in the mid-1980s and an IPO in 1988 had done much to change life at Sierra since those wild and woolly early days. Ken Williams now wore suits and kept his hair neatly trimmed. He no longer slammed down shots of tequila with his employees to celebrate the close of business on a Friday, nor made it his personal mission to get his nerdier charges laid; nor did he and Roberta still host bathing-suit-optional hot-tub parties at their house. But when it came to the important questions, Williams’s social politics still seemed diametrically opposed to the likes to Daryl Gates. For example, at a time when even the mainstream media still tended to dismiss concerns about the environment as obsessions of the Loony Left, he’d enthusiastically approved Gano Haines’s idea for a series of educational adventure games to teach children about just those issues. When a 15-year-old who already had the world all figured out wrote in to ask how Sierra could “give in to the doom-and-gloomers and whacko commie liberal environmentalists” who believed that “we can destroy a huge, God-created world like this,” Ken’s brother John Williams — Sierra’s marketing head — offered an unapologetic and cogent response: “As long as we get letters like this, we’ll keep making games like EcoQuest.”

So, what gave? Really, what was Daryl Gates doing here? And how had this figure that some of Ken Williams’s employees could barely stand to look at become connected with Police Quest, a slightly goofy and very erratic series of games, but basically a harmless one prior to this point? To understand how all of these trajectories came to meet that day in Oakhurst, we need to trace each back to its point of origin.

Daryl F. Gates

Perhaps the kindest thing we can say about Daryl Gates is that he was, like the young black men he and his officers killed, beat, and imprisoned by the thousands, a product of his environment. He was, the sufficiently committed apologist might say, merely a product of the institutional culture in which he was immersed throughout his adult life. Seen in this light, his greatest sin was his inability to rise above his circumstances, a failing which hardly sets him apart from the masses. One can only wish he had been able to extend to the aforementioned black men the same benefit of the doubt which other charitable souls might be willing to give to him.

Long before he himself became the head of the LAPD, Gates was the hand-picked protege of William Parker, the man who has gone down in history as the architect of the legacy Gates would eventually inherit. At the time Parker took control of it in 1950, the LAPD was widely regarded as the most corrupt single police force in the country, its officers for sale to absolutely anyone who could pay their price; they went so far as to shake down ordinary motorists for bribes at simple traffic stops. To his credit, Parker put a stop to all that. But to his great demerit, he replaced rank corruption on the individual level with an us-against-them form of esprit de corps — the “them” here being the people of color who were pouring into Los Angeles in ever greater numbers. Much of Parker’s approach was seemingly born of his experience of combat during World War II. He became the first but by no means the last LAPD chief to make comparisons between his police force and an army at war, without ever considering whether the metaphor was really appropriate.

Parker was such a cold fish that Star Trek creator Gene Roddenberry, who served as an LAPD officer during his tenure as chief, would later claim to have modeled the personality of the emotionless alien Spock on him. And yet, living as he did in the epicenter of the entertainment industry — albeit mostly patrolling the parts of Los Angeles that were never shown by Hollywood — Parker was surprisingly adept at manipulating the media to his advantage. Indeed, he became one of those hidden players who sometimes shape media narratives without anyone ever quite realizing that they’re doing so. He served as a consultant for the television show Dragnet, the first popular police drama, which all but placed a halo above the heads of the officers of the LAPD. The many shows that followed it cemented a pernicious cliché of the “ideal” cop that can still be seen, more than half a century later, on American television screens every evening: the cop as tough crusader who has to knock a few heads sometimes and bend or break the rules to get around the pansy lawyers, but who does it all for a noble cause, guided by an infallible moral compass that demands that he protect the “good people” of his city from the irredeemably bad ones by whatever means are necessary. Certainly Daryl Gates would later benefit greatly from this image; it’s not hard to believe that even Ken Williams, who fancied himself something of a savvy tough guy in his own right, was a little in awe of it when he tapped Gates to make a computer game.

But this wasn’t the only one of Chief Parker’s innovations that would come to the service of the man he liked to describe as the son he’d never had. Taking advantage of a city government desperate to see a cleaned-up LAPD, Parker drove home policies that made the city’s police force a veritable fiefdom unto itself, its chief effectively impossible to fire. The city council could only do so “for cause” — i.e., some explicit failure on the chief’s part. This sounded fair enough — until one realized that the chief got to write his own evaluation every year. Naturally, Parker and his successors got an “excellent” score every time, and thus the LAPD remained for decades virtually impervious to the wishes of the politicians and public it allegedly served.

The Los Angeles neighborhood of Watts burns, 1965.

As Parker’s tenure wore on, tension spiraled in the black areas of Los Angeles, the inevitable response to an utterly unaccountable LAPD’s ever more brutal approach to policing. It finally erupted in August of 1965 in the form of the Watts Riots, the great prelude to the riots of 1992: 34 deaths, $40 million in property damage in contemporary dollars. For Daryl Gates, who watched it all take place by Parker’s side, the Watts Riots became a formative crucible. “We had no idea how to deal with this,” he would later write. “We were constantly ducking bottles, rocks, knives, and Molotov cocktails. It was random chaos. We did not know how to handle guerrilla warfare.” Rather than asking himself how it had come to this in the first place and how such chaos might be prevented in the future, he asked how the LAPD could be prepared to go toe to toe with future rioters in what amounted to open warfare on city streets.

Chief Parker died the following year, but Gates’s star remained on the ascendant even without his patron. He came up with the idea of a hardcore elite force for dealing with full-on-combat situations, a sort of SEAL team of police. Of course, the new force would need an acronym that sounded every bit as cool as its Navy inspiration. He proposed SWAT, for “Special Weapons Attack Teams.” When his boss balked at such overtly militaristic language, he said that it could stand for “Special Weapons and Tactics” instead. “That’s fine,” said his boss.

Gates and his SWAT team had their national coming-out party on December 6, 1969, when they launched an unprovoked attack upon a hideout of the Black Panthers, a well-armed militia composed of black nationalists which had been formed as a response to earlier police brutality. Logistically and practically, the raid was a bit of a fiasco. The attackers got discombobulated by an inaccurate map of the building and very nearly got themselves hemmed into a cul de sac and massacred. (“Oh, God, we were lucky,” said one of them later.) What was supposed to have been a blitzkrieg-style raid devolved into a long stalemate. The standoff was broken only when Gates managed to requisition a grenade launcher from the Marines at nearby Camp Pendleton and started lobbing explosives into the building; this finally prompted the Panthers to surrender. By some miracle, no one on either side got killed, but the Panthers were acquitted in court of most charges on the basis of self-defense.

Yet the practical ineffectuality of the operation mattered not at all to the political narrative that came to be attached to it. The conservative white Americans whom President Nixon loved to call “the silent majority” — recoiling from the sex, drugs, and rock and roll of the hippie era, genuinely scared by the street violence of the last several years — applauded Gates’s determination to “get tough” with “those people.” For the first time, the names of Daryl Gates and his brainchild of SWAT entered the public discourse beyond Los Angeles.

In May of 1974, the same names made the news in a big way again when the SWAT team was called in to subdue the Symbionese Liberation Army, a radical militia with a virtually incomprehensible political philosophy, who had recently kidnapped and apparently converted to their cause the wealthy heiress Patty Hearst. After much lobbying on Gates’s part, his team got the green light to mount a full frontal assault on the group’s hideout. Gates and his officers continued to relish military comparisons. “Here in the heart of Los Angeles was a war zone,” he later wrote. “It was like something out of a World War II movie, where you’re taking the city from the enemy, house by house.” More than 9000 rounds of ammunition were fired by the two sides. But by now, the SWAT officers did appear to be getting better at their craft. Eight members of the militia were killed — albeit two of them unarmed women attempting to surrender — and the police officers received nary a scratch. Hearst herself proved not to be inside the hideout, but was arrested shortly after the battle.

The Patty Hearst saga marked the last gasp of a militant left wing in the United States; the hippies of the 1960s were settling down to become the Me Generation of the 1970s. Yet even as the streets were growing less turbulent, increasingly militaristic rhetoric was being applied to what had heretofore been thought of as civil society. In 1971, Nixon had declared a “war on drugs,” thus changing the tone of the discourse around policing and criminal justice markedly. Gates and SWAT were the perfect mascots for the new era. The year after the Symbionese shootout, ABC debuted a hit television series called simply S.W.A.T. Its theme song topped the charts; there were S.W.A.T. lunch boxes, action figures, board games, and jigsaw puzzles. Everyone, it seemed, wanted to be like Daryl Gates and the LAPD — not least their fellow police officers in other cities: by July of 1975, there were 500 other SWAT teams in the United States. Gates embraced his new role of “America’s cop” with enthusiasm.

In light of his celebrity status in a city which worships celebrity, it was now inevitable that Gates would become the head of the LAPD just as soon as the post opened up. He took over in 1978; this gave him an even more powerful nationwide bully pulpit. In 1983, he applied some of his clout to the founding of a program called DARE in partnership with public schools around the country. The name stood for “Drug Abuse Resistance Education”; Gates really did have a knack for snappy acronyms. His heart was perhaps in the right place, but later studies, conducted only after the spending of hundreds of millions in taxpayer dollars, would prove the program’s strident rhetoric and almost militaristic indoctrination techniques to be ineffective.

Meanwhile, in his day job as chief of police, Gates fostered an ever more toxic culture that viewed the streets as battlegrounds, that viewed an ass beating as the just reward of any black man who failed to treat a police officer with fawning subservience. In 1984, the Summer Olympics came to Los Angeles, and Gates used the occasion to convince the city council to let him buy armored personnel carriers — veritable tanks for the city streets — in the interest of “crowd control.” When the Olympics were over, he held onto them for the purpose of executing “no-knock” search warrants on suspected drug dens. During the first of these, conducted with great fanfare before an invited press in February of 1985, Gates himself rode along as an APC literally drove through the front door of a house after giving the occupants no warning whatsoever. Inside they found two shocked women and three children, with no substance more illicit than the bowls of ice cream they’d been eating. To top it all off, the driver lost control of the vehicle on a patch of ice whilst everyone was sheepishly leaving the scene, taking out a parked car.

Clearly Gates’s competence still tended not to entirely live up to his rhetoric, a discrepancy the Los Angeles Riots would eventually highlight all too plainly. But in the meantime, Gates was unapologetic about the spirit behind the raid: “It frightened even the hardcore pushers to imagine that at any moment a device was going to put a big hole in their place of business, and in would march SWAT, scattering flash-bangs and scaring the hell out of everyone.” This scene would indeed be played out many times over the remaining years of Gates’s chiefdom. But then along came Rodney King of all people to inadvertently bring about his downfall.

King was a rather-slow-witted janitor and sometime petty criminal with a bumbling reputation on the street. He’d recently done a year in prison after attempting to rob a convenience store with a tire iron; over the course of the crime, the owner of the store had somehow wound up disarming him, beating him over the head with his own weapon, and chasing him off the premises. He was still on parole for that conviction on the evening of March 3, 1991, when he was spotted by two LAPD officers speeding down the freeway. King had been drinking, and so, seeing their patrol car’s flashing lights in his rear-view mirror, he decided to make a run for it. He led what turned into a whole caravan of police cars on a merry chase until he found himself hopelessly hemmed in on a side street. The unarmed man then climbed out of his car and lay face down on the ground, as instructed. But then he stood up and tried to make a break for it on foot, despite being completely surrounded. Four of the 31 officers on the scene now proceeded to knock him down and beat him badly enough with their batons and boots to fracture his face and break one of his ankles. Their colleagues simply stood and watched at a distance.

Had not a plumber named George Holliday owned an apartment looking down on that section of street, the incident would doubtless have gone down in the LAPD’s logs as just another example of a black man “resisting arrest” and getting regrettably injured in the process. But Holliday was there, standing on his balcony — and he had a camcorder to record it all. When he sent his videotape to a local television station, its images of the officers taking big two-handed swings against King’s helpless body with their batons ignited a national firestorm. The local prosecutor had little choice but to bring the four officers up on charges.

See https://www.youtube.com/embed/DbJMo7bn7xw

The tactics of Daryl Gates now came under widespread negative scrutiny for the first time. Although he claimed to support the prosecution of the officers involved, he was nevertheless blamed for fostering the culture that had led to this incident, as well as the many others like it that had gone un-filmed. At long last, reporters started asking the black residents of Los Angeles directly about their experiences with the LAPD. A typical LAPD arrest, said one of them, “basically consisted of three or four cops handcuffing a person, and just literally beating him, often until unconscious… punching, beating, kicking.” A hastily assembled city commission produced pages and pages of descriptions of a police force run amok. “It is apparent,” the final report read, “that too many LAPD patrol officers view citizens with resentment and hostility.” In response, Gates promised to retire “soon.” Yet, as month after month went by and he showed no sign of fulfilling his promise, many began to suspect that he still had hopes of weathering the storm.

At any rate, he was still there on April 29, 1992. That was the day his four cops were acquitted in Simi Valley, a place LAPD officers referred to as “cop heaven”; huge numbers of them lived there. Within two hours after the verdict was announced, the Los Angeles Riots began in apocalyptic fashion, as a mob of black men pulled a white truck driver out of his cab and all but tore him limb from limb, all under the watchful eye of a helicopter that was hovering overhead and filming the carnage.

Tellingly, Gates happened to be speaking to an adoring audience of white patrons in the wealthy suburb of Brentwood at the very instant the riots began. As the violence continued, this foremost advocate of militaristic policing seemed bizarrely paralyzed. South Los Angeles burned, and the LAPD did virtually nothing about it. The most charitable explanation had it that Gates, spooked by the press coverage of the previous year, was terrified of how white police officers subduing black rioters would play on television. A less charitable one, hewed to by many black and liberal commentators, had it that Gates had decided that these parts of the city just weren’t worth saving — had decided to just let the rioters have their fun and burn it all down. But the problem, of course, was that in the meantime many innocent people of all colors were being killed and wounded and seeing their property go up in smoke. Finally, the mayor called in the National Guard to quell the rioting while Gates continued to sit on his hands.

Asked afterward how the LAPD — the very birthplace of SWAT — had allowed things to get so out of hand, Gates blamed it on a subordinate: “We had a lieutenant down there who just didn’t seem to know what to do, and he let us down.” Not only was this absurd, but it was hard to label as anything other than moral cowardice. It was especially rich coming from a man who had always preached an esprit de corps based on loyalty and honor. The situation was now truly untenable for him. Incompetence, cowardice, racism, brutality… whichever charge or charges you chose to apply, the man had to go. Gates resigned, for real this time, on June 28, 1992.

Yet he didn’t go away quietly. Gates appears to have modeled his post-public-service media strategy to a large extent on that of Oliver North, a locus of controversy for his role in President Ronald Reagan’s Iran-Contra scandal who had parlayed his dubious celebrity into the role of hero to the American right. Gates too gave a series of angry, unrepentant interviews, touted a recently published autobiography, and even went North one better when he won his own radio show which played in close proximity to that of Rush Limbaugh. And then, when Ken Williams came knocking, he welcomed that attention as well.

But why would Williams choose to cast his lot with such a controversial figure, one whose background and bearing were so different from his own? To begin to understand that, we need to look back to the origins of the adventure-game oddity known as Police Quest.

Ken Williams, it would seem, had always had a fascination with the boys in blue. One day in 1985, when he learned from his hairdresser that her husband was a California Highway Patrol officer on administrative leave for post-traumatic stress, his interest was piqued. He invited the cop in question, one Jim Walls, over to his house to play some racquetball and drink some beer. Before the evening was over, he had started asking his guest whether he’d be interested in designing a game for Sierra. Walls had barely ever used a computer, and had certainly never played an adventure game on one, so he had only the vaguest idea what his new drinking buddy was talking about. But the only alternative, as he would later put it, was to “sit around and think” about the recent shootout that had nearly gotten him killed, so he agreed to give it a go.

The game which finally emerged from that conversation more than two years later shows the best and the worst of Sierra. On the one hand, it pushed a medium that was usually content to wallow in the same few fictional genres in a genuinely new direction. In a pair of articles he wrote for Computer Gaming World magazine, John Williams positioned Police Quest: In Pursuit of the Death Angel at the forefront of a new wave of “adult” software able to appeal to a whole new audience, noting how it evoked Joseph Wambaugh rather than J.R.R. Tolkien, Hill Street Blues rather than Star Wars. Conceptually, it was indeed a welcome antidote to a bad case of tunnel vision afflicting the entire computer-games industry.

In practical terms, however, it was somewhat less inspiring. The continual sin of Ken Williams and Sierra throughout the company’s existence was their failure to provide welcome fresh voices like that of Jim Walls with the support network that might have allowed them to make good games out of their well of experiences. Left to fend for himself, Walls, being the law-and-order kind of guy he was, devised the most pedantic adventure game of all time, one which played like an interactive adaptation of a police-academy procedure manual — so much so, in fact, that a number of police academies around the country would soon claim to be employing it as a training tool. The approach is simplicity itself: in every situation, if you do exactly what the rules of police procedure that are exhaustively described in the game’s documentation tell you to do, you get to live and go on to the next scene. If you don’t, you die. It may have worked as an adjunct to a police-academy course, but it’s less compelling as a piece of pure entertainment.

Although it’s an atypical Sierra adventure game in many respects, this first Police Quest nonetheless opens with what I’ve always considered to be the most indelibly Sierra moment of all. The manual has carefully explained — you did read it, right? — that you must walk all the way around your patrol car to check the tires and lights and so forth every time you’re about to drive somewhere. And sure enough, if you fail to do so before you get into your car for the first time, a tire blows out and you die as soon as you drive away. But if you do examine your vehicle, you find no evidence of a damaged tire, and you never have to deal with any blow-out once you start driving. The mask has fallen away to reveal what we always suspected: that the game actively wants to kill you, and is scheming constantly for a way to do so. There’s not even any pretension left of fidelity to a simulated world — just pure, naked malice. Robb Sherwin once memorably said that “Zork hates its player.” Well, Zork’s got nothing on Police Quest.

Nevertheless, Police Quest struck a modest chord with Sierra’s fan base. While it didn’t become as big a hit as Leisure Suit Larry in the Land of the Lounge Lizards, John Williams’s other touted 1987 embodiment of a new wave of “adult” games, it sold well enough to mark the starting point of another of the long series that were the foundation of Sierra’s marketing strategy. Jim Walls designed two sequels over the next four years, improving at least somewhat at his craft in the process. (In between them, he also came up with Code-Name: Iceman, a rather confused attempt at a Tom Clancy-style techno-thriller that was a bridge too far even for most of Sierra’s loyal fans.)

But shortly after completing Police Quest 3: The Kindred, Walls left Sierra along with a number of other employees to join Tsunami Media, a new company formed right there in Oakhurst by Edmond Heinbockel, himself a former chief financial officer for Sierra. With Walls gone, but his Police Quest franchise still selling well enough to make another entry financially viable, the door was wide open — as Ken Williams saw it, anyway — for one Daryl F. Gates.

Daryl Gates (right) with Tammy Dargan, the real designer of the game that bears his name.

Williams began his courtship of the most controversial man in the United States by the old-fashioned expedient of writing him a letter. Gates, who claimed never even to have used a computer, much less played a game on one, was initially confused about what exactly Williams wanted from him. Presuming Williams was just one of his admirers, he sent a letter back asking for some free games for some youngsters who lived across the street from him. Williams obliged in calculated fashion, with the three extant Police Quest games. From that initial overture, he progressed to buttering Gates up over the telephone.

As the relationship moved toward the payoff stage, some of his employees tried desperately to dissuade him from getting Sierra into bed with such a figure. “I thought it’s one thing to seek controversy, but another thing to really divide people,” remembers Josh Mandel. Mandel showed his boss a New York Times article about Gates’s checkered history, only to be told that “our players don’t read the New York Times.” He suggested that Sierra court Joseph Wambaugh instead, another former LAPD officer whose novels presented a relatively more nuanced picture of crime and punishment in the City of Angels than did Gates’s incendiary rhetoric; Wambaugh was even a name whom John Williams had explicitly mentioned in the context of the first Police Quest game five years before. But that line of attack was also hopeless; Ken Williams wanted a true mass-media celebrity, not a mere author who hid behind his books. So, Gates made his uncomfortable visit to Oakhurst and the contract was signed. Police Quest would henceforward be known as Daryl F. Gates’ Police Quest. Naturally, the setting of the series would now become Los Angeles; the fictional town of Lytton, the more bucolic setting of the previous three games in the series, was to be abandoned along with almost everything else previously established by Jim Walls.

Inside the company, a stubborn core of dissenters took to calling the game Rodney King’s Quest. Corey Cole, co-designer of the Quest for Glory series, remembers himself and many others being “horrified” at the prospect of even working in the vicinity of Gates: “As far as we were concerned, his name was mud and tainted everything it touched.” As a designer, Corey felt most of all for Jim Walls. He believed Ken Williams was “robbing Walls of his creation”: “It would be like putting Donald Trump’s name on a new Quest for Glory in today’s terms.”

Nevertheless, as the boss’s pet project, Gates’s game went inexorably forward. It was to be given the full multimedia treatment, including voice acting and the extensive use of digitized scenes and actors on the screen in the place of hand-drawn graphics. Indeed, this would become the first Sierra game that could be called a full-blown full-motion-video adventure, placing it at the vanguard of the industry’s hottest new trend.

Of course, there had never been any real expectation that Gates would roll up his sleeves and design a computer game in the way that Jim Walls had; celebrity did have its privileges, after all. Daryl F. Gates’ Police Quest: Open Season thus wound up in the hands of Tammy Dargan, a Sierra producer who, based on an earlier job she’d had with the tabloid television show America’s Most Wanted, now got the chance to try her hand at design. Corey Cole ironically remembers her as one of the most stereotypically liberal of all Sierra’s employees: “She strenuously objected to the use of [the word] ‘native’ in Quest for Glory III, and globally changed it to ‘indigenous.’ We thought that ‘the indigenous flora’ was a rather awkward construction, so we changed some of those back. But she was also a professional and did the jobs assigned to her.”

In this case, doing so would entail writing the script for a game about the mean streets of Los Angeles essentially alone, then sending it to Gates via post for “suggestions.” The latter did become at least somewhat more engaged when the time came for “filming,” using his connections to get Sierra inside the LAPD’s headquarters and even into a popular “cop bar.” Gates himself also made it into the game proper: restored to his rightful status of chief of police, he looks on approvingly and proffers occasional bits of advice as you work through the case. The CD-ROM version tacked on some DARE propaganda and a video interview with Gates, giving him yet one more opportunity to respond to his critics.

Contrary to the expectations raised both by the previous games in the series and the reputation of Gates, the player doesn’t take the role of a uniformed cop at all, but rather that of a plain-clothes detective. Otherwise, though, the game is both predictable in theme and predictably dire. Really, what more could one expect from a first-time designer working in a culture that placed no particular priority on good design, making a game that no one there particularly wanted to be making?

So, the dialog rides its banality to new depths for a series already known for clunky writing, the voice acting is awful — apparently the budget didn’t stretch far enough to allow the sorts of good voice actors that had made such a difference in King’s Quest VI — and the puzzle design is nonsensical. The plot, which revolves around a series of brutal cop killings for maximum sensationalism, wobbles along on rails through its ever more gruesome crime scenes and red-herring suspects until the real killer suddenly appears out of the blue in response to pretty much nothing which you’ve done up to that point. And the worldview the whole thing reflects… oh, my. The previous Police Quest games had hardly been notable for their sociological subtlety — “These kinds of people are actually running around out there, even if we don’t want to think about it,” Jim Walls had said of its antagonists — but this fourth game takes its demonization of all that isn’t white, straight, and suburban to what would be a comical extreme if it wasn’t so hateful. A brutal street gang, the in-game police files helpfully tell us, is made up of “unwed mothers on public assistance,” and the cop killer turns out to be a transvestite; his “deviancy” constitutes the sum total of his motivation for killing, at least as far as we ever learn.

One of the grisly scenes with which Open Season is peppered, reflecting a black-and-white — in more ways than one! — worldview where the irredeemably bad, deviant people are always out to get the good, normal people. Lucky we have the likes of Daryl Gates to sort the one from the other, eh?

Visiting a rap record label, one of a number of places where Sierra’s pasty-white writers get to try out their urban lingo. It goes about as well as you might expect.

Sierra throws in a strip bar for the sake of gritty realism. Why is it that television (and now computer-game) cops always have to visit these places — strictly in order to pursue leads, of course.

But the actual game of Open Season is almost as irrelevant to any discussion of the project’s historical importance today as it was to Ken Williams at the time. This was a marketing exercise, pure and simple. Thus Daryl Gates spent much more time promoting the game than he ever had making it. Williams put on the full-court press in terms of promotion, publishing not one, not two, but three feature interviews with him in Sierra’s news magazine and booking further interviews with whoever would talk to him. The exchanges with scribes from the computing press, who had no training or motivation for asking tough questions, went about as predictably as the game’s plot. Gates dismissed the outrage over the Rodney King tape as “Monday morning quarterbacking,” and consciously or unconsciously evoked Richard Nixon’s silent majority in noting that the “good, ordinary, responsible, quiet citizens” — the same ones who saw the need to get tough on crime and prosecute a war on drugs — would undoubtedly enjoy the game. Meanwhile Sierra’s competitors weren’t quite sure what to make of it all. “Talk about hot properties,” wrote the editors of Origin Systems’s internal newsletter, seemingly uncertain whether to express anger or admiration for Sierra’s sheer chutzpah. “No confirmation yet as to whether the game will ship with its own special solid-steel joystick” — a dark reference to the batons with which Gates’s officers had beat Rodney King.

In the end, though, the game generated decidedly less controversy than Ken Williams had hoped for. The computer-gaming press just wasn’t politically engaged enough to do much more than shrug their shoulders at its implications. And by the time it was released it was November of 1993, and Gates was already becoming old news for the mainstream press. The president of the Los Angeles Urban League did provide an obligingly outraged quote, saying that Gates “embodies all that is bad in law enforcement—the problems of the macho, racist, brutal police experience that we’re working hard to put behind us. That anyone would hire him for a project like this proves that some companies will do anything for the almighty dollar.” But that was about as good as it got.

There’s certainly no reason to believe that Gates’s game sold any better than the run-of-the-mill Sierra adventure, or than any of the Police Quest games that had preceded it. If anything, the presence of Gates’s name on the box seems to have put off more fans than it attracted. Rather than a new beginning, Open Season proved the end of the line for Police Quest as an adventure series — albeit not for Sierra’s involvement with Gates himself. The product line was retooled in 1995 into Daryl F. Gates’ Police Quest: SWAT, a “tactical simulator” of police work that played suspiciously like any number of outright war simulators. In this form, it found a more receptive audience and continued for years. Tammy Dargan remained at the reinvented series’s head for much of its run. History hasn’t recorded whether her bleeding-heart liberal sympathies went into abeyance after her time with Gates or whether the series remained just a slightly distasteful job she had to do.

Gates, on the other hand, got dropped after the first SWAT game. His radio show had been cancelled after he had proved himself to be a stodgy bore on the air, without even the modicum of wit that marked the likes of a Rush Limbaugh. Having thus failed in his new career as a media provocateur, and deprived forevermore of his old position of authority, his time as a political lightning rod had just about run out. What then was the use of Sierra continuing to pay him?

Ken and Roberta Williams looking wholesome in 1993, their days in the hot tub behind them.

But then, Daryl Gates was never the most interesting person behind the games that bore his name. The hard-bitten old reactionary was always a predictable, easily known quantity, and therefore one with no real power to fascinate. Much more interesting was and is Ken Williams, this huge, mercurial personality who never designed a game himself but who lurked as an almost palpable presence in the background of every game Sierra ever released as an independent company. In short, Sierra was his baby, destined from the first to become his legacy more so than that of any member of his actual creative staff.

Said legacy is, like the man himself, a maze of contradictions resistant to easy judgments. Everything you can say about Ken Williams and Sierra, whether positive or negative, seems to come equipped with a “but” that points in the opposite direction. So, we can laud him for having the vision to say something like this, which accurately diagnosed the problem of an industry offering a nearly exclusive diet of games by and for young white men obsessed with Star Wars and The Lord of the Rings:

If you match the top-selling books, records, or films to the top-selling computer-entertainment titles, you’ll immediately notice differences. Where are the romance, horror, and non-fiction titles? Where’s military fiction? Where’s all the insider political stories? Music in computer games is infinitely better than what we had a few years back, but it doesn’t match what people are buying today. Where’s the country-western music? The rap? The reggae? The new age?

And yet Williams approached his self-assigned mission of broadening the market for computer games with a disconcerting mixture of crassness and sheer naivete. The former seemed somehow endemic to the man, no matter how hard he worked to conceal it behind high-flown rhetoric, while the latter signified a man who appeared never to have seriously thought about the nature of mass media before he started trying to make it for himself. “For a publisher to not publish a product which many customers want to buy is censorship,” he said at one point. No, it’s not, actually; it’s called curation, and is the right and perhaps the duty of every content publisher — not that there were lines of customers begging Sierra for a Daryl Gates-helmed Police Quest game anyway. With that game, Williams became, whatever else he was, a shameless wannabe exploiter of a bleeding wound at the heart of his nation — and he wasn’t even very good at it, as shown by the tepid reaction to his “controversial” game. His decision to make it reflects not just a moral failure but an intellectual misunderstanding of his audience so extreme as to border on the bizarre. Has anyone ever bought an adventure game strictly because it’s controversial?

So, if there’s a pattern to the history of Ken Williams and Sierra — and the two really are all but inseparable — it’s one of talking a good game, of being broadly right with the vision thing, but falling down in the details and execution. Another example from the horse’s mouth, describing the broad idea that supposedly led to Open Season:

The reason that I’m working with Chief Gates is that one of my goals has been to create a series of adventure games which accomplish reality through having been written by real experts. I have been calling this series of games the “Reality Role-Playing” series. I want to find the top cop, lawyer, airline pilot, fireman, race-car driver, politician, military hero, schoolteacher, white-water rafter, mountain climber, etc., and have them work with us on a simulation of their world. Chief Gates gives us the cop game. We are working with Emerson Fittipaldi to simulate racing, and expect to announce soon that Vincent Bugliosi, the lawyer who locked up Charles Manson, will be working with us to do a courtroom simulation. My goal is that products in the Reality Role-Playing series will be viewed as serious simulations of real-world events, not as games. If we do our jobs right, this will be the closest most of us will ever get to seeing the world through these people’s eyes.

The idea sounds magnificent, so much so that one can’t help but feel a twinge of regret that it never went any further than Open Season. Games excel at immersion, and their ability to let us walk a mile in someone else’s shoes — to become someone whose world we would otherwise never know — is still sadly underutilized.

I often — perhaps too often — use Sierra’s arch-rivals in adventure games LucasArts as my own baton with which to beat them, pointing out how much more thoughtful and polished the latter’s designs were. This remains true enough. Yet it’s also true that LucasArts had nothing like the ambition for adventure games which Ken Williams expresses here. LucasArts found what worked for them very early on — that thing being cartoon comedies — and rode that same horse relentlessly right up until the market for adventures in general went away. Tellingly, when they were asked to adapt Indiana Jones to an interactive medium, they responded not so much by adjusting their standard approach all that radically as by turning Indy himself into a cartoon character. Something tells me that Ken Williams would have taken a very different tack.

But then we get to the implementation of Williams’s ideas by Sierra in the form of Open Season, and the questions begin all over again. Was Daryl Gates truly, as one of the marketers’ puff pieces claimed, “the most knowledgeable authority on law enforcement alive?” Or was there some other motivation involved? I trust the answer is self-evident. (John Williams even admitted as much in another of the puff pieces: “[Ken] decided the whole controversy over Gates would ultimately help the game sell better.”) And then, why does the “reality role-playing” series have to focus only on those with prestige and power? If Williams truly does just want to share the lives of others with us and give us a shared basis for empathy and discussion, why not make a game about what it’s like to be a Rodney King?

Was it because Ken Williams was himself a racist and a bigot? That’s a major charge to level, and one that’s neither helpful nor warranted here — no, not even though he championed a distinctly racist and bigoted game, released under the banner of a thoroughly unpleasant man who had long made dog whistles to racism and bigotry his calling card. Despite all that, the story of Open Season’s creation is more one of thoughtlessness than malice aforethought. It literally never occurred to Ken Williams that anyone living in South Los Angeles would ever think of buying a Sierra game; that territory was more foreign to him than that of Europe (where Sierra was in fact making an aggressive play at the time). Thus he felt free to exploit a community’s trauma with this distasteful product and this disingenuous narrative that it was created to engender “discussion.” For nothing actually to be found within Open Season is remotely conducive to civil discussion.

Williams stated just as he was beginning his courtship of Daryl Gates that, in a fast-moving industry, he had to choose whether to “lead, follow, or get out of the way. I don’t believe in following, and I’m not about to get out of the way. Therefore, if I am to lead then I have to know where I’m going.” And here we come to the big-picture thing again, the thing at which Williams tended to excel. His decision to work with Gates does indeed stand as a harbinger of where much of gaming was going. This time, though, it’s a sad harbinger rather than a happy one.

I believe that the last several centuries — and certainly the last several decades — have seen us all slowly learning to be kinder and more respectful to one another. It hasn’t been a linear progression by any means, and we still have one hell of a long way to go, but it’s hard to deny that it’s occurred. (Whatever the disappointments of the last several years, the fact remains that the United States elected a black man as president in 2008, and has finally accepted the right of gay people to marry even more recently. Both of these things were unthinkable in 1993.) In some cases, gaming has reflected this progress. But too often, large segments of gaming culture have chosen to side instead with the reactionaries and the bigots, as Sierra implicitly did here.

So, Ken Williams and Sierra somehow managed to encompass both the best and the worst of what seems destined to go down in history as the defining art form of the 21st century, and they did so long before that century began. Yes, that’s quite an achievement in its own right — but, as Open Season so painfully reminds us, not an unmixed one.

(Sources: the books Blue: The LAPD and the Battle to Redeem American Policing by Joe Domanick and Rise of the Warrior Cop: The Militarization of America’s Police Forces by Radley Balko; Computer Gaming World of August/September 1987, October 1987, and December 1993; Sierra’s news magazines of Summer 1991, Winter 1992, June 1993, Summer 1993, Holiday 1993, and Spring 1994; Electronic Games of October 1993; Origin Systems’s internal newsletter Point of Origin of February 26 1993. Online sources include an excellent and invaluable Vice article on Open Season and the information about the Rodney King beating and subsequent trial found on Famous American Trials. And my thanks go out yet again to Corey Cole, who took the time to answer some questions about this period of Sierra’s history from his perspective as a developer there.

The four Police Quest adventure games are available for digital purchase at GOG.com.)

Comments
68 Responses

- Alex Freeman

July 19, 2019 at 6:10 pm

We are working with Emerson Fittipaldi to simulate racing, and expect to announce soon that Vincent Bugliosi, the lawyer who locked up Charles Manson, will be working with us to do a courtroom simulation.

Well, we definitely have racing simulations, both now and back then. We also have Phoenix Wright now.

As a side note, my dad evaded rioters on his way home from work during the Rodney King riots. However, he used my trick motorcyclists use to evade dogs. As the rioters headed toward him, he stopped. Then when they turned around, he zoomed off.

- Sniffnoy

July 19, 2019 at 6:25 pm

Yeah Phoenix Wright cannot at all be called a laywer simulation…

(For those unfamiliar with Phoenix Wright… it’s basically like Perry Mason as an adventure game. Not, of course, to be confused with the one of those they actually made and which Jimmy has discussed here before. :) )

- Alex Freeman

July 19, 2019 at 6:41 pm

Yeah Phoenix Wright cannot at all be called a laywer simulation…

Objection!

- Sniffnoy

July 19, 2019 at 6:23 pm

Typospotting: You have “inequity” for “iniquity”.

- Jimmy Maher

July 19, 2019 at 7:00 pm

Thanks!

- Infinitron

July 19, 2019 at 6:35 pm

The cop killer was a Norman Bates ripoff, wasn’t he?

The game felt like it was in the same spirit as the television show “Cops” more than anything. It was dull to play but for a young gamer I can see parts of it being interesting. Where else was a white kid in 1993 going to get to talk to the grieving mother of a dead African-American boy whose body was found in a dumpster?

- Andrew Pam

July 19, 2019 at 7:49 pm

“den of iniquity”, surely, rather than “inequity”? I thought California was known for its attempts at equity, rather than the reverse.

- FightingBTQAbuse

July 19, 2019 at 8:38 pm

“All of which begs the question…” Jimmy, no :( I mean, far be it for me to promote linguistic prescriptivism, but sir, some lines should simply not be crossed, and standing by while people incorrectly use “begs the question” to stand in for “raises the question” is just more than a reasonable person should be asked to stand.

- Jimmy Maher

July 20, 2019 at 4:48 am

It’s one of those linguistic oddities, like “disinterested” and “uninterested” that can mean two completely different — in this case even contradictory — things. I assume you prefer to see it used in its Aristotelian sense, where it refers to a foregone conclusion, but this is actually much less common in contemporary usage than the sense in which I used it. The latter has the advantage of aligning with the literal meanings of the words — never a bad thing in my book.

- Andrew Plotkin

July 20, 2019 at 12:34 am

You referred to the “Iron-Contra scandal”, which brings any number of irresistable images to mind but is probably not what you meant.

(“Whose regime will reign supreme!?” Ok sorry.)

- Jimmy Maher

July 20, 2019 at 4:50 am

:) Thanks!

- John Parker

July 20, 2019 at 12:37 am

You have “Iron-Contra” rather than “Iran-Contra”. I always look forward to these articles BTW.

- Lisa H.

July 20, 2019 at 1:47 am

The Patti Hearst saga

Patty (as you spelled it before). Maybe you had Passionate Patti in mind here? ;)

But then along came Rodney King of all people to take the inadvertent role of his bête noire.

I know it’s just an expression, but maybe one that doesn’t translate to “black beast” would be a better choice here…?

- Jimmy Maher

July 20, 2019 at 5:07 am

Good catch. I never thought about the literal translation of the words. Thanks!

- Dave W.

July 20, 2019 at 3:22 am

Note on the LA riot: Reginald Denny was pulled from his truck and beaten severely by the mob, but he survived the riot, although with serious injuries: https://en.wikipedia.org/wiki/Attack_on_Reginald_Denny

- Jimmy Maher

July 20, 2019 at 5:07 am

Thanks!

- Jason Dyer

July 20, 2019 at 4:27 am

The quote at the end about a racing simulation made me think “wait, didn’t Sierra publish a bunch of racing games?” and indeed they did, but they were developed by Papyrus, including the stellar Grand Prix Legends from 1998. (Which had terrible sales and probably deserves an essay of its own, but alas, we don’t have The Racing Game Addict yet.)

- Jimmy Maher

July 20, 2019 at 5:10 am

I always found that game interesting as an attempt to do something really unique, simulating a single, very specific period in sporting history. But I’ve never actually played it, and I suspect it would be much too hardcore for my patience level.

So much more could be done with the concept. I can’t help but imagine a simulation of, say, the 1955 baseball season, drenched in period atmosphere. Maybe you could even license the book and call it The Boys of Summer.

- Jason Dyer

July 20, 2019 at 2:56 pm

The 1995 game Oldtime Baseball comes close to what you mean. You can play in any season you want all the way back to 1871.

It’d be fun to pick a specific year and add narrative flavor! (Akin to Sean M. Shore’s Bonehead, from Spring Thing 2011. That game was great! … as long as you knew baseball.)

re: racing, there’s also Spirit of Speed 1937 for Dreamcast and PC, but that was shovelware. (I just checked Mobygames and the user review states “plays like a game from 1937”, heh.)

- Alex Freeman

July 20, 2019 at 5:50 am

Oh, an interesting video with a cop completely unlike Gates:
https://www.youtube.com/watch?v=Hm9DAi1V5-E&list=PLwf_fKA2AmGrrU2nf6hQdlIpDSG4jP0pj&index=32&t=20s

- John

July 20, 2019 at 11:09 pm

While Dragnet really is thinly-veiled propaganda for the LAPD and is problematic in a host of ways, I’m afraid you’ve mischaracterized it. Joe Friday, the protagonist, is indeed the “ideal cop”, but he’s a rule-follower, not a rule-breaker. He doesn’t need to excuse or justify his excesses because he never commits any, and Dragnet wants you to believe that the entire LAPD is always like that. Funnily enough, it sounds like Dragnet, with its emphasis on police procedure, has more in common with the pre-Gates Police Quests than it does with most other cop shows.

- Jimmy Maher

July 21, 2019 at 10:41 am

A fair point. Thanks!

- Michael

July 29, 2019 at 9:36 am

I’d say that the first 3 games, at least, have more to do with Dragnet’s *slightly* more liberal stepchild, Adam-12. When the story arch that carries you between all three entries is that the protagonist rekindles a romantic relationship with a prostitute, it can’t ALL be by the book.

That said, looking at the other comments here, PQ1 has always been among my top Sierra titles. Part of it is sentimental (it was my first Sierra title, copied from a newly made friend in the 6th grade) but also because, while there are some socially-questionable elements, they were a product of the time the game was made. Whereas Open Season, views had changed somewhat in the world since then, but the game didn’t adjust to their times.

- Odkin

July 21, 2019 at 6:27 am

I lived in Los Angeles and since Gates quit it has descended to hell-hole status with useless, ineffective pansy policing. You’re pretty good on the video gae history, but your political injections are getting stale, partisan and increasingly disingenuous.

- Alex Freeman

July 21, 2019 at 6:14 pm

Funny– Daryl Gates resigned in 1992. The crime rate in L.A. has gone down since then:
http://www.laalmanac.com/crime/cr02.php

- Tom

July 22, 2019 at 1:06 pm

That may not prove as much as you want–crime in America in general has been dropping since the early ’90s.

https://www.pewresearch.org/fact-tank/2019/01/03/5-facts-about-crime-in-the-u-s/

- Ross

July 22, 2019 at 9:54 pm

I think it proves enough. “Cities are descending into uninhabitable hellholes of violent crime and we need tough cops who treat people of color like animals instead of pansies who respect the rights of minorities” is a pretty common misconception that correlates pretty closely with certain unfortunate cultural attitudes

- Brian Bagnall

July 25, 2019 at 6:24 am

Has there been any consensus on why crime has been dropping since the 90s? I’ve always wondered if it had something to do with better video games and television. And of course that fascinating thing called the Internet. Did all this result in young men staying home rather than going out and causing trouble?

- Jimmy Maher

July 25, 2019 at 8:57 am

It’s a fascinating question that I’ve never seen comprehensively answered. One would think that the “tough on crime” contingent who have sent the United States’s prison populations soaring even as crime has fallen would be eager to take credit for the trend. But they’re caught in a rhetorical trap: their policies require them to sell a message of fear, and any hint of optimism undermines that message. Thus the war on crime and the war on drugs, like other wars on abstract nouns, are doomed always to fail — for to declare victory means to end them, something their advocates could never accept.

Facetious though it may sound, there is some merit to your second question. Even many researchers aren’t eager to talk about this — much less politicians! — but there’s a clear inverse correlation between access to pornography and rates of rape and sexual violence. It seems that pornography acts as a relief valve for sexually frustrated young men, keeping them from enacting their fantasies in real life by violent means. Notably, Middle Eastern countries, where pornography is still extremely hard to come by (sorry, couldn’t resist!), have far worse problems with sexual violence today than the Western secular democracies.

It is interesting to speculate whether the same principle might apply to violent videogames as well, but I’ve never really seen it addressed. Most studies are still focused on whether videogames make young men more violent, not less so.

But most of all, one certainly hopes that the declining rates of violence across the developed world are merely the continuation of a trend stretching back at least several centuries, over the course of which violence has become less and less acceptable a solution for problems in the eyes of average people. Steven Pinker published an exhaustive book on just that subject in 2011, called The Better Angles of Our Nature. A lot of his theses about root causes have been credibly challenged since, but it’s hard to argue with the impressive array of statistics he deploys to prove the bare fact of declining violence as a marked international trend.

- Ross

July 25, 2019 at 2:03 pm

While there are certainly many factors, one that really sticks out is that it appears to correlate with environmental lead exposure. As in “We had several generations where young men in cities became disproportionately violent at age X. X years after we stopped putting lead in the gasoline, this stopped happening.” It’s known that brain damage from lead poisoning can affect the ability to control violent impulses, so it’s likely that even if it’s not THE cause, the removal of lead from gasoline and house paint played a role.

- Brian Bagnall

July 25, 2019 at 2:59 pm

There’s a Wikipedia article on the worldwide crime drop in the early 1990s (50 to 75% in some cases). It lists 7 possible causes, but none of them include the rise of the Internet or video games: https://en.wikipedia.org/wiki/Crime_drop
Maybe “economic factors” could theoretically include these two technologies but they sure don’t state it. It clearly says the drop started in 1994, which coincides with two big things that affected teens/young men: Doom and Netscape Navigator.
The article on US Crime shows that there was a decline in crime since the colonial days that reversed in the 1960s. It lists 11 possible causes for the drop in crime, focusing on institutional causes and omitting new technology:
https://en.wikipedia.org/wiki/Crime_in_the_United_States#Crime_over_time
I think they are missing the boat on the effects of the Internet and video games, but I guess I can’t really prove it other than a gut feeling based on what me and other young people were distracted by at the time.

A Google search for “drop in crime internet video games” shows lots of people speculating that was the cause.

- GeoX

July 25, 2019 at 1:58 am

I thought: is there going to be a pro-police-brutality comment? Then I scrolled down and whaddaya know? Congratulations, I guess.

- Peter Orvetti

July 25, 2019 at 7:04 am

And he made the 405 run on time…

- Martin

July 21, 2019 at 6:56 am

I’m assuming this is a single article story so I’ll these things now. So you say the game was no good which is OK as a summary but, assuming there were puzzles, were they fair? Was the game mechanics good/bad/indifferent? If someone knew nothing about the Rodney King affair (such as younger people now or people outside the US), how would it play for them? … Those sort of questions.

If this is just part One, just ignore this.

- Jimmy Maher

July 21, 2019 at 8:09 am

Carl Muckenhoupt on Twitter described playing this game as “like looking at Hitler’s paintings.” Not sure I’d go that far, but I found it very unpleasant. I judge a summary to be all that is needed here. This game’s importance doesn’t lie in the delight it brought its players. Best to save the in-depth reviews for games that were created in better faith.

- Ross

July 24, 2019 at 12:35 am

it’s also true that LucasArts had nothing like the ambition for adventure games which Ken Williams expresses here

That pretty much sums up why I always favored Sierra and wasn’t nearly as interested in LucasArts. Sierra games were so frequently big glorious messes, but they were always trying new, ambitious things and did not let the fact that the games kept ending up ridiculous messes deter them

- Max Noel

July 24, 2019 at 2:43 pm

Side note: Mobygames calls Police Quest 5: SWAT a “tactical simulation”. It’s true that the series would eventually become that (first-person tactical shooters in the vein of the original Rainbow Six), starting with SWAT 3, when it dropped both Daryl Gates and the Police Quest prefix.

But prior to that, PQ: SWAT is the kind of game you’ll probably want to cover at some point. It is, indeed, an adventure game (clearly built on the tech from Open Season). And not just any adventure game. It’s a member of that most reviled class of mid-1990s adventure games: the interactive movie. Despite exactly one good idea (midway through the game you can become either a sniper or a SWAT team leader, which hard branches the story, adding some replayability), it’s a textbook example of all the weaknesses of the form and none of its strengths.

Given that this was my first Sierra adventure game (one which immediately sent me running back to LucasArts), I’d be very interested in reading your take on it.

(As for SWAT 2, Wikipedia tells me it was an RTS. Which, I guess, in 1998, every game had to be.)

- Jimmy Maher

July 25, 2019 at 7:57 am

I have difficulty calling it an adventure game. A hybrid at best, mixing elements of a lot of different genres to not-very-satisfying effect, hobbled as it is by all the usual constraints that come with full-motion video. I’m afraid I don’t feel a huge need to cover it any further. I feel like I’ll spend more than enough time to discussing the (few) advantages and (many) disadvantages of FMV in the context of games that are either more intrinsically interesting or at least more historically important.

- Peter

July 24, 2019 at 8:41 pm

This is a great piece.

Also, the earlier Police Quest games are super-reactionary too, albeit in a way that feels more hilarious than actually offensive. The critic Line Hollis has recaps of the first two here:

http://www.linehollis.com/tag/line-on-sierra/

- Peter Orvetti

July 25, 2019 at 7:17 am

Wow, that was a great read. I remembered only two things about “Police Quest”:

— The poker game
— Running a red or yellow light resulted in death for some reason

- Jimmy Maher

July 25, 2019 at 8:04 am

Yeah, but the earlier games manifest a sort of passive racism, born more from complacency, a lack of empathy, and an unwillingness to look beyond the convenient, easy answers than outright bad intent. Open Season, on the other hand, has bad intent to burn. (On the third hand, the former stripe of racism is more symptomatic of Western culture today, and thus more pernicious and problematic. We have more Jim Wallses than we do Daryl Gateses.)

- Peter Malamud Smith

July 25, 2019 at 2:12 pm

That’s well put, yeah. The less virulent kind is probably more dangerous, because it sneaks under the radar.

- Hagay

July 24, 2019 at 9:34 pm

That was a fascinating read. I played the game several times over the years and always got a strangely bleak, uncomfortable vibe from it even without knowing any of the context (I live in Israel and didn’t know much about Rodney King and the riots until now). The previous games in the series were pedantic but at least they had actual characters and a plot that made a tiny bit of sense.

- Peter Malamud Smith

July 25, 2019 at 3:04 am

Also—I think Ken was somewhat conservative himself, at least by this point, because I remember a mention of his Rush Limbaugh fandom in an issue of the Sierra magazine. In fact—yikes, I may be misremembering this, but I think that mention was in a puff piece about how he and Gates hit it off…

- Jimmy Maher

July 25, 2019 at 8:10 am

Yes, as Ken Williams’s income increased, his politics shifted rightward — by no means an atypical progression. By 1993, Rush Limbaugh was popping up in his columns with some regularity. There was a lot of talk among the rank and file at Sierra that one of his biggest motivations for moving the company’s headquarters to Seattle in late 1993 was the fact that Washington had no state income tax; California, on the other hand, had the highest in the nation. So much for the hippie dream of getting back to the land…

- Nothanks

July 26, 2019 at 7:13 am

Way too judgmental compared to your usual work, you come off like such an obnoxious underwear-sniffer salivating about Sierra.

- Milk

July 30, 2019 at 12:11 pm

thank you. Felt the same way. The piece tries to pretend some sort of level headedness bur can’t help but let a somewhat emotional attachment to the subject with it’s fair share of pearl clutching moments, imcluding tge classic blanket terms “racist” and “biggot” to simplify any complex social political matter, ironically while crying for nuance and empathy. He did try to provide a hint of a possible oposing view, but it barely cracked through the surface. His view of conservative america seems to be as steriotipical or “problematic” as he makes his cartoon caricatures of 90’s cop view of race to be.

- Carlton Little

July 30, 2019 at 7:05 pm

Is it just me, or does this comment read as *suspiciously* supportive of a clearly intentional dig?

- UGHHHHHHHHH

July 26, 2019 at 7:18 am

Pretty cute to see you babbling about “kindness and respect” while shitting all over Ken Williams, one of the people who make your entire existence possible. Shame on you.

- Jimmy Maher

July 26, 2019 at 7:26 am

You’re totally welcome to state your point of view, my friend, but I need you to choose one name to state it under. (I can see your MAC address, you know.) From now on, you’ll have to be known as either Nothanks or UGHHHHHHHHH. (That’s with 9 H’s.)

- Snow

July 28, 2019 at 9:23 pm

“I can see your MAC address, you know.”

This shouldn’t be possible.

https://superuser.com/a/114112

- Jimmy Maher

July 29, 2019 at 4:44 am

Okay, IP address and MAC address of border router. ;)

- Snow

July 29, 2019 at 9:46 am

I think this is actually a serious topic.

The only MAC address you (as the website’s host) should be able to see is the MAC address of your own border router at the ISP for your server. This MAC address would be the same for all users (within a time period) and couldn’t be used for identification of users.

If you are able to identify users due to MAC addresses from users your site collects when they post comments, then I find this concerning. That would be contrary to your (Akismet’s) privacy policy that says “we collect information that web browsers, mobile devices, and servers typically make available, such as the browser type, IP address, unique device identifiers”. “Unique device identifiers” might refer to MAC addresses, but they’re not “typically made available” as far as I know.

If you were mistaken about being able to identify users according to the MAC addresses in your logs, or if you were joking, then please consider explicitly stating that you can’t actually identify users this way. If I’m mistaken, I would like to ask for a more thorough explanation about which pieces of information you are collecting.

Why am I this strident about this? Because letting this statement stand if it’s wrong would mean that it is actually spreading FUD. Users might refrain from posting (on other sites too!) if they think that their posts can be correlated to them even when using different user names and mail addresses, and when posting with different IP addresses. Regrettably, there are other means of fingerprinting users, but I would hope that you don’t employ them.

- Jimmy Maher

July 29, 2019 at 10:07 am

I do absolutely no tracking beyond what’s to be found in a vanilla WordPress installation, and have no interest in doing so.

Looking at this yet a third time, what I see from the user in question is a string of 8 four-digit hexadecimal numbers separated by colons. I jumped to the conclusion that this was his MAC address. Now, I realize it must be his IPv6 address. For you and most other commenters, I simply see an IP address in the form I’m used to.

I apologize for the misinformation. When I wrote the first comment, I was irritated with having to clear away a bunch of comments from what was obviously the same user with a whole pile of strawmen. When I replied to you the first time, I was busy working through my morning emails and dealing with what I thought to be — *thought* to be — more pressing matters, and so just took a quick look at the link you provided and jumped to conclusions. As should be abundantly obvious by now, I’m not an expert on any of these subjects, nor are they a big interest of mine. While I do have the IT background to learn about them when I absolutely need to, I tend to deal with such things only to the extent I need to to keep my site operating and safe — most of all for my commenters, whom I value more than I can say. But a lack of expertise should cause me to be less flippant, not more so. The only thing I can say in my defense is that my misinformation was a product of complete naivete about this sort of thing rather than guile.

- Snow

July 29, 2019 at 12:01 pm

Thank you for the clarification!

- SYH

July 26, 2019 at 4:53 pm

SWAT is responsible for maybe the strangest lineage of games I can think of- you can draw a line from Police Quest (and even Kings Quest if you’re feeling adventurous) all the way through a lot of bad games to SWAT 4, still considered one of the greatest tactical combat games ever made. How many long running series peak with their final entry and then end?

- Peter Orvetti

July 29, 2019 at 10:23 pm

I’m a bit surprised some readers think you’ve been too hard on the Williamses. I think your pieces on them have been fair explorations of two complex people.

I came across this blog while googling something Infocommy, and have read pretty much every post. I remember many of these games from my youth, but knew little of the history. I’m not much of a “gamer”, but the history of the early industry fascinates me. I knew very little about Sierra.

Ken Williams seems to have been a man torn between the cultural and political trends of his era and his own ambition and drive for success. (I feel like he cared more about winning than about getting rich.) As for Roberta Williams, while you are pretty critical of her output, I sense a real respect for what she achieved in a male-dominated (and outright sexist) industry.

- Alex Freeman

August 1, 2019 at 4:17 pm

Funny you should say that. From this interview:
http://web.archive.org/web/20070311121225/http://www.womengamers.com/interviews/roberta.php

Q: You are one of the first women in the gaming industry. Describe what that was like, the positives and negatives of being in that role.

A: It had its pros and cons – as does everything in life. I, personally, never felt any disrespect or resentment from any of the other ‘guys’ in the computer game industry with my being a woman. I was never held back and, generally speaking, my ideas were well received. Oh…I suppose there was an odd guy now and then who might have felt that I didn’t know what I was talking about, or resented the fact that I was who I was, had so much clout, or – horrors! – was married to the CEO of the company, but…overall, I didn’t have any problems. I think my main problem was being married to the CEO of the company, not the fact that I was a woman. Some people, over the years, thought that I only achieved what I had achieved because of my husband, but, I always countered those people that the company was started because of a game that I wrote…not something my husband wrote. Therefore, it could be argued that he was there because of ME, not vice versa:>)

- Zack

July 31, 2019 at 7:33 am

Thank you for the article !

I’m really curious to know how Sierra, adventure-games powerhouse, ended up doing Caesar, Olympus, Emperor, Pharaoh. Not sure if you wrote about it already, the site is so dense I barely read a lot of it even after a year.

- Swizzle

August 1, 2019 at 10:12 pm

I’m clearly in the minority on this blog who is very disappointed with this article. I don’t care to re-read it to pull out each specific part for discussion. I came here to read about video games, not your personal views of law enforcement.

- Jason

August 2, 2019 at 9:44 pm

I was always curious about the real story behind Jim Walls leaving Sierra. Is it really that simple — Tsunami offered him a better deal?

I played Blue Force. It was not very good. Catchy theme tune, though. I also thought that PQ3 wasn’t particularly great — but it was miles better than Open Season, which I never even finished.

PQ1 and PQ2, though? Those were mighty exciting games for a very young me. I was about 7 when PQ1 came out.

- Jimmy Maher

August 3, 2019 at 8:05 am

Yes, I think it pretty much was that simple. He certainly wasn’t the only one to go; Edmond Heinbockel made a pitch to most of Sierra’s technical and creative staff, and a number of others took him up on it. Walls was just the only really high-profile name among them that fans might immediately recognize. Ken Williams was truly livid at all of them, but particularly at Walls; he felt he was owed a lot more loyalty than he got, given the way he’d plucked Walls out of his PTSD depression (as he saw it, anyway) and made him into a game designer.

In the long run, Tsunami wasn’t a good career move for Walls or anyone else. They quickly gained the reputation of a company more interested in sensationalism and hype than actually buckling down to make good games. And they were ethically challenged to boot. They got themselves pretty much blacklisted from Computer Gaming World magazine when they extracted a bunch of out-of-context quotes from a lukewarm review (of Ringworld, I think), and splashed them all over their advertising as if the review had declared the game the best one ever made. It was decidedly not smart to get on the bad side of the biggest, most respected magazine in the industry. After Tsunami, Walls managed to get a job with Westwood, but he never got a chance again to design a game that was solely his own.

- Jason Artman

August 2, 2019 at 9:46 pm

Forgot to mention this. Jim Walls attempted to get back into game design with a game called Precinct in 2013. The game was quietly cancelled when it became obvious that it wasn’t going to meet its Kickstarter goal.

https://www.rockpapershotgun.com/2013/08/27/cop-out-precinct-crowd-funding-cancelled/

- Colin Djukic

August 4, 2019 at 7:22 pm

Hi I just wanted to say that I, as
always, loved to read the article, and that I do want to read about your opinion on police brutality or whatever comes to your mind, thanks;-)

- stephane

August 6, 2019 at 8:58 pm

Wow, amazing read. Police quest from Sierra and many other titles from Sierra brings me back to my youth. Best days of my life. But I didn’t know about Daryl Gates nor I even searched or thought about searching for him. With that blog of yours about this, if theres one thing that Police Quest needs is a reboot. A complete fresh overall or new fresh look. With Daryl Gates and the death of Police Quest and Sierra, I think this game deserves it the most. At least a last good game thats names Police Quest or similar.

I mean technologically its possible to do and Activate has the resrrouces which Sierra barely had compared to Activision anyways.An adventure game with procedurally generated algorithm used as content like missions as a cop would be easily feasible today. Anyways, thats my take on it. thanks for the read

- typolice

August 7, 2019 at 4:37 am

Minor nitpick from a minor patron: “he had starting asking”

- Jimmy Maher

August 7, 2019 at 4:46 am

Thanks!

- Leo Vellés

June 19, 2020 at 4:49 pm

Wow, reading today Vice’s article’s last paragraph after the recent murder of Floyd George is chilling. Seems nothing changed in how police operates. So sad

Gabriel Knight: Sins of the Fathers
August 2, 2019

Fair warning: spoilers for Gabriel Knight: Sins of the Fathers are to be found herein!

In 1989, a twenty-something professional computer programmer and frustrated horror novelist named Jane Jensen had a close encounter with King’s Quest IV that changed her life. She was so inspired by the experience of playing her first adventure game that she decided to apply for a job with Sierra Online, the company that had made it. In fact, she badgered them relentlessly until they finally hired her as a jack-of-all-trades writer in 1990.

Two and a half years later, after working her way up from writing manuals and incidental in-game dialog to co-designing the first EcoQuest game with Gano Haine and the sixth King’s Quest game with Roberta Williams, she had proved herself sufficiently in the eyes of her managers to be given a glorious opportunity: the chance to make her very own game on her own terms. It really was a once-in-a-lifetime proposition; she was to be given carte blanche by the biggest adventure developer in the industry at the height of the genre’s popularity to make exactly the game she wanted to make. Small wonder that she would so often look back upon it wistfully in later years, after the glory days of adventure games had become a distant memory.

For her big chance, Jensen proposed making a Gothic horror game unlike anything Sierra had attempted before, with a brooding and psychologically complex hero, a detailed real-world setting, and a complicated plot dripping with the lore of the occult. Interestingly, Jensen remembers her superiors being less than thrilled with the new direction. She says that Ken Williams in particular was highly skeptical of the project’s commercial viability: “Okay, I’ll let you do it, but I wish you’d come up with something happier!”

But even if Jensen’s recollections are correct, we can safely say that Sierra’s opinion changed over the year it took to make Gabriel Knight: Sins of the Fathers. By the time it shipped on November 24, 1993, it fit in very well with a new direction being trumpeted by Ken Williams in his editorials for the company’s newsletter: a concerted focus on more “adult,” sophisticated fictions, as exemplified not only by Sins of the Fathers but by a “gritty” new Police Quest game and another, more lurid horror game which Roberta Williams had in the works. Although the older, more lighthearted and ramshackle [this, that, and the other] Quest series which had made Sierra’s name in adventure games would continue to appear for a while longer, Williams clearly saw these newer concepts as the key to a mass market he was desperately trying to unlock. Games like these were, theoretically anyway, able to appeal to demographics outside the industry’s traditional customers — to appeal to the sort of people who had hitherto preferred an evening in front of a television to one spent in front of a monitor.

Thus Sierra put a lot of resources into Sins of the Fathers’s presentation and promotion. For example, the box became one of the last standout packages in an industry moving inexorably toward standardization on that front; in lieu of anything so dull as a rectangle, it took the shape of two mismatched but somehow conjoined triangles. Sierra even went so far as to hire Tim Curry of Rocky Horror Picture Show fame, Mark Hamill of Star Wars, and Michael Dorn of Star Trek: The Next Generation for the CD-ROM version’s voice-acting cast.

Jane Jensen with the first Gabriel Knight project’s producer and soundtrack composer Robert Holmes, who would later become her husband, and the actor Tim Curry, who provided the voice of Gabriel using a thick faux-New Orleans accent which some players judge hammy, others charming.

In the long run, the much-discussed union of Silicon Valley and Hollywood that led studios like Sierra to cast such high-profile names at considerable expense would never come to pass. In the meantime, though, the game arrived at a more modestly propitious cultural moment. Anne Rice’s Gothic vampire novels, whose tonal similarities to Sins of the Fathers were hard to miss even before Jensen began to cite them as an inspiration in interviews, were all over the bestseller lists, and Tom Cruise was soon to star in a major motion picture drawn from the first of them. Even in the broader world of games around Sierra, the influence of Rice and Gothic horror more generally was starting to make itself felt. On the tabletop, White Wolf’s Vampire: The Masquerade was exploding in popularity just as Dungeons & Dragons was falling on comparatively hard times; the early 1990s would go down in tabletop history as the only time when a rival system seriously challenged Dungeons & Dragons’s absolute supremacy. And then there was the world of music, where dark and slinky albums from bands like Nine Inch Nails and Massive Attack were selling in the millions.

Suffice to say, then, that “goth” culture in general was having a moment, and Sins of the Fathers was perfectly poised to capitalize on it. The times were certainly a far cry from just half a decade before, when Amy Briggs had proposed an Anne Rice-like horror game to her bosses at Infocom, only to be greeted with complete incomprehension.

Catching the zeitgeist paid off: Sins of the Fathers proved, if not quite the bridge to the Hollywood mainstream Ken Williams might have been longing for, one of Sierra’s most popular adventure games of its time. An unusual number of its fans were female, a demographic oddity it had in common with all of the other Gothic pop culture I’ve just mentioned. These female fans in particular seemed to get something from the game’s brooding bad-boy hero that they perhaps hadn’t realized they’d been missing. While games that used sex as a selling point were hardly unheard of in 1993, Sins of the Fathers stood out in a sea of Leisure Suit Larry and Spellcasting games for its orientation toward the female rather than the male gaze. In this respect as well, its arrival was perfectly timed, coming just as relatively more women and girls were beginning to use computers, thanks to the hype over multimedia computing that was fueling a boom in their sales.

But there was more to Sins of the Father’s success than its arrival at an opportune moment. On the contrary: the game’s popularity has proved remarkably enduring over the decades since its release. It spawned two sequels later in the 1990s that are almost as adored as the first game, and still places regularly at or near the top of lists of “best adventure games of all time.” Then, too, it’s received an unusual amount of academic attention for a point-and-click graphic adventure in the traditional style (a genre which, lacking both the literary bona fides of textual interactive fiction and the innate ludological interest of more process-intensive genres, normally tends to get short shrift in such circles). You don’t have to search long in the academic literature to find painfully earnest grad-student essays contrasting the “numinous woman” Roberta Williams with the “millennium woman” Jane Jensen, or “exploring Gabriel as a particular instance of the Hero archetype.”

So, as a hit in its day and a hit still today with both the fans and the academics, Gabriel Knight: Sins of the Fathers must be a pretty amazing game, right? Well… sure, in the eyes of some. For my own part, I see a lot of incongruities, not only in the game itself but in the ways it’s been received over the years. It strikes me as having been given the benefit of an awful lot of doubts, perhaps simply because there have been so very few games like it. Sins of the Fathers unquestionably represents a noble effort to stretch its medium. But is it truly a great game? And does its story really, as Sierra’s breathless press release put it back in the day, “rival the best film scripts?” Those are more complicated questions.

But before I begin to address them, we should have a look at what the game is all about, for those of you who haven’t yet had the pleasure of Gabriel Knights’s acquaintance.

Our titular hero, then, is a love-em-and-leave-em bachelor who looks a bit like James Dean and comes complete with a motorcycle, a leather jacket, and the requisite sensitive side concealed underneath his rough exterior. He lives in the backroom of the bookshop he owns in New Orleans, from which he churns out pulpy horror novels to supplement his paltry income. Grace Nakamura, a pert university student on her summer holidays, works at the bookshop as well, and also serves as Gabriel’s research assistant and verbal sparring partner, a role which comes complete with oodles of sexual tension.

Gabriel’s bedroom. What woman wouldn’t be excited to be brought back here?

Over the course of the game, Gabriel stumbles unto a centuries-old voodoo cult which has a special motivation to make him their latest human sacrifice. While he’s at it, he also falls into bed with the comely Malia, the somewhat reluctant leader of the cult. He learns amidst it all that not just voodoo spirits but many other things that go bump in the night — werewolves, vampires, etc. — are in fact real. And he learns that he’s inherited the mantle of Schattenjäger — “Shadow Hunter” — from his forefathers, and that his family’s legacy as battlers of evil stretches back to Medieval Germany. (The symbolism of his name is, as Jensen herself admits, not terribly subtle: “Gabriel” was the angel who battled Lucifer in Paradise Lost, while “Knight” means that he’s, well, a knight, at least in the metaphorical sense.) After ten days jam-packed with activity, which take him not only all around New Orleans but to Germany and Benin as well — Sins of the Fathers is a very generous game indeed in terms of length — Gabriel must choose between his love for Malia and his new role of Schattenjäger. Grace is around throughout: to serve as the good-girl contrast to the sultry Malia (again, the symbolism of her name isn’t subtle), to provide banter and research, and to pull Gabriel’s ass bodily out of the fire at least once. If Gabriel makes the right choice at the end of the game, the two forge a tentative partnership to continue the struggle against darkness even as they also continue to deny their true feelings for one another.

As we delve into what the game does well and poorly amidst all this, it strikes me as useful to break the whole edifice down along the classic divide of its interactivity versus its fiction. (If you’re feeling academic, you can refer to this dichotomy as its ludological versus its narratological components; if you’re feeling folksy, you can call it its crossword versus its narrative.) Even many of the game’s biggest fans will admit that the first item in the pairing has its problematic aspects. So, perhaps we should start there rather than diving straight into some really controversial areas. That said, be warned that the two things are hard to entirely separate from one another; Sins of the Fathers works best when the two are in harmony, while many of its problems come to the fore when the two begin to clash.

Let’s begin, though, with the things Sins of the Fathers gets right in terms of design. While I don’t know that it is, strictly speaking, impossible to lock yourself out of victory while still being able to play on, you certainly would have to be either quite negligent or quite determined to manage it at any stage before the endgame. This alone shows welcome progress for Sierra — shows that the design revolution wrought by LucasArts’s The Secret of Monkey Island was finally penetrating even this most stalwart redoubt of the old, bad way of making adventure games.

Snarking aside, we shouldn’t dismiss Jensen’s achievement here; it’s not easy to make such an intricately plot-driven game so forgiving. The best weapon in her arsenal is the use of an event-driven rather than a clock-driven timetable for advancing the plot. Each of the ten days has a set of tasks you must accomplish before the day ends, although you aren’t explicitly told what they are. You have an infinite amount of clock time to accomplish these things at your own pace. When you eventually do so — and even sometimes when you accomplish intermediate things inside each day — the plot machinery lurches forward another step or two via an expository cut scene and the interactive world around you changes to reflect it. Sins of the Fathers was by no means the first game to employ such a system; as far as I know, that honor should go to Infocom’s 1986 text adventure Ballyhoo. Yet this game uses it to better effect than just about any game that came before it. In fact, the game as a whole is really made tenable only by this technique of making the plot respond to the player’s actions rather than forcing the player to race along at the plot’s pace; the latter would be an unimaginable nightmare to grapple with in a story with this many moving parts. When it works well, which is a fair amount of the time, the plot progression feels natural and organic, like you truly are in the grip of a naturally unfolding story.

The individual puzzles that live within this framework work best when they’re in harmony with the plot and free of typical adventure-game goofiness. A good example is the multi-layered puzzle involving the Haitian rada drummers whom you keep seeing around New Orleans. Eventually, a victim of the voodoo cult tells you just before he breathes his last that the drummers are the cult’s means of communicating with one another across the city. So, you ask Grace to research the topic of rada drums. Next day, she produces a book on the subject filled with sequences encoding various words and phrases. When you “use” this book on one of the drummers, it brings up a sort of worksheet which you can use to figure out what he’s transmitting. Get it right, and you learn that a conclave is to be held that very night in a swamp outside the city.

Working out a rada-drum message.

This is an ideal puzzle: complicated but not insurmountable, immensely satisfying to solve. Best of all, solving it really does make you feel like Gabriel Knight, on the trail of a mystery which you must unravel using your own wits and whatever information you can dig up from the resources at your disposal.

Unfortunately, not all or even most of the puzzles live up to that standard. A handful are simply bad puzzles, full stop, testimonies both to the fact that every puzzle is always harder than its designer thinks it is and to Sierra’s disinterest in seeking substantive feedback on its games from actual players before releasing them. For instance, there’s the clock/lock that expects you to intuit the correct combination of rotating face and hands from a few scattered, tangential references elsewhere in the game to the number three and to dragons.

Even the rather brilliant rada-drums bit goes badly off the rails at the end of the game, when you’re suddenly expected to use a handy set of the drums to send a message of your own. This requires that you first read Jane Jensen’s mind to figure out what general message out of the dozens of possibilities she wants you to send, then read her mind again to figure out the exact grammar she wants you to use. When you get it wrong, as you inevitably will many times, the game gives you no feedback whatsoever. Are you doing the wrong thing entirely? Do you have the right idea but are sending the wrong message? Or do you just need to change up your grammar a bit? The game isn’t telling; it’s too busy killing you on every third failed attempt.

Other annoyances are the product not so much of poor puzzle as poor interface design. In contrast to contemporaneous efforts from competitors like LucasArts and Legend Entertainment, Sierra games made during this period still don’t show hot spots ripe for interaction when you mouse over a scene. So, you’re forced to click on everything indiscriminately, which most of the time leads only to the narrator intoning the same general room description over and over in her languid Caribbean patois. The scenes themselves are well-drawn, but their muted colors, combined with their relatively low resolution and the lack of a hot-spot finder, constitute something of a perfect storm for that greatest bane of the graphic adventure, the pixel hunt. One particularly egregious example of the syndrome, a snake scale you need to find at a crime scene on a beach next to Lake Pontchartrain, has become notorious as an impediment that stops absolutely every player in her tracks. It reveals the dark flip side of the game’s approach to plot chronology: that sinking feeling when the day just won’t end and you don’t know why. In this case, it’s because you missed a handful of slightly discolored pixels surrounded by a mass of similar hues — or, even if you did notice them, because you failed to click on them exactly.

You have to click right where the cursor is to learn from the narrator that “the grass has a matted appearance there.” Break out the magnifying glass!

But failings like these aren’t ultimately the most interesting to talk about, just because they were so typical and so correctable, had Sierra just instituted a set of commonsense practices that would have allowed them to make better games. Much more interesting are the places that the interactivity of Sins of the Fathers clashes jarringly with the premise of its fiction. For it’s here, we might speculate, that the game is running into more intractable problems — perhaps even running headlong into the formal limitation of the traditional graphic adventure as a storytelling medium.

Take, for example, the point early in the game when Gabriel wants to pay a visit to Malia at her palatial mansion, but, as a mere civilian, can’t get past the butler. Luckily, he happens to have a pal at the police department — in fact, his best friend in the whole world, an old college buddy named Mosely. Does he explain his dilemma to Mosely and ask for help? Of course not! This is, after all, an adventure game. He decides instead to steal Mosely’s badge. When he pays the poor fellow a visit at his office, he sees that Mosely’s badge is pinned, as usual, to his jacket. So, Gabriel sneaks over to turn up the thermostat in the office, which causes Mosely to remove the jacket and hang it over the back of his chair. Then Gabriel asks him to fetch a cup of coffee, and completes the theft while he’s out of the room. With friends like that…

Gabriel is turned away from Malia’s door…

…but no worries, he can just figure out how to steal a badge from his best friend and get inside that way.

In strictly mechanical terms, this is actually a clever puzzle, but it illustrates the tonal and thematic inconsistencies that dog the game as a whole. Sadly, puzzles like the one involving the rada drums are the exception rather than the rule. Most of the time, you’re dealing instead with arbitrary roadblocks like this one that have nothing whatsoever to do with the mystery you’re trying to solve. It becomes painfully obvious that Jensen wrote out a static story outline suitable for a movie or novel, then went back to devise the disconnected puzzles that would make a game out of it.

But puzzles like this are not only irrelevant: they’re deeply, comprehensively silly, and this silliness flies in the face of Sins of the Fathers’s billing as a more serious, character-driven sort of experience than anything Sierra had done to date. Really, how can anyone take a character who goes around doing stuff like this seriously? You can do so, I would submit, only by mentally bifurcating the Gabriel you control in the interactive sequences from the Gabriel of the cut scenes and conversations. That may work for some — it must, given the love that’s lavished on this game by so many adventure fans — but the end result nevertheless remains creatively compromised, two halves of a work of art actively pulling against one another.

Gabriel sneaks into the backroom of a church and starts stealing from the priests. That’s normal behavior for any moodily romantic protagonist, right? Right?

It’s at points of tension like these that Sins of the Fathers raises the most interesting and perhaps troubling questions about the graphic adventure as a genre. Many of its puzzles are, as I already noted, not bad puzzles in themselves; they’re only problematic when placed in this fictional context. If Sins of the Fathers was a comedy, they’d be a perfectly natural fit. This is what I mean when I say, as I have repeatedly in the past, that comedy exerts a strong centrifugal pull on any traditional puzzle-solving adventure game. And this is why most of Sierra’s games prior to Sins of the Fathers were more or less interactive cartoons, why LucasArts strayed afield from that comfortable approach even less often than Sierra, and, indeed, why comedies have been so dominant in the annals of adventure games in general.

The question must be, then, whether the pull of comedy can be resisted — whether compromised hybrids like this one are the necessary end result of trying to make a serious graphic adventure. In short, is the path of least resistance the only viable path for an adventure designer?

For my part, I believe the genre’s tendency to collapse into comedy can be resisted, if the designer is both knowing and careful. The Lost Files of Sherlock Holmes, released the year before Sins of the Fathers, is a less heralded game than the one I write about today, but one which works better as a whole in my opinion, largely because it sticks to its guns and remains the type of fiction it advertises itself to be, eschewing goofy roadblock puzzles in favor of letting you solve the mystery at its heart. By contrast, you don’t really solve the mystery for yourself at all in Sins of the Fathers; it solves the mystery for you while you’re jumping Gabriel through all the irrelevant hoops it sets in his path.

But let’s try to set those issues aside now and engage with Sins of the Fathers strictly in terms of the fiction that lives outside the lines of its interactivity. As many of you doubtless know, I’m normally somewhat loathe to do that; it verges on a tautology to say that interactivity is the defining feature of games, and thus it seems to me that any given game’s interactivity has to work, without any qualifiers, as a necessary precondition to its being a good game. Still, if any game might be able to sneak around that rule, it ought to be this one, so often heralded as a foremost exemplar of sophisticated storytelling in a ludic context. And, indeed, it does fare better on this front in my eyes — not quite as well as some of its biggest fans claim, but better.

The first real scene of Sins of the Fathers tells us we’re in for an unusual adventure-game experience, with unusual ambitions in terms of character and plot development alike. We meet Gabriel and Grace in medias res, as the former stumbles out of his backroom bedroom to meet the latter already at her post behind the cash register in the bookstore. Over the next couple of minutes, we learn much about them as people through their banter — and, tellingly, pretty much nothing about what the real plot of the game will come to entail. This is Bilbo holding his long-expected party, Wart going out to make hay; Jane Jensen is settling in to work the long game.

Link to video:
https://www.filfre.net/wp-content/uploads/2019/07/GK.mp4

As Jensen slowly pulls back the curtain on what the game is really all about over the hours that follow, she takes Gabriel through that greatest rarity in interactive storytelling, a genuine internal character arc. The Gabriel at the end of the game, in other words, is not the one we met at the beginning, and for once the difference isn’t down to his hit points or armor class. If we can complain that we’re mostly relegated to solving goofy puzzles while said character arc plays out in the cut scenes, we can also acknowledge how remarkable it is for existing at all.

Jensen is a talented writer with a particular affinity for just the sort of snappy but revealing dialog that marks that first scene of the game. If anything, she’s better at writing these sorts of low-key “hang-out” moments than the scenes of epic confrontation. It’s refreshing to see a game with such a sense of ease about its smaller moments, given that the talents and interests of most game writers tend to run in just the opposite direction.

Then, too, Jensen has an intuitive understanding of the rhythm of effective horror. As any master of the form from Stephen King to the Duffer Brothers will happily tell you if you ask them, you can’t assault your audience with wall-to-wall terror. Good horror is rather about tension and release — the horrific crescendos fading into moments of calm and even levity, during which the audience has a chance to catch its collective breath and the knots in their stomachs have a chance to un-clench. Certainly we have to learn to know and like a story’s characters before we can feel vicarious horror at their being placed in harm’s way. Jensen understands all these things, as do the people working with her.

Indeed, the production values of Sins of the Fathers are uniformly excellent in the context of its times. The moody art perfectly complements the story Jensen has scripted, and the voice-acting cast — both the big names who head it and the smaller ones who fill out the rest of the roles — are, with only one or two exceptions, solid. The music, which was provided by the project’s producer Robert Holmes — he began dating Jensen while the game was in production, and later became her husband and constant creative partner — is catchy, memorable, and very good at setting the mood, if perhaps not hugely New Orleans in flavor. (More on that issue momentarily.)

Still, there are some significant issues with Sins of the Fathers even when it’s being judged purely as we might a work of static fiction. Many of these become apparent only gradually over time — this is definitely a game that puts its best foot forward first — but at least one of them is front and center from the very first scene. To say that much of Gabriel’s treatment of Grace hasn’t aged well hardly begins to state the case. Their scenes together often play like a public-service video from the #MeToo movement, as Gabriel sexually harasses his employee like Donald Trump with a fresh bottle of Viagra in his back pocket. Of course, Jensen really intends for Gabriel to be another instance of the archetypal charming rogue — see Solo, Han, and Jones, Indiana — and sometimes she manages to pull it off. At far too many others, though, the writing gets a little sideways, and the charming rogue veers into straight-up jerk territory. The fact that Grace is written as a smart, tough-minded young woman who can give as good as she gets doesn’t make him seem like any less of a sleazy creep, more Leisure Suit Larry than James Dean.

I’m puzzled and just a little bemused that so many academic writers who’ve taken it upon themselves to analyze the game from an explicitly feminist perspective can ignore this aspect of it entirely. I can’t help but suspect that, were Sins of the Fathers the product of a male designer, the critical dialog that surrounds it would be markedly different in some respects. I’ll leave it to you to decide whether this double standard is justified or not in light of our culture’s long history of gender inequality.

As the game continues, the writing starts to wear thin in other ways. Gabriel’s supposed torrid love affair with Malia is, to say the least, unconvincing, with none of the naturalism that marks the best of his interactions with Grace. Instead it’s in the lazy mold of too many formulaic mass-media fictions, where two attractive people fall madly in love for no discernible reason that we can identify. The writer simply tells us that they do so, by way of justifying an obligatory sex scene or two. Here, though, we don’t even get the sex scene.

Pacing also starts to become a significant problem as the game wears on. Admittedly, this is not always so much because the writer in Jane Jensen isn’t aware of its importance to effective horror as because pacing in general is just so darn difficult to control in any interactive work, especially one filled with road-blocking puzzles like this one. Even if we cut Jensen some slack on this front, however, sequences like Gabriel’s visit to Tulane University, where he’s subjected to a long non-interactive lecture that might as well be entitled “Everything Jane Jensen Learned about Voodoo but Can’t Shoehorn in Anywhere Else,” are evidence of a still fairly inexperienced writer who doesn’t have a complete handle on this essential element of storytelling and doesn’t have anyone looking over her shoulder to edit her work. She’s done her research, but hasn’t mastered the Zen-like art of letting it subtly inform her story and setting. Instead she infodumps it all over us in about the most unimaginative way you can conceive: in the form of a literal classroom lecture.

Gabriel with Professor Infodump.

The game’s depiction of New Orleans itself reveals some of the same weaknesses. Yes, Jensen gets the landmarks and the basic geography right. But I have to say, speaking as someone who loves the city dearly and has spent a fair amount of time there over the years, that the setting of the game never really feels like New Orleans. What’s missing most of all, I think, is any affinity for the music that so informs daily life in the city, giving the streets a (literal) rhythm unlike anywhere else on earth. (Robert Holmes’s soundtrack is fine and evocative in its own right; it’s just not a New Orleans soundtrack.) I was thus unsurprised to learn that Jensen never actually visited New Orleans before writing and publishing a game set there. Tellingly, her depiction has more to do with the idiosyncratic, Gothic New Orleans found in Anne Rice novels than it does with the city I know.

The plotting too gets more wobbly as time goes on. A linchpin moment comes right at the mid-point of the ten days, when Gabriel makes an ill-advised visit to one of the cult’s conclaves — in fact, the one he located via the afore-described rada-drums puzzle — and nearly gets himself killed. Somehow Grace, of all people, swoops in to rescue him; I still have no idea precisely what is supposed to have happened here, and neither, judging at least from the fan sites I’ve consulted, does anyone else. I suspect that something got cut here out of budget concerns, so perhaps it’s unfair to place this massive non sequitur at the heart of the game squarely on Jensen’s shoulders.

But other problems with the plotting aren’t as easy to find excuses for. There is, for example, the way that Gabriel can fly from New Orleans to Munich and still have hours of daylight at his disposal when he arrives on the same day. (I could dismiss this as a mere hole in Jensen’s research, the product of an American designer unfamiliar with international travel, if she hadn’t spent almost a year living in Germany prior to coming to Sierra.) In fact, the entirety of Gabriel’s whirlwind trip from the United States to Germany to Benin and back home again feels incomplete and a little half-baked, from its cartoonish German castle, which resembles a piece of discarded art from a King’s Quest game, to its tedious maze inside an uninteresting African burial mound that likewise could have been found in any of a thousand other adventure games. Jensen would have done better to keep the action in New Orleans rather than suddenly trying to turn the game into a globetrotting adventure at the eleventh hour, destroying its narrative cohesion in the process.

Suddenly we’re in… Africa? How the hell did that happen?

As in a lot of fictions of this nature, the mysteries at the heart of Sins of the Fathers are also most enticing in the game’s earlier stages than they have become by its end. To her credit, Jensen knows exactly what truths lie behind all of the mysteries and deceptions, and she’s willing to show them to us; Sins of the Fathers does have a payoff. Nevertheless, it’s all starting to feel a little banal by the time we arrive at the big climax inside the voodoo cult’s antiseptic high-tech headquarters. It’s easier to be scared of shadowy spirits of evil from the distant past than it is of voodoo bureaucrats flashing their key cards in a complex that smacks of a Bond villain’s secret hideaway.

The tribal art on the wall lets you know this is a voodoo cult’s headquarters. Somehow I never expected elevators and fluorescent lighting in such a place…

Many of you — especially those of you who count yourselves big fans of Sins of the Fathers — are doubtless saying by now that I’m being much, much too hard on it. And you have a point; I am holding this game’s fiction to a higher standard than I do that of most adventure games. In a sense, though, the game’s very conception of itself makes it hard for a critic to avoid doing so. It so clearly wants to be a more subtle, more narratively and thematically rich, more “adult” adventure game that I feel forced to take it at its word and hold it to that higher standard. One could say, then, that the game becomes a victim of its own towering ambitions. Certainly all my niggling criticisms shouldn’t obscure the fact that, for all that its reach does often exceed its grasp, it’s brave of the game to stretch itself so far at all.

That said, I can’t help but continue to see Sins of the Fathers more as a noble failure than a masterpiece, and I can’t keep myself from placing much of the blame at the feet of Sierra rather than Jane Jensen per se. I played it most recently with my wife, as I do many of the games I write about here. She brings a valuable perspective because she’s much, much smarter than I am but couldn’t care less about where, when, or whom the games we play came from; they’re strictly entertainments for her. At some point in the midst of playing Sins of the Fathers, she turned to me and remarked, “This would probably have been a really good game if it had been made by that other company.”

I could tell I was going to have to dig a bit to ferret out her meaning: “What other company?”

“You know, the one that made that time-travel game we played with the really nerdy guy and that twitchy girl, and the one about the dog and the bunny. I think they would have made sure everything just… worked better. You know, fixed all of the really irritating stuff, and made sure we didn’t have to look at a walkthrough all the time.”

That “other company” was, of course, LucasArts.

One part of Sins of the Fathers in particular reminds me of the differences between the two companies. There comes a point where Gabriel has to disguise himself as a priest, using a frock stolen from St. Louis Cathedral and some hair gel from his own boudoir, in order to bilk an old woman out of her knowledge of voodoo. This is, needless to say, another example of the dissonance between the game’s serious plot and goofy puzzles, but we’ve covered that ground already. What’s more relevant right now is the game’s implementation of the sequence. Every time you visit the old woman — which will likely be several times if you aren’t playing from a walkthrough — you have to laboriously prepare Gabriel’s disguise all over again. It’s tedium that exists for no good reason; you’ve solved the puzzle once, and the game ought to know you’ve solved it, so why can’t you just get on with things? I can’t imagine a LucasArts game subjecting me to this. In fact, I know it wouldn’t: there’s a similar situation in Day of the Tentacle, where, sure enough, the game whips through the necessary steps for you every time after the first.

Father Gabriel. (Sins of the fathers indeed, eh?)

This may seem a small, perhaps even petty example, but, multiplied by a hundred or a thousand, it describes why Sierra adventures — even their better, more thoughtful efforts like this one — so often wound up more grating than fun. Sins of the Fathers isn’t a bad adventure game, but it could have been so much better if Jensen had had a team around her armed with the development methodologies and testing processes that could have eliminated its pixel hunts, cleaned up its unfair and/or ill-fitting puzzles, told her when Gabriel was starting to sound more like a sexual predator than a laid-back lady’s man, and smoothed out the rough patches in its plot. None of the criticisms I’ve made of the game should be taken as a slam against Jensen, a writer with special gifts in exactly those areas where other games tend to disappoint. She just didn’t get the support she needed to reach her full potential here.

The bitter irony of it all is that LucasArts, a company that could have made Sins of the Fathers truly great, lacked the ambition to try anything like it in lieu of the cartoon comedies which they knew worked for them; meanwhile Sierra, a company with ambition in spades, lacked the necessary commitment to detail and quality. I really don’t believe, in other words, that Sins of the Father represents some limit case for the point-and-click adventure as a storytelling medium. I think merely that it represents, like all games, a grab bag of design choices, some of them more felicitous than others.

Still, if what we ended up with is the very definition of a mixed bag, it’s nevertheless one of the most interesting and important such in the history of adventure games, a game whose influence on what came later, both inside and outside of its genre, has been undeniable. I know that when I made The King of Shreds and Patches, my own attempt at a lengthy horror adventure with a serious plot, Sins of the Fathers was my most important single ludic influence, providing a bevy of useful examples both of what to do and what not to do. (For instance, I copied its trigger-driven approach to plot chronology — but I made sure to include a journal to tell the player what issues she should be working on at any given time, thereby to keep her from wandering endlessly looking for the random whatsit that would advance the time.) I know that many other designers of much more prominent games than mine have also taken much away from Sins of the Fathers.

So, should you play Gabriel Knight: Sins of the Fathers? Absolutely. It’s a fascinating example of storytelling ambition in games, and, both in where it works and where it fails, an instructive study in design as well. A recent remake helmed by Jane Jensen herself even fixes some of the worst design flaws, although not without considerable trade-offs: the all-star cast of the original game has been replaced with less distinctive voice acting, and the new graphics, while cleaner and sharper, don’t have quite the same moody character as the old. Plague or cholera; that does seem to be the way with adventure games much of the time, doesn’t it? With this game, one might say, even more so than most of them.

The big climax. Yes, it does look a little ridiculous — but hey, they were trying.

(Sources: the book Influential Game Designers: Jane Jensen by Anastasia Salter; Sierra’s newsletter InterAction of Spring 1992, Summer 1993, and Holiday 1993; Computer Gaming World of November 1993 and March 1994. Online sources include “The Making of… The Gabriel Knight Trilogy” from Edge Online; an interview with Jane Jensen done by the old webzine The Inventory, now archived at The Gabriel Knight Pages; “Happy Birthday, Gabriel Knight“ from USgamer; Jane Jensen’s “Ask Me Anything” on Reddit. Academic pieces include “Revisiting Gabriel Knight” by Connie Veugen from The Heidelberg Journal of Religions on the Internet Volume 7; Jane Jensen’s Gabriel Knight: Sins of the Fathers: The Numinous Woman and the Millennium Woman” by Roberta Sabbath from The Journal of Popular Culture Volume 31 Issue 1. And, last but not least, press releases, annual reports, and other internal and external documents from the Sierra archive at the Strong Museum of Play.

Gabriel Knight: Sins of the Fathers is available for purchase both in its original version and as an enhanced modern remake.)

Comments
50 Responses

- James Schend

August 2, 2019 at 5:41 pm

I didn’t find any typos this week, but I just wanted to say that I don’t get the reference to “Wart making hay” and it’s pretty disgusting to Google ;)

- Jimmy Maher

August 2, 2019 at 5:53 pm

T.H. White’s The Once and Future King. ;)

- Ken Brubaker

August 2, 2019 at 6:04 pm

With regards to a woman writing a male hero character sexually harassing a female one, it is probably accepted in much the same way that it is OK for Black people to use ‘that’ word among themselves but God help a white person that uses it.

- Veronica Connor

August 3, 2019 at 4:12 pm

Respectfully, no, this is more simply the case that women are humans too, and raised in the same society as men. Many of us have the same unconscious biases and unpleasant patterns of relationship behavior imprinted on us as men do. There are misogynist women, and many many women who simply don’t know better because they haven’t critically examined what being raised in a patriarchy has done to their beliefs about how the world should be.

- Nate

August 3, 2019 at 7:26 pm

Respectfully, I’d like to ask you to consider why you (who are presumably not black) are upset that you can’t use a racial slur associated with repression and discrimination. Aren’t you just fine without it?

- Lars

August 2, 2019 at 6:49 pm

florescent lighting?

- Jimmy Maher

August 2, 2019 at 7:27 pm

Thanks!

- Lisa H.

August 7, 2019 at 9:36 pm

A lamp in the shape of a flower? ;)

- Pedro Timóteo

August 2, 2019 at 7:11 pm

Great as always. :) A few random thoughts:

– like you predicted some people would, I really thought you were too hard on the game, though I understand where you’re coming from.

– I thought the clock puzzle was actually one of the best — there is no single place in the game that gives you the complete solution; instead, you have to put clues together: you read a poem in the store by Heinz Ritter about three dragons, Gran tells you that Heinz Ritter was your grandfather’s birth name, you’re investigating granddad’s trunk, meaning that the clock probably belonged to the poem’s author… dragon picture, three o’clock. :) This will also help with the two circular “mazes”, later (since, as Grace helpfully tells you, snakes and dragons are symbolically the same — and, oh, there’s also your father’s painting, “Three Snakes in a Skull”, in the store.)

– your cursor covers it in the screenshot above, but the bit with the snake scale actually has a different texture. It’s easier to spot if you don’t have any kind of anti-aliasing, so pixels are clearer. Yes, it’s still probably a bit too hard to find, but it *doesn’t* look just like the rest of the grass, as some walkthrough authors have claimed. :)

– I never saw Gabriel’s banter with Grace as anything even close to sexual harassment, and I’m pretty sure neither did Jensen intend it so. It feels more like playful banter between them — and Grace clearly isn’t bothered by it –, not like an actual predator like Trump.

– “but I made sure to include a journal to tell the player what issues she should be working on at any given time” — in GK’s case, the remake adds one, though IMO it makes the game too easy, even for a first-time player, unless you choose to use it only after being stuck for a while.

– typo: the detective’s name is Mosely, not Mosley.

- Jimmy Maher

August 2, 2019 at 7:25 pm

Thanks!

- Brian

August 2, 2019 at 9:08 pm

They could have just had a talking horse named Smith tell you how to solve the clo-

Oh wait… think I jumped games there! Bet that horse would have told you the wrong answer any way…

I don’t think I’ve heard of this game previously, very interesting to hear about the latter days of Sierra. By then I was deep in college learning about orbital in p chem and my gaming time dropped off to nothing. I had to look up Sierra to read about the eventual demise of the company.

- Cliffy

August 2, 2019 at 7:42 pm

Dear god, what cluster a LucasArts version of this game would have been.

I think this game might not be appropriate to your project, because its languidity is part of the charm. And also its scope — the Germany and Benin segments are lovely surprises the first time, because no prior adventure game has covered that much ground (except for, for instance, Sam and Max, which was designed as a picaresque from the first scene).

- Carl

August 2, 2019 at 10:30 pm

I’m not sure I’d call out The Cure for evidence of a Goth revival. In fact, the contemporaneous album, High, is anything but dark and slinky. In fact, I would say it was so popular largely because it was NOT gothic. Look at the first two singles, High and Friday I’m in Love. Hardly anything gothic about them. In fact I would call it “proto Britpop”.

- xxx

August 3, 2019 at 4:04 am

Yeah, the heyday of the Cure’s gothic period was in the 1980s. The last really gothic-sounding album they released was 1988’s Disintegration, after which they started branching out. A better touchstone for new music that was big with goths in the early 1990s might be industrial music as exemplified by bands like Nine Inch Nails.

(This is a very minor quibble about an otherwise fantastic article, mind you!)

- Jimmy Maher

August 3, 2019 at 7:51 am

Yeah, Disintegration was the album I was thinking of. That album had very long legs; it was still very popular when I was working at a record store in the early 1990s (best job I had ever had… except for the pay), and I believe the Cure toured it for a few years. But I agree that it was a stretch, considering that Wish came out the very year of Gabriel Knight. Nine Inch Nails is indeed a better choice. Thanks!

- Lisa H.

August 3, 2019 at 8:43 pm

the contemporaneous album, High

I think you mean Wish?

- Carl

August 4, 2019 at 4:26 am

Yes, you’re right. The first single was High, the album was Wish. I was in my goth/industrial phase at that point in life and remember being disappointed with Wish that it wasn’t Disintegration Part 2 (wow Disintegration was a masterpiece).

- matt w

August 4, 2019 at 11:34 pm

I was more surprised at Massive Attack. Not that I’m hip to the scene, and I only discovered Massive Attack much later by working back from Tricky.

There’s another unexpected Goth/interactive fiction crossover.

- Ross

August 2, 2019 at 10:44 pm

Gabriel sneaks into the backroom of a church and starts stealing from the priests. That’s normal behavior for any moodily romantic protagonist, right? Right?

I’m reminded of an episode of, I think, Supernatural, where they need a shofar to kill a supernatural being of some sort, and one of them breaks into a rabbi’s office. The rabbi walks in on him… And he explains what’s going on and why he needs it and the rabbi just lends it to him.

- Jonathan Badger

August 3, 2019 at 3:14 am

The one thing that I’ve confirmed since reading your blog was just how bad Sierra adventures were. I always was primarly an Infocom and secondarily a LucasArts guy, but in your postings you’ve really put into words what I just vaguely felt about the poor design of Sierra games (and I say this as a guy whose first experience in adventure games was the now obscure 1980 Sierra Apple ][ game “The Wizard and the Princess”, so I do have nostalgia for moon logic to some degree).

- Steve

August 3, 2019 at 6:04 am

Then Gabriel asks him to fetch a cup of coffee, and Mosely completes the theft while he’s out of the room.

May need fixing

- Jimmy Maher

August 3, 2019 at 7:47 am

Woops! How did that happen? Thanks!

- Aula

August 3, 2019 at 11:23 am

“He decides instead to steal Moslely’s badge.”

Let’s hope that’s the last error involving the poor detective.

- Jimmy Maher

August 3, 2019 at 12:19 pm

The poor fellow had been having a bad time of it, hasn’t he? As if having Gabriel for a best friend wasn’t bad enough. ;) Thanks!

- Andrew Bednarz

August 3, 2019 at 12:47 pm

I remember vividly playing this when it came out.. I was (and still am) a huge fan of p&c adventure games, and was just 15years old in 93 when this came out. With the Police Quest games being the most ‘mature’ adventure game I’d played, Gabriel Knight *blew me away* with its strong story. Back then I just assumed part and parcel of adventure games, to various degrees was the pixel hunting and I almost always utilised a walkthrough eventually in every game because I lacked the patience to solve difficult puzzles myself. So for many years I long held GK as the best ‘mature story’ adventure game ever. There’s lots to say about Nostalgia isn’t there. I played the remake the other year and while still thoroughly enjoyed it, did realise many of its short comings (in a way that I never have in my many replays of say, Sam & Max, which I had similarly held up at the same age as the best ever comedy adventure – and I still maintain that today.) As always your thorough analysis is fantastic

- Francisco Gonzalez

August 3, 2019 at 1:37 pm

A wonderfully thoughtful analysis, you bring up some great points. As much as I adore this game and consider it one of my favorites, it does have its undeniable flaws.

One thing that always amuses me is the fact that despite the game taking place in the middle of June, the sequence in Germany takes place during a full on blizzard.

- Jacen aka Jaina

August 3, 2019 at 3:30 pm

glory days of adventures games

popular adventures games

the office, which causes to remove the jacket

In the caption under the photo, you use Bob Holmes, but Robert Holmes the other two times. (A wizard did it)

- Jimmy Maher

August 3, 2019 at 3:42 pm

Thanks!

- Jeff Claar

August 3, 2019 at 4:27 pm

I don’t know if this has been mentioned before, but probably my favorite (and IMHO, most accurate) commentary on problems with adventure games and unfair puzzles is “Death of Adventure Games” from the sadly-missed Old Man Murray:

http://www.oldmanmurray.com/features/77.html

- John Olsen

August 7, 2019 at 5:00 am

That puzzle is ridiculous but it’s good to keep in mind that those guys had a very misogynist take on female designers (and women in general)

https://www.mic.com/articles/180888/erik-wolpaw-chet-faliszek-old-man-murray-untold-origins-of-gamergate-harassment-abuse-gaming-culture#.O0ciuDInk

- Derek

August 10, 2019 at 4:14 pm

The followup article is also relevant:

https://www.mic.com/articles/182786/women-in-video-games-history-roberta-williams-lori-cole-sierra-games

- Lt. Nitpicker

August 11, 2019 at 3:37 pm

I do think the article’s title drawing a direct line from OMM to Gamergate is a bit hyperbolic (a better description is that they share a common ancestor in the “Culture Wars”). But it’s a title, and in the era of clickbait it’s not uncommon for them to be exaggerated.

- Jeff Claar

August 11, 2019 at 9:15 pm

I’d tend to agree that it’s hyperbolic, though OMM certainly would alternate between what I thought was insightful (though raunchy) commentary to an extreme that was cringe-worthy even at that time. They tended to go after their targets with flamethrowers, and a lot of it certainly didn’t age well. (Though it’s certainly not just female designers — I recall John Romero and American McGee to be particularly favorite targets of theirs.)

That being said, I don’t consider the “Death of Adventure Games” sexist. If the designer were “John Jensen”, you could replace the name in the article without changing another word and still draw the same conclusions.

And hey..maybe my sense of humor was just a lot more sophomoric back then too. (Cue my wife saying “What do you mean, ‘back then’??”)

- Lisa H.

August 3, 2019 at 8:45 pm

Gabriel stumbles unto a centuries-old voodoo cult which has a special motivation to make him their latest human sacrifice.

Yikes. I can only wonder what actual adherents of Vodou would think of this (and of that climactic scene).

- Jimmy Maher

August 4, 2019 at 6:19 am

Yeah, that’s a whole other side to the game: where a bunch of white people have to defend the world from the literal black magic of voodoo. I didn’t raise it in the article because a) I was already being hard enough on the game and b) I don’t believe this was done with any conscious agenda or ill intent. Nevertheless, pictures like that one are… not a great look. (See Shades of Gray, which I wrote about quite extensively in an earlier article, for a much more sympathetic and nuanced portrayal of the religion of Haitian Vodou.)

- Ross

August 4, 2019 at 3:27 pm

I think the other two Gabriel Knight games bear out the notion that there’s no agenda or ill intent, but much like the casual attitude toward sexual harassment, it reflects a lazy and unthinking regurgitation of genre tropes that were already showing their age at the time and are seriously uncomfortable now.

- Cliffy

August 7, 2019 at 6:02 pm

Of course the entire history of the cult was explicitly put in motion by white brutality towards black slaves.

- Dan Fabulich

August 12, 2019 at 4:45 pm

I think it’s a mistake to go into this game’s #MeToo problem without at least mentioning the game’s problematic treatment of race. It seems to imply that the sexual harassment problems matter and that the race problems don’t.

Probably neither kind of problem had “ill intent.” I don’t think Jane Jensen regards sexually harassing your staff to be appropriate, any more than she thinks it’s appropriate to steal a frock from a priest. I bet the “white savior” problems were completely unconscious. But that’s why it’s so important to talk about this stuff, to make people conscious of common racist tropes.

- glorkvorn

August 4, 2019 at 2:42 am

I felt like this game had a huge tonal shift roughly halfway through, and I didn’t like it. In the first half, I felt like a real (fictional) detective, tracking down a cult that *believed* in magic, but they don’t really need magic to murder people. Then suddenly it turns out that, yes, magic is real, and your father was also magical, so you’re the magical chosen one who must use good magic to defeat the evil magic. Seems like someone lost confidence in the detective story, and they reverted to standard adventure-game fantasy tropes.

Not unique to this game either, a lot of Sierra’s games did that. Police Quest 1 did a weird switch to wacky comedy, and Robin Hood randomly threw in some King’s Quest style fantasy stuff into the otherwise normal Robin Hood story. Still, at least they were willing to *try* different genres. All the LucasArts games feel the same to me.

- John Olsen

August 7, 2019 at 5:14 am

At the time, the fantasy elements in Robin Hood seemed like well-researched bits of era appropriate folklore — it didn’t strike me as random.

But I was a 12 year old with no knowledge of history who couldn’t believe I was playing a video game made by the creator of Jem. So, you know. I may not have been the most objective critic in the world.

- Jason

August 4, 2019 at 9:25 pm

Me: “Oh, boy! My favorite Sierra game! I’ve been waiting for this … oh.”

I suppose I view this game through nostalgia-tinted lenses and remember it being better than it actually is. At the time, though, it was definitely the most exciting adventure game I had ever played. I really found the story riveting. I knew that some of the puzzles weren’t great, but I guess I kind of accepted that as being part of the Sierra game experience. As many have pointed out, LucasArts games may have been better from a design standpoint, but they wouldn’t have attempted a game like this one at all. Ultimately, I liked Sierra games more despite their flaws.

- Brian Bagnall

August 5, 2019 at 5:06 am

This game was great! It was a bit like Da Vinci Code but actually well written. :)

- John Olsen

August 6, 2019 at 11:04 pm

“The bitter irony of it all is that LucasArts, a company that could have made Sins of the Fathers truly great, lacked the ambition to try anything like it in lieu of the cartoon comedies which they knew worked for them; meanwhile Sierra, a company with ambition in spades, lacked the necessary commitment to detail and quality.”

This passage sums up my memories of the game so well. When I think back on the game the two things I recall most vividly are:

The atmosphere

A scene in the castle where an NPC was peeling potatoes, where the entire game would halt every couple of seconds to load the “peeling” sound effect off of the CD

- Kuba Żywko

August 12, 2019 at 2:55 pm

Thank you for this text. I loved the thoughtful, measured, academic-style analysis markedly lacking in an overarching agenda that plagues (too) many academic articles on similar subjects. A wonderful read!

- Dan Fabulich

August 12, 2019 at 4:37 pm

“You know, fixed all of the really irritating stuff, and made sure we didn’t have to look at a walkthrough all the time.”

Wait, after all these years, you’re still looking at walkthroughs and not hint books? Gradual hinting is the way Sierra intended these games to be played. If you go straight to the walkthrough, you’re deeply undermining your Sierra experience. (We had a conversation about this a few years back, in the comment thread to your “14 Deadly Sins” article.)

Take that clock puzzle, for example. The hint book doesn’t just say “Move the hands to 3pm and the dragon to the top and use the windup key.” It says, “This is your grandfather’s clock. Wait a minute! Didn’t you have one of your grandfather’s books in the book shop?” Once you know that the poetry book directly relates to the clock, the rest of the puzzle is solid.

Or the endgame rada drums. The hint book tells you that you need to get Dr. John to leave his room in order to steal the key card. “How do I get Dr. John to leave his room?” “Have you been to the center voodoo ceremonial room?” That’s the room with the drums.

- Gareth Hall

September 3, 2019 at 9:14 pm

Another good article and break down of a game. My only criticism would be to avoid the low hanging fruit of Donald Trump references/jabs. I come to your site and have read your articles for years to read genuine thoughtful game articles and dissection, I do not read any other sites because elsewhere it has descended into political idealism instead of genuine analysis of whether a game is good or not. Some sites determine a game as automatically good if it portrays the political message they agree with regardless of writing, mechanics, gameplay, sound design etc etc. I just wouldn’t want to see your work go down this path, as so far I have been so happy to come to a site and read thoughtful articles that don’t get bogged down in current politics as it is not truly relevant.

- taxi

September 28, 2019 at 10:06 am

“This would probably have been a really good game if it had been made by that other company.”

I could tell I was going to have to dig a bit to ferret out her meaning: “What other company?”

“You know, the one that made that time-travel game we played with the really nerdy guy and that twitchy girl, and the one about the dog and the bunny. I think they would have made sure everything just… worked better. You know, fixed all of the really irritating stuff, and made sure we didn’t have to look at a walkthrough all the time.”

For someone criticizing fictional dialogue, you could stand to work on your own…

- Jimmy Maher

September 28, 2019 at 10:29 am

:) Touche!

- Marco

May 20, 2020 at 10:03 pm

Given that this game still has many die-hard fans, it’s interesting to read a review that more mirrors the feelings I had about it. For me there’s one moment that works exceptionally well, and it is (whisper it) better in the re-make. That’s the mummies in the barrow in Benin. Like a conjuror, it shows you something important but then misdirects you away from it, so just when you think you’re about to move triumphantly on from this space, you realise it’s a trap and there’s a deadly danger. First time, I genuinely shouted “Oh, F___!” at the screen in panic. The rest of it – yeah, definitely a lot of repetitive clicking and trying to guess exactly what the designer had in mind.

- Nicole

June 17, 2020 at 9:21 pm

Personally, to accuse this game of employing the white savior trope uncritically is to practice some kind of intellectual myopia. Gabriel actually fails to save the person he wants to in the end – Malia – and the fact that she chooses to die on her own terms is a restoration of her agency, symbolic of her severing the corrupting legacy of a history corroded by racism and knowing that having Gabriel save her is also not the path forward. This game is first and foremost about the tragedy of Malia Gedde. It is only Gabriel Knight’s story in a secondary capacity. The game ends without a sense of triumph and relief. Instead, there is defeat, the feeling that much work still needs to be done to prevent the tragedy of people like Malia Gedde, that the scars of racism still have to be reckoned with, and those who survive it – usually people who are not black, like Gabriel – still have much to answer for.

It should also be mentioned that the narrator of this story, the one in sole control of the narrative, the God of the Gabriel Knight universe, is Virginia Capers, a black woman.

I believe in giving credit when it is due, and this game, given its age, definitely deserves it. Why can’t we have a voodoo cult as trying to reclaim its power from the typical authorities (the police, the white masters, the church) even if it has to resort to murder and underground activities? The fact that this powerful group had to resort to these things speaks of the power dynamics at play, the racism at play, the cultural and social displacement of the marginalized at play. It shows the reality that legitimized evil or crime or accumulation of capital belongs to the more powerful group (the white people of New Orleans) and that non-white cultures are forced to go underground to practice the same impunity.

I think this is the adventure game with the most sophisticated handling of race and its historical repercussions. It’s not as black and white as the discussions of race in vogue these days, but that makes it all the richer for it.

All props to Jane Jensen for this nuanced depiction of race and class in American society.

Alone in the Dark
August 16, 2019

Most videogame stories are power fantasies. You spend your time getting ever stronger, ever tougher, ever more formidable as you accumulate experience points, gold, and equipment. Obstacles aren’t things to go around; they’re things you go through. If you can’t get past any given monster, the solution is to go kill some other monsters, then come back when you’re yet more powerful and slay the big beast at last. Life, these games tell us, is or ought to be one unadulterated ride up the escalator of success; a setback just means you haven’t yet risen high enough.

That dynamic held true in 1992 just as much as it usually does today. But during that year there came a well-nigh revolutionary game out of France that upended all of these traditional notions about what the medium of videogames can do and be. It cast you as a painfully ordinary, near-powerless individual adrift in a scary world, with no surefire panaceas in the form of experience points, gold, or portable rocket launchers to look forward to. It was just you and your wits, trapped in a haunted house full of creatures that were stronger than you and badly wanted to kill you. Despite its supernatural elements, this game’s scenario felt more disconcertingly close to real life than that of any of those other games. Here, you truly were alone in the dark. Aren’t we all from time to time?

Any story of how this shockingly innovative game came to be must begin with that of Frédérick Raynal, its mastermind. Born in the south-central French town of Brive-la-Gaillarde in 1966, Raynal was part of the first generation of European youths to have access to personal computers. In fact, right from the time his father first came home with a Sinclair ZX81, he was obsessed with them. He was also lucky: in a dream scenario for any budding hacker, his almost equally obsessed father soon added computers to the product line of the little videocassette-rental shop he owned, thus giving his son access to a wide variety of hardware. Raynal worked at the store during the day, renting out movies and watching them to kill the time — he was a particular fan of horror movies, a fact which would soon have a direct impact on his career — and helping customers with their computer problems. Then, with a nerdy young man’s total obliviousness to proportion, he hacked away most of the night on one or another of the machines he brought home with him. He programmed his very first released game, a platformer called Robix, in 1986 on an obscure home-grown French computer called the Exelvision which his father sold at the store. His father agreed to sell his son’s Exelvision game there as well, managing to shift about 80 units to customers desperate for software for the short-lived machine.

Raynal’s lifestyle was becoming so unbalanced that his family was beginning to worry about him. One day, he ran out of his room in a panic, telling them that all of the color had bled out of his vision. His mother bustled him off to an ophthalmologist, who told him he appeared to have disrupted the photoreceptors in his eyes by staring so long at a monitor screen. Thankfully, the condition persisted only a few hours. But then there came a day when he suddenly couldn’t understand anything that was said to him; he had apparently become so attuned to the language of computer code that he could no longer communicate with humans. That worrisome condition lasted several weeks.

Thus just about everyone around him took it as a good thing on the whole when he was called up for military service in 1988. Just before leaving, Raynal released his second game, this time for MS-DOS machines. Not knowing what else to do with it, he simply posted it online for free. Popcorn was a Breakout clone with many added bells and whistles, the latest entry in a sub-genre which was enjoying new popularity following the recent success of the Taito arcade game Arkanoid and its many ports to home computers and consoles. Raynal’s game could hold its head high in a crowded field, especially given its non-existent price tag. One magazine pronounced it one of the five best arcade games available for MS-DOS, whether commercial or free, and awarded it 21 points on a scale of 20.

Raynal was soon receiving letters at his military posting from all over the world. “Popcorn has made my life hell!” complained one player good-naturedly. Another wrote that “I caught acute Popcornitus. And, it being contagious, now my wife has it as well.” When Raynal completed his service in the summer of 1989, his reputation as the creator of Popcorn preceded him. Most of the companies in the French games industry were eager to offer him a job. His days working at his father’s computer store, it seemed, were behind him. The Lyon-based Infogrames, the most prominent French publisher of all, won the Raynal sweepstakes largely by virtue of its proximity to his hometown.

Yet Raynal quickly realized that the company he had elected to join was in a rather perilous state. An ambitious expansion into many European markets hadn’t paid off; in fact, it had very nearly bankrupted them. Bruno Bonnell, Infogrames’s co-founder and current chief executive, had almost sold the company to the American publisher Epyx, but that deal had fallen through as soon as the latter had gotten their first good look at the state of his books. It seemed that Infogrames would have to dig themselves out of the hole they’d made. Thus Bonnell had slashed costs and shed subsidiaries ruthlessly just to stay alive. Now, having staunched the worst of the bleeding, he knew that he needed as many talented programmers as he could get in order to rebuild his company — especially programmers like Raynal, who weren’t terribly assertive and were naive enough to work cheap. So, Raynal was hired as a programmer of ports, an unglamorous job but an absolutely essential one in a European market that had not yet consolidated around a single computer platform.

Bonnell, for his part, was the polar opposite of the shy computer obsessive he had just hired; he had a huge personality which put its stamp on every aspect of life at Infogrames. He believed his creativity to be the equal of anyone who worked for him, and wasn’t shy about tossing his staff ideas for games. He called one of them, which he first proposed when Raynal had been on the job for about a year, In the Dark. A typically high-concept French idea, its title was meant to be taken literally. The player would wander through a pitch-dark environment, striking the occasional match from her limited supply, but otherwise relying entirely on sound cues for navigation. Bonnell and Raynal were far from bosom buddies, then or ever, but this idea struck a chord with the young programmer.

As Raynal saw it, the question that would make or break the idea was that of how to represent a contiguous environment with enough verisimilitude to give the player an embodied sense of really being there in the dark. Clearly, a conventional adventure-game presentation, with its pixel graphics and static views, wouldn’t do. Only one approach could get the job done: 3D polygonal graphics. Not coincidentally, 3D was much on Raynal’s mind when he took up Bonnell’s idea; he’d been spending his days of late porting an abstract 3D puzzle game known as Continuum from the Atari ST to MS-DOS.

I’ve had occasion to discuss the advantages and disadvantages of this burgeoning new approach to game-making in previous articles, so I won’t rehash that material here. Suffice to say that the interest so many European programmers had in 3D reflected not least a disparity in the computing resources available to them in comparison to their American counterparts. American companies in this period were employing larger and larger teams, who were filling handfuls of floppy disks — and soon CD-ROMs — with beautiful hand-drawn art and even digitized snippets of real-world video. European companies had nothing like the resources to compete with the Americans on those terms. But procedurally-generated 3D graphics offered a viable alternative. At this stage in the evolution of computer technology, they couldn’t possibly be as impressively photorealistic as hand-drawn pixel art or full-motion video, but they could offer far more flexible, interactive, immersive environments, with — especially when paired with a French eye for aesthetics — a certain more abstracted allure of their own.

This, then, was the road Raynal now started down. It was a tall order for a single programmer. Not only was he trying to create a functional 3D engine from scratch, but the realities of the European market demanded that he make it run on an 80286-class machine, hardware the Americans by now saw as outdated. Even Bonnell seemed to have no confidence in Raynal’s ability to bring his brainstorm to fruition. He allowed Raynal to work on it only on nights and weekends, demanding that he spend his days porting SimCity to the Commodore CDTV.

An artist named Didier Chanfray was the closest thing to a partner and confidante which Raynal had at Infogrames during his first year of working on the engine. It was Chanfray who provided the rudimentary graphics used to test it. And it was also Chanfray who, in September of 1991, saw the full engine in action for the first time. A character roamed freely around a room under the control of Raynal, able to turn about and bend his body and limbs at least semi-realistically. The scene could be viewed from several angles, and it could be lit — or not — by whatever light sources Raynal elected to place in the room. Even shadows appeared; that of the character rippled eerily over the furniture in the room as he moved from place to place. Chanfray had never seen anything like it. He fairly danced around Raynal’s desk, pronouncing it a miracle, magic, alchemy.

In the meantime, Bruno Bonnell had negotiated and signed a new licensing deal — not exactly a blockbuster, but something commensurate with a rebuilding Infogrames’s circumstances.

Something tentacled and other-worldly, it seems, got into the water at Infogrames from the start: Didier Chanfray provided this very Lovecraftian concept drawing for Raynal’s game long before the conscious decision was made to turn it a Lovecraft pastiche. Raynal kept the sketch tacked on the wall beside his desk throughout the project as a reminder of the atmosphere he was going for.

The American horror writer H.P. Lovecraft, who died well before the advent of the computer age in 1937, was nowhere near as well-known in 1991 as he is today, but his so-called “Cthulhu Mythos” of extra-dimensional alien beings, terrifying by virtue of their sheer indifference to humanity and its petty morality, had already made appearances in games. The very first work of ludic Lovecraftia would appear to be the 1979 computer game Kadath, an odd sort of parser-less text adventure. Two years later, at the height of the American tabletop-RPG craze, a small company called Chaosium published Call of Cthulhu, a game which subverted the power fantasy of tabletop Dungeons & Dragons in much the same way that Raynal’s project would soon be subverting that of so many computer games. Still, although Call of Cthulhu was well-supported by Chaosium and remained reasonably popular by the standards of its niche industry throughout the 1980s and beyond, its success didn’t lead to any Lovecraftian onslaught in the realm of digital games. The most notable early example of the breed is Infocom’s very effective 1987 interactive fiction The Lurking Horror. But, being all text at a time when text adventures were becoming hard sells, it didn’t make much commercial impact.

Now, though, Bonnell believed the time had come for a more up-to-date Lovecraftian computer game; he believed such a thing could do well, both in France and elsewhere.

Lovecraft had long had a strong following in France. From the moment his books were first translated into the language in 1954, they had sold in considerable numbers. Indeed, in 1991 H.P. Lovecraft was about as popular in France as he was anywhere — arguably more popular on a per-capita basis than in his native land. The game of Call of Cthulhu too had long since been translated into French, giving a potential digital implementation of it as much natural appeal there as in its homeland. So, Bonnell approached Chaosium about licensing their Call of Cthulhu rules for computers, and the American company agreed.

When viewed retrospectively, it seems a confusing deal to have made, one that really wasn’t necessary for what Infogrames would ultimately choose to do with Lovecraft. When Lovecraft died in obscurity and poverty, he left his literary estate in such a shambles that no one has ever definitively sorted out its confusing tangle of copyright claimants; his writing has been for all intents and purposes in the public domain ever since his death, despite numerous parties making claims to the contrary. Prior to publishing their Lovecraft tabletop RPG, Chaosium had nevertheless negotiated a deal with Arkham House, the publisher that has long been the most strident of Lovecraft’s copyright claimants. With that deal secured, Chaosium had promptly trademarked certain catchphrases, including “Call of Cthulhu” itself, in the context of games. Yet as it turned out Infogrames would use none of them; nor would they draw any plots directly from any of Lovecraft’s published stories. Like the countless makers of Lovecraftian games and stories that would follow them, they would instead draw from the author’s spirit and style of horror, whilst including just a few of his more indelible props, such as the forbidden book of occult lore known as the Necronomicon.

The first Lovecraftian game Infogrames would make would, of course, be the very game that Frédérick Raynal had now spent the last year or so prototyping during his free time. By the time news of his work reached Bonnell, most of Infogrames’s staff were already talking about it like the second coming. While the idea that had inspired it had been wonderfully innovative, it seemed absurd even to the original source of said idea to devote the best 3D engine anyone had ever seen to a game that literally wouldn’t let you see what it could do most of the time. It made perfect sense, on the other hand, to apply its creepy visual aesthetic to the Lovecraft license. The sense of dread and near-powerlessness that was so consciously designed into the tabletop RPG seemed a natural space for the computer game as well to occupy. It was true that it would have to be Call of Cthulhu in concept only: the kinetic, embodied, real-time engine Raynal had created wasn’t suitable for the turn-based rules of the tabletop RPG. For that matter, Raynal didn’t even like the Chaosium game all that much; he considered it too complicated to be fun.

Still, Bonnell, who couldn’t fail to recognize the potential of Raynal’s project, put whatever resources he could spare from his still-rebuilding company at the mild-mannered programmer’s disposal: four more artists to join Chanfray, a sound designer, a second programmer and project manager. When the team’s first attempts at writing an authentic-feeling Lovecraftian scenario proved hopelessly inadequate, Bonnell hired for the task Hubert Chardot, a screenwriter from 20th Century Fox’s French division, a fellow who loved Lovecraft so much that he had turned his first trip to the United States into a tour of his dead hero’s New England haunts. One of Chardot’s first suggestions was to add the word “alone” to the title of the game. He pointed out, correctly, that it would convey the sense of existential loneliness that was such an integral part of Lovecraftian horror — even, one might say, the very thing that sets it apart from more conventional takes on horror.

You can choose to enter the mansion as either of two characters.

The game takes place in the 1920s, the era of Lovecraft himself and of most of his stories (and thus the default era as well for Chaosium’s Call of Cthulhu game). It begins as you arrive in the deserted Louisiana mansion known as Derceto, whose owner Jeremy Hartwood has recently hanged himself. You play either as Edward Carnby, a relic hunter on the trail of a valuable piano owned by the deceased, or as Emily Hartwood, the deceased’s niece, eager to clear up the strange rumors that have dogged her uncle’s reputation and to figure out what really went down on his final night of life. The direction in which the investigation leads you will surprise no one familiar with Lovecraft’s oeuvre or Chaosium’s RPG: occult practices, forbidden books, “things man was never meant to know,” etc. But, even as Chardot’s script treads over this ground that was well-worn already in the early 1990s, it does so with considerable flair, slowly revealing its horrifying backstory via the books and journals you find hidden about the mansion as you explore. (There is no in-game dialog and no real foreground story whatsoever, only monsters and traps to defeat or avoid.) Like most ludic adaptations of Lovecraft, the game differs markedly from its source material only in that there is a victory state; the protagonist isn’t absolutely guaranteed to die or become a gibbering lunatic at the end.

One of the in-game journals, which nails the spirit and style of Lovecraft perfectly. As I noted in an earlier article about the writer, the emotion he does better than any other is disgust.

Yet Chaosium wasn’t at all pleased when Infogrames sent them an early build of the game for their stamp of approval. It seems that the American company had believed they were licensing not just their trademarks to their French colleagues, nor even the idea of a Lovecraft game in the abstract, but rather the actual Call of Cthulhu rules, which they had expected to see faithfully implemented. And, indeed, this may have been Bonnell’s intention when he was making the deal — until Raynal’s 3D engine had changed everything. Chaosium, who had evidently been looking forward to an equivalent of sorts to the Gold Box line of licensed Dungeons & Dragons CRPGs, felt betrayed. After some tense negotiation, they agreed to let Alone in the Dark continue without the Call of Cthulhu name on the box; some editions would include a note saying the game had been “inspired by the works of H.P. Lovecraft,” while others wouldn’t even go that far. In return for Chaosium’s largess on this front, Infogrames agreed to make a more conventional adventure game that would make explicit use of the Call of Cthulhu trademarks.

Call of Cthulhu: Shadow of the Comet, the fruit of that negotiation, would prove a serviceable game, albeit one that still didn’t make much direct use of the tabletop rules. But, whatever its merits, it would come and go without leaving much of a mark on an industry filled to bursting with graphical adventures much like it in terms of implementation. Alone in the Dark, on the other hand, would soon be taking the world by storm — and Chaosium could have had their name on it, a form of advertisement which could hardly have failed to increase their commercial profile dramatically. Chalk it up as just one more poor decision in the life of a company that had a strange talent for surviving — Chaosium is still around to this day — without ever quite managing to become really successful.

Infogrames got their first preview of just what an impact Alone in the Dark was poised to make in the spring of 1992, when Dany Boolauck, a journalist from the French videogame magazine Tilt, arrived to write a rather typical industry puff piece, a set of capsule previews of some of the company’s current works-in-progress. He never got any further than Alone in the Dark. After just a few minutes with it, he declared it “the best game of the last five years!” and asked for permission to turn the capsule blurb about it into a feature-length article, complete with a fawning interview with Raynal. (He described him in thoroughly overwrought terms: as a reincarnation of The Little Prince from Antoine de Saint-Exupéry’s beloved novella of the same name.) In a “review” published in the summer of 1992, still a couple of months before Infogrames anticipated releasing the game, he gave it 19 of 20 stars, gushing over its “exceptional staging” and “almost perfect character movement,” calling it “a revolution in the field of play” that “people must buy!”

Bruno Bonnell was pleased with the positive press coverage, but less thrilled by Boolauck’s portrayal of Raynal as the game’s genius auteur. He called in his introverted young programmer, who seemed a bit befuddled by all the attention, and told him to scrub the words “a Frédérick Raynal creation” from the end credits. Alone in the Dark, he said, was an Infogrames creation, full stop. Raynal agreed, but a grievance began to fester in his heart.

Thanks to Bonnell’s policy of not advertising the individuals behind Infogrames’s games, Raynal’s name didn’t spread quite so far and wide as that of such other celebrated gaming auteurs as Éric Chahi, the mastermind of Another World, France’s standout game from the previous year. Nevertheless, upon its European release in September of 1992, Raynal’s game stood out on its own terms as something special — as an artistic creation that was not just fun or scary but important to its medium. As one would expect, the buzz started in France. “We review many games,” wrote one magazine there. “Some are terrible, some mediocre, some excellent. And occasionally there comes along the game that will revolutionize the world of microcomputers, one that causes sleepless nights, one that you cannot tear yourself away from, can only marvel at. We bid welcome now to the latest member of this exclusive club: Alone in the Dark.” By the end of 1992, the game was a hit not only in France but across most of Europe. Now for America.

Bonnell closed a deal with the American publisher Interplay for distribution of the game there. Interplay had also published Another World, which had turned into a big success Stateside, and the company’s head Brian Fargo was sure he saw similar potential in Alone in the Dark. He thus put the game through his company’s internal testing wringer, just as he had Another World; the French studios had their strengths, but such detail work didn’t tend to be among them. Raynal’s game became a much cleaner, much more polished experience thanks to Interplay’s QA team. Yet Bonnell still had big international ambitions for Infogrames, and he wasn’t willing to let such a remarkable game as this one share with Another World the fate of becoming known to American players simply as an Interplay title. Instead he convinced Fargo to accept a unique arrangement. Interplay and Infogrames each took a stake in a new shared American subsidiary known as I-Motion, under which imprint they published Alone in the Dark.

The game took North America by storm in early 1993, just as it had Europe a few months earlier. It was that rarest of things in games, a genuine paradigm shift; no one had ever seen one that played quite like this. Worldwide, it sold at least 400,000 copies, putting Infogrames on the map in the United States and other non-European countries in the process. Indeed, amidst the international avalanche of praise and punditry, perhaps the most gratifying press notice of all reached Frédérick Raynal’s ears from all the way off in Japan. Shigeru Miyamoto, the designer of Super Mario Bros. and many other iconic Nintendo classics, proclaimed Alone in the Dark to be, more so than any other game, the one he wished he could have come up with.

Arguably the creepiest visual in the game is the weird mannequin’s head of your own character. Its crudely painted expression rather smacks of Chucky the doll from the Child’s Play horror films.

Seen from the perspective of a modern player, however, the verdict on Alone in the Dark must be more mixed. Some historically important games transcend that status to remain vital experiences even today, still every bit as fun and playable as the day they were made. But others — and please forgive me the hoary old reviewer’s cliché! — haven’t aged as well. This game, alas, belongs to the latter category.

Today, in an era when 3D graphics have long since ceased to impress us simply for existing at all, those of Alone in the Dark are pretty painful to look at, all jagged pixels sticking out everywhere from grotesquely octagonal creatures. Textures simply don’t exist, leaving everything to be rendered out of broad swatches of single colors. And the engine isn’t even holistically 3D: the 3D characters move across pasted-on pre-rendered backgrounds, which looks decidedly awkward in many situations. (On the other hand, it could have been worse: Raynal first tried to build the backgrounds out of digitized photographs of a real spooky mansion, a truly unholy union that he finally had to give up on.) Needless to say, a comparison with the lovingly hand-drawn pixel art in the adventure games being put out by companies like LucasArts and Sierra during this period does the crude graphics found here no favors whatsoever. Some of the visuals verge on the unintentionally comical; one of the first monsters you meet was evidently meant to be a fierce dragon-like creature, but actually looks more like a sort of carnivorous chicken. (Shades of the dragon ducks from the original Atari Adventure…)

Dead again! Killed by… Prince during his Purple Rain period?

Then, too, the keyboard-only controls are clunky and unintuitive, and they aren’t made any less awkward by a fixed camera that’s constantly shifting about to new arbitrary locations as you move through the environment; some individual rooms have as many as nine separate camera angles. This is confusing as all get-out when you’re just trying to get a sense of the space, and quickly becomes infuriating when you’re being chased by a monster and really, really don’t have time to stop and adjust your thinking to a new perspective.

The more abstract design choices also leave something to be desired. Sudden deaths abound. The very first room of the game kills you when you step on a certain floorboard, and every book is either a source of backstory and clues or an instant game-ender; the only way to know which it is is to save your game and open it. Some of the puzzles are clever, some less so, but even those that are otherwise worthy too often depend on you standing in just the right position; if you aren’t, you get no feedback whatsoever on what you’re doing wrong, and are thus likely to go off on some other track entirely, never realizing how close you were to the solution. This fiddliness and lack of attention to the else in the “if, then, else” dynamic of puzzle design is a clear sign of a game that never got sufficiently tested for playability and solubility. At times, the game’s uncommunicativeness verges on the passive-aggressive. You’ll quickly grow to loathe the weirdly stilted message, “There is a mechanism which can be triggered here,” which the game is constantly spitting out at you as you gaze upon the latest pixelated whatsit. Is it a button? A knob? A keyhole? Who knows… in the end, the only viable course of action is to try every object in your inventory on it, then go back and start trying all the other objects you had to leave lying around the house thanks to your character’s rather brutal inventory limit.

Fighting is a strange, bloodless pantomime.

Yes, one might be able to write some of the game’s issues off as an aesthetic choice — as merely more ways to make the environment feel unsettling. Franck de Girolami, the second programmer on the development team as well as its project leader, has acknowledged using the disorienting camera consciously for just that purpose: “We realized that the camera angles in which the player was the most helpless were the best to bring in a monster. Players would instantly run for a view in which they felt comfortable.” While one does have to admire the team’s absolute commitment to the core concept of the game, the line between aesthetic choice and poor implementation is, at best, blurred in cases like this one.

And yet the fact remains that it was almost entirely thanks to that same commitment to its core concept that Alone in the Dark became one of the most important games of its era. Not a patch on a contemporary like Ultima Underworld as a demonstration of the full power and flexibility of 3D graphics — to be fair, it ran on an 80286 processor with just 640 K of memory while its texture-mapped, fully 3D rival demanded at least an 80386 with 2 MB — it remained conceptually unlike anything that had come before in daring to cast you as an ordinary mortal, weak and scared and alone, for whom any aspirations toward glory quickly turn into nothing more than a desperate desire to just escape the mansion. For all that it threw the Call of Cthulhu rules completely overboard, it retained this most fundamental aspect of its inspiration, bringing Chaosium’s greatest innovation to a digital medium for the first time. It’s not always impossible to kill the monsters in Alone in the Dark — often it’s even necessary to do so — but, with weapons and ammunition scarce and your health bar all too short, doing so never fails to feel like the literal death struggle it ought to. When you do win a fight, you feel more relieved than triumphant. And you’re always left with that nagging doubt in the back of the mind as you count your depleted ammo and drag your battered self toward the next room: was it worth it?

The legacy of this brave and important game is as rich as that of any that was released in its year, running along at least three separate tracks. We’ll begin with the subsequent career of Frédérick Raynal, its original mastermind.

The seeds of that career were actually planted a couple of weeks before the release of Alone in the Dark, when Raynal and others from Infogrames brought a late build of it to the European Computer Trade Show in London. There he met the journalist Dany Boolauck once again, learning in the process that Boolauck had switched gigs: he had left his magazine and now worked for Delphine Software, one of Infogrames’s French competitors. Delphine had recently lost the services of their biggest star: Éric Chahi, the auteur behind the international hit Another World. As his first assignment in his own new job, Boolauck had been given the task of replacing Chahi with a similarly towering talent. Raynal struck him as the perfect choice; he rather resembled Chahi in many respects, what with his very French aesthetic sensibility, his undeniable technical gifts, and his obsessive commitment to his work. Boolauck called in Paul de Senneville, the well-known composer who had launched Delphine Software as a spinoff from his record label of the same name, to add his dulcet voice to the mix. “We wish to place you in a setting where you will be able to create, where you will not be bullied, where we can make you a star,” said the distinguished older gentleman. “We want to give free rein to the fabulous talent you showed in Alone in the Dark.” When Raynal returned to Lyon to a reprimand from Bruno Bonnell for letting his game’s planned release date slip by a week, the contrast between his old boss and the possible new one who was courting him was painted all too clearly.

Much to Raynal’s dismay, Bonnell was already pushing him and the rest of the team that had made the first Alone in the Dark to make a sequel as quickly as possible using the exact same engine. One Friday just before the new year, Bonnell threw his charges a party to celebrate what he now believed would go down in history as the year when his struggling company turned the corner, thanks not least to Raynal’s game. On the following Monday morning, Raynal knocked on Bonnell’s office door along with three other members of the newly christened Alone in the Dark 2 team, including his most longstanding partner Didier Chanfray. They were all quitting, going to work for Delphine, Raynal said quietly. Much to their surprise, Bonnell offered to match Delphine’s offer, the first overt sign he’d ever given that he understood how talented and valuable they really were. But his counteroffer only prompted Delphine to raise the stakes again. Just after New Years Day, Bonnell bowed out of the bidding in a huff: “You want to leave? Goodbye!”

A couple of weeks later, the videogame magazine Génération 4 held an awards ceremony for the previous year’s top titles at Disneyland Paris. Everyone who had been involved with Alone in the Dark, both those who still worked at Infogrames and those who didn’t, was invited. When, as expected, it took the prize for top adventure game, Bruno Bonnell walked onto the stage to accept the award on behalf of his company. The departure of Raynal and crew being the talk of the industry, the room held its collective breath to see what would happen next. “My name is Bruno Bonnell,” he said from behind the rostrum. “I’d like to thank God, my dog, my grandmother, and of course the whole team at Infogrames for a beautiful project.” And with that he stumped offstage again.

It hadn’t been a particularly gracious acceptance speech, but Raynal and his colleagues nonetheless had much to feel good about. Dany Boolauck and Paul de Senneville were true to their word: they set Raynal up with a little auteur’s studio all his own, known as Adeline Software. They even allowed him to run it from Lyon rather than joining the rest of Delphine in Paris.

Naturally, all of the Alone in the Dark technology, along with the name itself and the Chaosium license (whatever that was worth), stayed with Infogrames. Raynal and his colleagues were thus forced to develop a new engine in the style of the old and to devise a fresh game idea for it to execute. Instead of going dark again, they went light. Released in 1994, Little Big Adventure (known as Relentless: Twinsen’s Adventure in North America) was a poetic action-adventure set in a whimsical world of cartoon Impressionism, consciously conceived by Raynal as an antidote to the ultra-violent Doom mania that was sweeping the culture of gaming at the time. He followed it up in 1997 with Little Big Adventure 2 (known as Twinsen’s Odyssey in North America). Although both games were and remain lovely to look at, Raynal still struggled to find the right balance between the art and the science of game design; both games are as absurdly punishing to play as they are charming to watch, with a paucity of save points between the countless places where they demand pin-point maneuvering and split-second timing. This sort of thing was, alas, something of a theme with the French games industry for far too many years.

This, then, is one legacy of Alone in the Dark. Another followed on even more directly, taking the form of the two sequels which Infogrames published in 1993 and 1994. Both used the same engine, as Bruno Bonnell had demanded in the name of efficiency, and both continued the story of the first game, with Edward Carnby still in the role of protagonist. (Poor Emily Hartwood got tossed by the wayside.) But, although Hubert Chardot once again provided their scripts, much of the spirit of the first game got lost, as the development team began letting the player get away with much more head-to-head combat. Neither sequel garnered as many positive reviews or sales as the original game, and Infogrames left the property alone for quite some time thereafter. A few post-millennial attempts to revive the old magic, still without the involvement of Raynal, have likewise yielded mixed results at best.

But it’s with Alone in the Dark’s third legacy, its most important by far, that we should close. For several years, few games — not even its own sequels — did much to build upon the nerve-wracking style of play it had pioneered. But then, in 1996, the Japanese company Capcom published a zombie nightmare known as Resident Evil for the Sony Playstation console. “When I first played Resident Evil,” remembers Infogrames programmer Franck de Girolami, “I honestly thought it was plagiarism. I could recognize entire rooms from Alone in the Dark.” Nevertheless, Resident Evil sold in huge numbers on the consoles, reaching a mass market the likes of which Alone in the Dark, being available only on computers and the 3DO multimedia appliance, could never have dreamed. In doing so, it well and truly cemented the new genre that became known as survival-horror, which had gradually filtered its way up from the obscure works of a poverty-stricken writer to a niche tabletop RPG to a very successful computer game to a mainstream ludic blockbuster. Culture does move in mysterious ways sometimes, doesn’t it?

(Sources: the books La Saga des Jeux Vidéo by Daniel Ichbiah, Designers & Dragons: A History of the Roleplaying Game Industry, Volume 1 by Shannon Appelcline, and Alone in the Dark: The Official Strategy Guide by Johan Robson; Todd David Spaulding’s PhD thesis “H.P. Lovecraft & The French Connection: Translations, Pulps, and Literary History”; Computer Gaming World of February 1993; Amiga Format of June 1991; Edge of November 1994; Retro Gamer 98. Online sources include Adventure Europe’s interview with Frédérick Raynal, Just Adventure’s interview with Hubert Chardot, and the video of Frédérick Raynal’s Alone in the Dark postmortem at the 2012 Game Developers Conference. Note that many of the direct quotations in this article were translated by me into English from their French originals.

The original Alone in the Dark trilogy is available as a package download at GOG.com.)

Comments
44 Responses

- Elzair

August 16, 2019 at 4:29 pm

Stadeside should be Stateside.

- Jimmy Maher

August 16, 2019 at 8:35 pm

Thanks!

- Alex Smith

August 16, 2019 at 4:39 pm

There is another important legacy of the game only hinted at in the article: it demonstrated how to do a 3D environment on hardware that was not powerful enough to do full 3D. The technique of creating a three-dimensional wireframe, placing a pre-rendered 2D background on top of it, and making judicious use of fixed camera angles was crucial to the success of many Sony PlayStation games. The Resident Evil team has obviously acknowledged the myriad influences they took from the game, but one they have singled out is that method of creating 3D spaces. Likewise, members of the Final Fantasy VII team have also singled out Alone in the Dark as an influence on their approach to graphics.

- Brian Bagnall

August 18, 2019 at 2:18 pm

I was hoping there would be a little more coverage of that aspect as well. It was a groundbreaking technique for getting around the fact that computers just weren’t powerful enough at the time.

- Ola Hansson

August 20, 2019 at 11:17 pm

Yes, this aspect was revolutionary and amazed me much more than Ultima Underworld, which I still found incredible but really just the next logical step (adding texture mapping to polygons).

And I can’t agree with AITD being “pretty painful to look at”. I think it holds up very well, the architecture of the house is interesting and realistic, the colors are nice, the furniture looks good in a dollhouse way, and the camera angles are dramatic. To me it looks FAR better than Ultima Underworld.

Another World, however, has undoubtedly “aged” better visually than either one, not surprising as it kept to a side-perspective and Éric Chahi was a graphic artist as much as a programmer and designer.

(I saw ALL three of those games – AITD, UU and AW – in motion for the first time on the same day in the fall of 1992. I could hardly believe my eyes and had my, by then, dwindling enthusiasm for computer games radically rekindled.)

- Aula

August 16, 2019 at 6:09 pm

“something commiserate with a rebuilding Infogrames’s circumstances.”

should be “commensurate”

- Jimmy Maher

August 16, 2019 at 8:36 pm

Thanks!

- Lt. Nitpicker

August 16, 2019 at 7:34 pm

Nevertheless, Resident Evil sold in huge numbers on the consoles, reaching a mass market the likes of which the computer-only Alone in the Dark

Alone in the Dark did receive a 3DO port, even if that platform’s sales paled in comparison to the Playstation or even the Sega Saturn.

- Jimmy Maher

August 16, 2019 at 8:39 pm

I didn’t realize that. Thanks!

- Brad Spencer

August 16, 2019 at 8:26 pm

“Bonnel, for his part, was the polar opposite”

His name is spelled “Bonnell” most of the time. A typo?

I have vivid memories of Alone in the Dark, and I am certain I finished Relentless. I never related they were from the same team.

No photos of any of the people involved?

- Jimmy Maher

August 16, 2019 at 8:43 pm

Thanks!

And sorry, no. I couldn’t find any good ones from the time period. Earliest I found were from the Adeline era.

- Eriorg

August 16, 2019 at 8:54 pm

You write “Dany Boolauk” (or just “Boolauk”) several times in your article, but isn’t it rather “Boolauck”, with a “c”? At least, it’s spelled “Boolauck” in the two old issues I have of the magazine Tilt.

- Jimmy Maher

August 17, 2019 at 7:14 am

Ouch. Thanks!

- Keith Palmer

August 16, 2019 at 10:14 pm

This is one more game I was only barely aware of at the time, but the comment in the introduction about how “most videogame stories are power fantasies” did make me remember finding a 1983 issue of 80 Micro with a news-section comment about a claim “video games are the entertainment of despair”… which was, to be fair, looking at arcade games where you weren’t supposed to last that long on one quarter, not games designed with a complete story. I suppose I could also mention having played Continuum on the drafting-class computer back in high school.

- Ross

August 16, 2019 at 11:48 pm

On the other hand, it could have been worse: Raynal first tried to build the backgrounds out of digitized photographs of a real spooky mansion, a truly unholy union that he finally had to give up on.

You call it unholy, but all I hear is WANT.

- Joaquim Nogueira

August 17, 2019 at 12:06 am

The game “Alone in the dark” never attracted me much. I played it but my character died so many times that I quickly gave up. But Popcorn was another story: it was extremely addictive! I played a lot of game sessions with my sister trying to see who could get first to level 50 (but that level was not the end of the game because, after that, the game would go back to level 1). The most difficult level was level 39 because it depended a lot on luck; the ball had to be sent in such an angle that would allow the ball to go through some long and twisted corridors, at the end of which there were some bricks. It was crazy!
It was only by reading this article that I learned that the author of Popcorn was the same as that of “Alone in the dark”. Probably, I never made the connection because I’ve never been a big fan of “Alone in the dark”.
I really liked this article.

- Phil

August 18, 2019 at 5:23 pm

It’s blown my mind a bit to learn that the person responsible for Popcorn is also essentially the originator of survival horror. This is why I love this blog!

- Chris Floyd

August 17, 2019 at 12:53 am

There’s an interesting thread running through the gameplay design of Raynal’s ludography, which is the way he makes the player choose a “state” for the character to be in, which changes the behavior of a standard set of controls. In AitD, you can (as I recall) walk, run, fight. In Twinsen, he added a sneaking state. If I remember right, his clunky game Time Commando had something similar, maybe for several different fighting stances?

I don’t think it’s entirely successful in any of his games, mostly because (in AitD–I don’t remember if it’s true of Twinsen) you went to a clunky menu to switch between them. But at the same time there was something a little magical about it. The best illustration I can give is in Twinsen: When you switched to fighting mode, all his animations changed. When you left him alone, his idle animation had him shadow boxing and practicing his footwork, occasionally growling angrily. It didn’t just give Twinsen some adorable character, but the tying of that to gameplay actions and in a way letting the player choose the character’s mood… I don’t know, but it seems like a powerful idea that never got capitalized on. But maybe a lot of games did it and made it much more invisible and I just never recognized it.

Anyway, the room with the ghostly pinkish figure in the chair will always be etched in my brain (that sound designer earned his pay!), so Alone in the Dark is a major touchstone game for me!

- Rowan Lipkovits

August 17, 2019 at 1:51 am

every book is either a source of backstory and clues or an instant game-ender

To be fair, isn’t there only a single insta-death book in the game, and that only when read in the wrong location?

But then, in 1996, the Japanese company Capcom published a zombie nightmare known as Resident Evil for the Sony Playstation console.

Capcom of course derived three entire popular franchises from the AITD model — not merely Resident Evil, but also Dino Crisis and Onimusha. The latter two don’t deserve to be dismissed entirely just because they failed to become the mega-hit that the former did.

- Scandy

August 17, 2019 at 9:14 am

Hi,
the U.S.A. company was “I-Motion” and not “I-Magic” ;)

P.S. Pardon me I posted this comment also on the wrong article (Another World).

- Jimmy Maher

August 17, 2019 at 11:47 am

Thanks! (Deleted the other comment.)

- Chris D

August 17, 2019 at 10:13 am

Did Raynal really post Popcorn online in 1988? I know that France was well ahead of the UK in terms of using computers online, but my memory of the era is that games made by amateurs were distributed through the public domain networks – disks you could buy through mail order or games put on magazine coverdisks. This could just be ignorance on my part, but I don’t remember even hearing about any way of downloading a game – although I’d be fascinated to hear if anyone actually had experience of this.

- Jimmy Maher

August 17, 2019 at 11:51 am

That’s how it was described in Daniel Ichbiah’s book. There certainly was a network of BBS’s for downloading games, both commercial and public domain. In general, North America was ahead of Europe in this respect, largely because even local phone calls were still charged by the minute in many European countries in the 1980s. But, as you note, France was exceptionally advanced in terms of telecommunications, arguably even more so than the United States. For example, CompuServe was to some extent modeled on the French Minitel service.

- Romain

August 21, 2019 at 7:20 am

I grew up in France in the 80s and there were ways you could hook up personal computers of the era to a Minitel device (it sported a DIN serial port at the back). Maybe that’s what it was?

A lot of public domain and shareware software could also be found with floppies accompanying magazines but 1988 feels a bit early for that.

I was part of a non profit club that distributed public domain software against a small fee (basically the price of the floppies), which was also one of the “distribution” channels for software.

- Sebastien

August 17, 2019 at 5:31 pm

Thanks for the memories. I remember my younger French self saving money to buy a sound card just for that game when it was released.

- matt w

August 17, 2019 at 6:01 pm

A minor footnote to early ludic Lovecraftiana–in 1980, a year before Call of Cthulhu came out, TSR included a Lovecraft pantheon in the original version of their Deities & Demigods D&D sourcebook. This led to a legal kerfuffle with Arkham House which resulted in TSR including a credit to Chaosium in the next edition and then dropping the Lovecraft pantheon entirely.

It’s a bit interesting to think about it in terms of D&D’s power fantasy. There’s the implicit possibility that you could defeat one of the Great Old Ones, I guess, but I vaguely remember the deities being so overpowered that you didn’t have any hope unless your characters were at a level where they’d probably already been deified. Which is part of the power fantasy, I guess.

Mostly I’m bringing it up because it was where I first heard of Lovecraft! And probably a bit more of the “First time Lovecraft showed up in games that anyone heard of,” compared to the obscure Kadath.

- Brian

August 17, 2019 at 6:14 pm

It always bummed me out that my brother had a copy of Deities and Demigods with the Lovecraftian mythos in it. Mine was a later edition that had been expurgated!

Another game I’m not too familiar with Jimmy! Thanks for continuing to keep us informed!

- Black Myron

August 19, 2019 at 12:49 am

Oddly enough, this was due to a corporate decision; this article mentioned the strange limbo that the rights to Lovecraft’s stories fell in; TSR went ahead and included the Cthulhu Mythos in their Deities and Demigods, and Chaosium – which had approached Arkham House for game licensing – protested. However, they came to an reasonable agreement; all TSR had to do was put a blurb thanking Chaosium for permission. The print run began, and then the head of TSR indicated he didn’t want “free advertising” for a competitor, and had the book altered in the middle of the print run to remove the Cthulhu Mythos (and one other fantasy setting, Michael Moorcock’s Elric series, that Chaosium also had the rights).

- Jimmy Maher

August 17, 2019 at 9:18 pm

There were indeed horror stories in Dragon magazine of Monty Haul dungeonmasters essentially treating Deities & Demigods as just another Monster Manual. Although TSR perhaps protested a bit too much: if they really *didn’t* want player characters going toe-to-toe with the gods, why did they include all those stats?

- Black Myron

August 19, 2019 at 12:44 am

In 2nd edition DND, the Planescape setting made it clear that any deity stats were for their “avatars” when they were met in the normal world; in their own realm, they either would never be met – or would instantly obliterate you, no matter how powerful a mortal you were.

- Zed Banville

August 22, 2019 at 1:56 am

From Tim Kask’s Foreward to Supplement IV: Gods, Demigods, and Heroes:

“This volume is something else, also: our last attempt to reach the “Monty Hall”
DM’s. Perhaps now some of the ‘giveaway’ campaigns will look as foolish as they
truly are. This is our last attempt to delineate the absurdity of 40+ level characters.
When Odin, the All-Father has only(?) 300 hit points, who can take a 44th level Lord
seriously?”

That foreward is dated July 4, 1976, by which time Gary Gygax has already written an article (“D&D Is Only as Good as the DM”) for the last issue of the Strategic Review in which he blasted DMs who ran campaigns where “Experience points are heaped upon the undeserving heads of players, levels accumulate like dead leaves in autumn, and if players with standings in the 20’s, 30’s and 40’s of levels do not become bored, they typically become filled with an entirely false sense of accomplishment, they are puffed up with hubris.”

- Pingback: Bookmarks for August 16th through August 17th : Extenuating Circumstances

- Wouter Lammers

August 18, 2019 at 7:30 am

Nice to read about LBA in an unexpected place, I never knew that it had a direct link to Alone in the Dark! I see parallels in its control scheme but thematically they are day and night! I played both LBA’s all the way to the end. They were quite unfair and punishing, but the fixed camera angle did make the control scheme more workable.

This is first article I read that does not have a “next” link, I’m caught up!

- Black Myron

August 19, 2019 at 12:57 am

“Alone in the Dark” was the first true IBM-clone PC that I owned; I had purchased my own computer for college after using my parents’ Apple IIc for years. It always occupies a special place in my heart.
One trick in the game always stuck with me; whenever a monster begins to attack you, it starts playing a specific, heart-pounding fast-paced score. However, the game would also sometimes randomly play the start of the music even when nothing was happening; there were a few times when I panicked and tried to find out what was attacking me.
The Call of Cthulhu RPG has experienced a renaissance of sorts after a long drought – in part because Sandy Petersen, the original creator of the game, came back to take over the publisher, Chaosium. (And during the time frame of the article, he would be about to or is already working on Id Software’s landmark Quake game)

- Simon Christiansen

August 19, 2019 at 9:49 am

https://lparchive.org/Alone-in-the-Dark-(by-Qotile-Swirl)/

https://www.youtube.com/watch?v=iGNq66mWYZc

I highly recommend watching this Let’s Play of the game, which is done in the style of a historical documentary, with tons of extra background information.

- Carl

August 22, 2019 at 6:54 pm

This was incredibly fun to watch, and included a lot of the technical details Jimmy didn’t have space to include. Thanks for posting the link!

- Brian Bagnall

August 27, 2019 at 1:14 am

Yeah, that was a great series. Exactly why I watch YouTube.

- Anders Hansson

August 20, 2019 at 10:13 pm

Another World amazed me and Alone in the Dark had my jaw hit the floor. Although I did not own a PC, I bought a horrendously expensive Swedish import of the English ’92 edition in spring ’93 and started to play it in December that year together with a friend who had got hold of a 486 PC.

I loved every aspect of it. I especially liked that monsters followed you from room to room and that you could block their ways. We solved all of it by ourselves except for one puzzle: the one with the tree at the very end of the game.

I learned about Lovecraft from the fictive mini newspaper that was included with the box. It had a full page biography on the author.

The last page of the manual lists everyone involved with the game. Raynal is on top while Bonnell is nowhere to be seen.

I also found a handwritten, never posted letter by myself inside the box. It was probably meant to be posted to a gaming magazine. It begins like this: “I really enjoyed Alone in the Dark so my expectations for Resident Evil were high. I however was to become very disappointed. In my opinion Resident Evil is a perfect example of what is wrong with the majority of game, console games in particular.”

- S. John Ross

August 21, 2019 at 8:10 am

Well, this convinces me to finally play it =)

When I was an editor at Interactive Entertainment, one of the games they had me do a mock-review on (which they might have published as an actual review if they didn’t have one on file) was the second Alone in the Dark game, and I enjoyed it a fair bit and always MEANT to get around to playing the first one …

- Eli

August 23, 2019 at 3:37 pm

Any discussion of AITD should include the Atari 2600 game Haunted House, which was an obvious progenitor of the “In The Dark” concept.

- Chris Tikkos

August 25, 2019 at 3:34 am

Many thanks for this article and all these background info on a game series i love so much back then.

Just wanted to share some interesting info on a recent fan demake of AITD in the fantasy console pico-8 which also caught Raynal’s eye who actually contributed his feedback to the developer:

https://www.lexaloffle.com/bbs/?tid=3804

- Wolfeye M.

October 27, 2019 at 3:12 am

I had the 2008 game Alone in the Dark for my PS2. It was a broken and buggy mess. But, it did have an interesting inventory mechanic, every item was stored in the main character’s jacket, which the player had to open to look at it. I never got very far in the game, because of the bugs. I’d say it tarnished the Alone in the Dark name. That’s what comes of endless sequels, remakes, and reboots.

As for the original, those character models are the stuff of nightmares, and perhaps not in the way that the developers might have intended. But, the backgrounds look decent, at least in the screenshots. I’ve played a lot of NES, SNES, and Sega Genesis games, as well as a few PC games that came out at around the same time as console games, with 8-bit and 16-bit pixels graphics, which still hold up and look nice. But, a lot of the early 3D graphics games…well… A drawing still looks as good as ever, but attempts at realistic 3D graphics don’t age well, in my experience.

I’ve played a lot of the Resident Evil games, starting with the first one. Now I know where the ridiculous camera angles in RE1 came from. They copied Alone in the Dark a bit too much for my taste. Made getting around in the game frustrating.

- Jed Deszyck

March 15, 2020 at 9:20 pm

It is pretty late to offer a correction, but you seem to take an interest in this sort of thing.

To stop the flow of blood is to stanch it. You used “staunch,” with a u, which means loyal, committed, brave etc.

- Jimmy Maher

March 16, 2020 at 6:31 am

Thanks, but “staunch” is actually an acceptable spelling, even for the meaning that is implied here: https://www.merriam-webster.com/words-at-play/stanch-vs-staunch-usage. I prefer “staunch” because I like the way the word sounds better with a long-A than with a short one. ;)

Origin Sells Out
September 6, 2019

One day in early June of 1992, a group of executives from Electronic Arts visited Origin Systems’s headquarters in Austin, Texas. If they had come from any other company, the rank and file at Origin might not have paid them much attention. As it was, though, the visit felt a bit like Saddam Hussein dropping in at George Bush’s White House for a fireside chat. For Origin and EA, you see, had a history.

Back in August of 1985, just prior to the release of Ultima IV, the much smaller Origin had signed a contract to piggyback on EA’s distribution network as an affiliated label. Eighteen months later, when EA released an otherwise unmemorable CRPG called Deathlord whose interface hewed a little too closely to that of an Ultima, a livid Richard Garriott attempted to pull Origin out of the agreement early. EA at first seemed prepared to crush Origin utterly in retribution by pulling at the legal seams in the two companies’ contract. Origin, however, found themselves a protector: Brøderbund Software, whose size and clout at the time were comparable to that of EA. At last, EA agreed to allow Origin to go their own way, albeit probably only after the smaller company paid them a modest settlement for breaking the contract. Origin quickly signed a new distribution contract with Brøderbund, which lasted until 1989, by which point they had become big enough in their own right to take over their own distribution.

But Richard Garriott wasn’t one to forgive even a small personal slight easily, much less a full-blown threat to destroy his company. From 1987 on, EA was Public Enemy #1 at Origin, a status which Garriott marked in ways that only seemed to grow pettier as time went on. Garriott built a mausoleum for “Pirt Snikwah” — the name of Trip Hawkins, EA’s founder and chief executive, spelled backward — at his Austin mansion of Britannia Manor. Ultima V’s parser treated the phrase “Electronic Arts” like a curse word; Ultima VI included a gang of evil pirates named after some of the more prominent members of EA’s executive staff. Time really did seem to make Garriott more rather than less bitter. Among his relatively few detail-oriented contributions to Ultima VII were a set of infernal inter-dimensional generators whose shapes together formed the EA logo. He also demanded that the two villains who went on a murder spree across Britannia in that game be named Elizabeth and Abraham. Just to drive the point home, the pair worked for a “Destroyer of Worlds” — an inversion of Origin’s longstanding tagline of “We Create Worlds.”

And yet here the destroyers were, just two months after the release of Ultima VII, chatting amiably with their hosts while they gazed upon their surroundings with what seemed to some of Origin’s employees an ominously proprietorial air. Urgent speculation ran up and down the corridors: what the hell was going on? In response to the concerned inquiries of their employees, Origin’s management rushed to say that the two companies were merely discussing “some joint ventures in Sega Genesis development,” even though “they haven’t done a lot of cooperative projects in the past.” That was certainly putting a brave face on half a decade of character assassination!

What was really going on was, as the more astute employees at Origin could all too plainly sense, something far bigger than any mere “joint venture.” The fact was, Origin was in a serious financial bind — not a unique one in their evolving industry, but one which their unique circumstances had made more severe for them than for most others. Everyone in the industry, Origin included, was looking ahead to a very near future when the enormous storage capacity of CD-ROM, combined with improving graphics and sound and exploding numbers of computers in homes, would allow computer games to join television, movies, and music as a staple of mainstream entertainment rather than a niche hobby. Products suitable for this new world order needed to go into development now in order to be on store shelves to greet it when it arrived. These next-generation products with their vastly higher audiovisual standards couldn’t be funded entirely out of the proceeds from current games. They required alternative forms of financing.

For Origin, this issue, which really was well-nigh universal among their peers, was further complicated by the realities of being a relatively small company without a lot of product diversification. A few underwhelming attempts to bring older Ultima games to the Nintendo Entertainment System aside, they had no real presence on videogame consoles, a market which dwarfed that of computer games, and had just two viable product lines even on computers: Ultima and Wing Commander. This lack of diversification left them in a decidedly risky position, where the failure of a single major release in either of those franchises could conceivably bring down the whole company.

The previous year of 1991 had been a year of Wing Commander, when the second mainline title in that franchise, combined with ongoing strong sales of the first game and a series of expansion packs for both of them, had accounted for fully 90 percent of the black ink in Origin’s books. In this year of 1992, it was supposed to have been the other franchise’s turn to carry the company while Wing Commander retooled its technology for the future. But Ultima VII: The Black Gate, while it had been far from an outright commercial failure, had garnered a more muted response than Origin had hoped and planned for, plagued as its launch had been by bugs, high system requirements, and the sheer difficulty of configuring it to run properly under the inscrutable stewardship of MS-DOS.

Even more worrisome than all of the specific issues that dogged this latest Ultima was a more diffuse sort of ennui directed toward it by gamers — a sense that the traditional approach of Ultima in general, with its hundred-hour play time, its huge amounts of text, and its emphasis on scope and player freedom rather than multimedia set-pieces, was falling out of step with the times. Richard Garriott liked to joke that he had spent his whole career making the same game over and over — just making it better and bigger and more sophisticated each time out. It was beginning to seem to some at Origin that that progression might have reached its natural end point. Before EA ever entered the picture, a sense was dawning that Ultima VIII needed to go in another direction entirely — needed to be tighter, flashier, more focused, more in step with the new types of customers who were now beginning to buy computer games. Ultima Underworld, a real-time first-person spinoff of the core series developed by the Boston studio Blue Sky Productions rather than Origin themselves, had already gone a considerable distance in that direction, and upon its near-simultaneous release with Ultima VII had threatened to overshadow its more cerebral big brother completely, garnering more enthusiastic reviews and, eventually, higher sales. Needless to say, had Ultima Underworld not turned into such a success, Origin’s financial position would have been still more critical than it already was. It seemed pretty clear that this was the direction that all of Ultima needed to go.

But making a flashier next-generation Ultima VIII — not to mention the next-generation Wing Commander — would require more money than even Ultima VII and Ultima Underworld together were currently bringing in. And yet, frustratingly, Origin couldn’t seem to drum up much in the way of financing. Their home state of Texas was in the midst of an ugly series of savings-and-loan scandals that had made all of the local banks gun-shy; the country as a whole was going through a mild recession that wasn’t helping; would-be private investors could see all too clearly the risks associated with Origin’s non-diversified business model. As the vaguely disappointing reception for Ultima VII continued to make itself felt, the crisis began to feel increasingly existential. Origin had lots of technical and creative talent and two valuable properties — Wing Commander in particular was arguably still the hottest single name in computer gaming — but had too little capital and a nonexistent credit line. They were, in other words, classic candidates for acquisition.

It seems that the rapprochement between EA and Origin began at the Summer Consumer Electronics Show in Chicago at the very beginning of June of 1992, and, as evidenced by EA’s personal visit to Origin just a week or so later, proceeded rapidly from there. It would be interesting and perhaps a little amusing to learn how the rest of Origin’s management team coaxed Richard Garriott around to the idea of selling out to the company he had spent the last half-decade vilifying. But whatever tack they took, they obviously succeeded. At least a little bit of sugar was added to the bitter pill by the fact that Trip Hawkins, whom Garriott rightly or wrongly regarded as the worst of all the fiends at EA, had recently stepped down from his role in the company’s management to helm a new semi-subsidiary outfit known as 3DO. (“Had Trip still been there, there’s no way we would have gone with EA,” argues one former Origin staffer — but, then again, necessity can almost always make strange bedfellows.)

Likewise, we can only wonder what if anything EA’s negotiators saw fit to say to Origin generally and Garriott specifically about all of the personal attacks couched within the last few Ultima games. I rather suspect they said nothing; if there was one thing the supremely non-sentimental EA of this era had come to understand, it was that it seldom pays to make business personal.

Richard and Robert Garriott flank Stan McKee, Electronic Arts’s chief financial officer, as they toast the consummation of one of the more unexpected acquisitions in gaming history at EA’s headquarters in San Mateo, California.

So, the deal was finalized at EA’s headquarters in San Mateo, California, on September 25, 1992, in the form of a stock exchange worth $35 million. Both parties were polite enough to call it a merger rather than an acquisition, but it was painfully clear which one had the upper hand; EA, who were growing so fast they had just gone through a two-for-one stock split, now had annual revenues of $200 million, while Origin could boast of only $13 million. In a decision whose consequences remain with us to this day, Richard Garriott even agreed to sign over his personal copyrights to the Ultima franchise. In return, he became an EA vice president; his brother Robert, previously the chief executive in Austin, now had to settle for the title of the new EA subsidiary’s creative director.

From EA’s perspective, the deal got them Ultima, a franchise which was perhaps starting to feel a little over-exposed in the wake of a veritable flood of Origin product bearing the name, but one which nevertheless represented EA’s first viable CRPG franchise since the Bard’s Tale trilogy had concluded back in 1988. Much more importantly, though, it got them Wing Commander, in many ways the progenitor of the whole contemporary craze for multimedia “interactive movies”; it was a franchise which seemed immune to over-exposure. (Origin had amply proved this point by releasing two Wing Commander mainline games and four expansion packs in the last two years, plus a “Speech Accessory Pack” for Wing Commander II, all of which had sold very well indeed.)

As you do in these situations, both management teams promised the folks in Austin that nothing much would really change. “The key word is autonomy,” Origin’s executives said in their company’s internal newsletter. “Origin is supposed to operate independently from EA and maintain profitability.” But of course things did — had to — change. There was an inescapable power imbalance here, such that, while Origin’s management had to “consult” with EA when making decisions, their counterparts suffered no such obligation. And of course what might happen if Origin didn’t “maintain profitability” remained unspoken.

Thus most of the old guard at Origin would go on to remember September 25, 1992, as, if not quite the end of the old, freewheeling Origin Systems, at least the beginning of the end. Within six months, resentments against the mother ship’s overbearing ways were already building in such employees as an anonymous letter writer who asked his managers why they were “determined to eradicate the culture that makes Origin such a fun place to work.” Within a year, another was asking even more heatedly, “What happened to being a ‘wholly owned independent subsidiary of EA?’ When did EA start telling Origin what to do and when to do it? I thought Richard said we would remain independent and that EA wouldn’t touch us?!? Did I miss something here?” Eighteen months in, an executive assistant named Michelle Caddel, the very first new employee Origin had hired upon opening their Austin office in 1987, tried to make the best of the changes: “Although some of the warmth at Origin has disappeared with the merger, it still feels like a family.” For now, at any rate.

Perhaps tellingly, the person at Origin who seemed to thrive most under the new arrangement was one of the most widely disliked: Dallas Snell, the hard-driving production manager who was the father of a hundred exhausting crunch times, who tended to regard Origin’s games as commodities quantifiable in floppy disks and megabytes. Already by the time the Origin had been an EA subsidiary for a year, he had managed to install himself at a place in the org chart that was for all practical purposes above that of even Richard and Robert Garriott: he was the only person in Austin who was a “direct report” to Bing Gordon, EA’s powerful head of development.

On the other hand, becoming a part of the growing EA empire also brought its share of advantages. The new parent company’s deep pockets meant that Origin could prepare in earnest for that anticipated future when games would sell more copies but would also require more money, time, and manpower to create. Thus almost immediately after closing the deal with EA, Origin closed another one, for a much larger office space which they moved into in January of 1993. Then they set about filling up the place; over the course of the next year, Origin would double in size, going from 200 to 400 employees.

The calm before the storm: the enormous cafeteria at Origin’s new digs awaits the first onslaught of hungry employees. Hopefully someone will scrounge up some tables and chairs before the big moment arrives…

And so the work of game development went on. When EA bought Origin, the latter naturally already had a number of products, large and small, in the pipeline. The first-ever expansion pack for an existing Ultima game — an idea borrowed from Wing Commander — was about to hit stores; Ultima VII: Forge of Virtue would prove a weirdly unambitious addition to a hugely ambitious game, offering only a single dungeon to explore that was more frustrating than fun. Scheduled for release in 1993 were Wing Commander: Academy, a similarly underwhelming re-purposing of Origin’s internal development tools into a public-facing “mission builder,” and Wing Commander: Privateer, which took the core engine and moved it into a free-roaming framework rather than a tightly scripted, heavily story-driven one; it thus became a sort of updated version of the legendary Elite, and, indeed, would succeed surprisingly well on those terms. And then there was also Ultima Underworld II: Labyrinth of Worlds, developed like its predecessor by Blue Sky up in Boston; it would prove a less compelling experience on the whole than Ultima Underworld I, being merely a bigger game rather than a better one, but it would be reasonably well-received by customers eager for more of the same.

Those, then, were the relatively modest projects. Origin’s two most expensive and ambitious games for the coming year consisted of yet one more from the Ultima franchise and one that was connected tangentially to Wing Commander. We’ll look at them a bit more closely, taking them one at a time.

The game which would be released under the long-winded title of Ultima VII Part Two: Serpent Isle had had a complicated gestation. It was conceived as Origin’s latest solution to a problem that had long bedeviled them: that of how to leverage their latest expensive Ultima engine for more than one game without violating the letter of a promise Richard Garriott had made more than a decade before to never use the same engine for two successive mainline Ultima games. Back when Ultima VI was the latest and greatest, Origin had tried reusing its engine in a pair of spinoffs called the Worlds of Ultima, which rather awkwardly shoehorned the player’s character from the main series — the “Avatar” — into plots and settings that otherwise had nothing to do with Richard Garriott’s fantasy world of Britannia. Those two games had drawn from early 20th-century science and adventure fiction rather than Renaissance Faire fantasy, and had actually turned out quite magnificently; they’re among the best games ever to bear the Ultima name in this humble critic’s opinion. But, sadly, they had sold like the proverbial space heaters in the Sahara. It seemed that Arthur Conan Doyle and Edgar Rice Burroughs were a bridge too far for fans raised on J.R.R. Tolkien and Lord British.

So, Origin adjusted their approach when thinking of ways to reuse the even more expensive Ultima VII engine. They conceived two projects. One would be somewhat in the spirit of Worlds of Ultima, but would stick closer to Britannia-style fantasy: called Arthurian Legends, it would draw from, as you might assume, the legends of King Arthur, a fairly natural thematic fit for a series whose creator liked to call himself “Lord British.” The other game, the first to go into production, would be a direct sequel to Ultima VII, following the Avatar as he pursued the Guardian, that “Destroyer of Worlds” from the first game, from Britannia to a new world. This game, then, was Serpent Isle. Originally, it was to have had a pirate theme, all fantastical derring-do on an oceanic world, with a voodoo-like magic system in keeping with Earthly legends of Caribbean piracy.

This piratey Serpent Isle was first assigned to Origin writer Jeff George, but he struggled to find ways to adapt the idea to the reality of the Ultima VII engine’s affordances. Finally, after spinning his wheels for some months, he left the company entirely. Warren Spector, who had become Origin’s resident specialist in Just Getting Things Done, then took over the project and radically revised it, dropping the pirate angle and changing the setting to one that was much more Britannia-like, right down to a set of towns each dedicated to one of a set of abstract virtues. Having thus become a less excitingly original concept but a more practical one from a development perspective, Serpent Isle started to make good progress under Spector’s steady hand. Meanwhile another small team started working up a script for Arthurian Legends, which was planned as the Ultima VII engine’s last hurrah.

Yet the somewhat muted response to the first Ultima VII threw a spanner in the works. Origin’s management team was suddenly second-guessing the entire philosophy on which their company had been built: “Do we still create worlds?” Arthurian Legends was starved of resources amidst this crisis of confidence, and finally cancelled in January of 1993. Writer and designer Sheri Graner Ray, one of only two people left on the project at the end, invests its cancellation with major symbolic importance:

I truly believe that on some level we knew that this was the death knell for Origin. It was the last of the truly grass-roots games in production there… the last one that was conceived, championed, and put into development purely by the actual developers, with no support or input from the executives. It was actually, kinda, the end of an era for the game industry in general, as it was also during this time that we were all adjusting to the very recent EA buyout of Origin.

Brian Martin, one of the last two developers remaining on the Arthurian Legends project, made this odd little memorial to it with the help of his partner Sheri Graner Ray after being informed by management that the project was to be cancelled entirely. Ray herself tells the story: “Before we left that night, Brian laid down in the common area that was right outside our office and I went around his body with masking tape… like a chalk line… we added the outline of a crown and the outline of a sword. We then draped our door in black cloth and put up a sign that said, ‘The King is Dead. Long live the King.’ …. and a very odd thing happened. The next morning when we arrived, there were flowers by the outline. As the day wore on more flowers arrived.. and a candle.. and some coins were put on the eyes… and a poem arrived… it was uncanny. This went on for several days with the altar growing more and more. Finally, we were told we had to take it down, because there was a press junket coming through and they didn’t want the press seeing it.”

Serpent Isle, on the other hand, was too far along by the time the verdict was in on the first Ultima VII to make a cancellation realistic. It would instead go down in the recollection of most hardcore CRPG fans as the last “real” Ultima, the capstone to the process of evolution a young Richard Garriott had set in motion back in 1980 with a primitive BASIC game called Akalabeth. And yet the fact remains that it could have been so, so much better, had it only caught Origin at a less uncertain, more confident time.

Serpent Isle lacks the refreshingly original settings of the two Worlds of Ultima games, as it does the surprisingly fine writing of the first Ultima VII; Raymond Benson, the head writer on the latter project, worked on Serpent Isle only briefly before decamping to join MicroProse Software. In compensation, though, Serpent Isle is arguably a better game than its predecessor through the first 65 percent or so of its immense length. Ultima VII: The Black Gate can at times feel like the world’s most elaborate high-fantasy walking simulator; you really do spend most of your time just walking around and talking to people, an exercise that’s made rewarding only by the superb writing. Serpent Isle, by contrast, is full to bursting with actual things to do: puzzles to solve, dungeons to explore, quests to fulfill. It stretches its engine in all sorts of unexpected and wonderfully hands-on directions. Halfway in, it seems well on its way to being one of the best Ultima games of all, as fine a sendoff as any venerable series could hope for.

In the end, though, its strengths were all undone by Origin’s crisis of faith in the traditional Ultima concept. Determined to get its sales onto the books of what had been a rather lukewarm fiscal year and to wash their hands of the past it now represented, management demanded that it go out on March 25, 1993, the last day of said year. As a result, the last third or so of Serpent Isle is painfully, obviously unfinished. Conversations become threadbare, plot lines are left to dangle, side quests disappear, and bugs start to sprout up everywhere you look. As the fiction becomes a thinner and thinner veneer pasted over the mechanical nuts and bolts of the design, solubility falls by the wayside. By the end, you’re wandering through a maze of obscure plot triggers that have no logical connection with the events they cause, making a walkthrough a virtual necessity. It’s a downright sad thing to have to witness. Had its team only been allowed another three or four months to finish the job, Serpent Isle could have been not only a great final old-school Ultima but one of the best CRPGs of any type that I’ve ever played, a surefire entrant in my personal gaming hall of fame. As it is, though, it’s a bitter failure, arguably the most heartbreaking one of Warren Spector’s storied career.

Unfashionable though such an approach was in 1993, almost all of the Serpent Isle team’s energy went into gameplay and script rather than multimedia assets; the game looks virtually identical to the first Ultima VII. An exception is the frozen northlands which you visit later in the game. Unfortunately, the change in scenery comes about the time that the design slowly begins to fall apart.

And there was to be one final note of cutting irony in all of this: Serpent Isle, which Origin released without a lot of faith in its commercial potential, garnered a surprisingly warm reception among critics and fans alike, and wound up selling almost as well as the first Ultima VII. Indeed, it performed so well that the subject of doing “more games in that vein,” in addition to or even instead of a more streamlined Ultima VIII, was briefly discussed at Origin. As things transpired, though, its success led only to an expansion pack called The Silver Seed before the end of the year; this modest effort became the true swansong for the Ultima VII engine, as well as the whole era of the 100-hour-plus, exploration-focused, free-form single-player CRPG at Origin in general. The very philosophy that had spawned the company, that had been at the core of its identity for the first decade of its existence, was fading into history. Warren Spector would later have this to say in reference to a period during which practical commercial concerns strangled the last shreds of idealism at Origin:

There’s no doubt RPGs were out of favor by the mid-90s. No doubt at all. People didn’t seem to want fantasy stories or post-apocalypse stories anymore. They certainly didn’t want isometric, 100 hour fantasy or post-apocalypse stories, that’s for sure! I couldn’t say why it happened, but it did. Everyone was jumping on the CD craze – it was all cinematic games and high-end-graphics puzzle games… That was a tough time for me – I mean, picture yourself sitting in a meeting with a bunch of execs, trying to convince them to do all sorts of cool games and being told, “Warren, you’re not allowed to say the word ‘story’ any more.” Talk about a slap in the face, a bucket of cold water, a dose of reality.

If you ask me, the reason it all happened was that we assumed our audience wanted 100 hours of play and didn’t care much about graphics. Even high-end RPGs were pretty plain-jane next to things like Myst and even our own Wing Commander series. I think we fell behind our audience in terms of the sophistication they expected and we catered too much to the hardcore fans. That can work when you’re spending hundreds of thousands of dollars – even a few million – but when games start costing many millions, you just can’t make them for a relatively small audience of fans.

If Serpent Isle and its expansion were the last gasps of the Origin Systems that had been, the company’s other huge game of 1993 was every inch a product of the new Origin that had begun to take shape following the worldwide success of the first Wing Commander game. Chris Roberts, the father of Wing Commander, had been working on something called Strike Commander ever since late 1990, leaving Wing Commander II and all of the expansion packs and other spinoffs in the hands of other Origin staffers. The new game took the basic idea of the old — that of an action-oriented vehicular simulator with a strong story, told largely via between-mission dialog scenes — and moved it from the outer space of the far future to an Earth of a very near future, where the international order has broken down and mercenaries battle for control over the planet’s dwindling resources. You take to the skies in an F-16 as one of the mercenaries — one of the good ones, naturally.

Origin and Chris Roberts pulled out all the stops to make Strike Commander an audiovisual showcase; the game’s gestation time of two and a half years, absurdly long by the standards of the early 1990s, was a product of Roberts constantly updating his engine to take advantage of the latest cutting-edge hardware. The old Wing Commander engine was starting to look pretty long in the tooth by the end of 1992, so this new engine, which replaced its predecessor’s scaled sprites with true polygonal 3D graphics, was more than welcome. There’s no point in putting a modest face on it: Strike Commander looked downright spectacular in comparison with any other flight simulator on offer at the time. It was widely expected, both inside and outside of Origin, to become the company’s biggest game ever. In fact, it became the first Origin game to go gold in the United States — 100,000 copies sold to retail — before it had actually shipped there, thanks to the magic of pre-orders. Meanwhile European pre-orders topped 50,000, an all-time record for EA’s British subsidiary. All in all, more than 1.1 million Strike Commander floppy disks — 30 tons worth of plastic, metal, and iron oxide — were duplicated before a single unit was sold. Why not? This game was a sure thing.

The hype around Strike Commander was inescapable for months prior to its release. At the European Computer Trade Show in London, the last big event before the release, Origin put together a mock-up of an airplane hangar. Those lucky people who managed to seize control for few minutes got to play the game from behind a nose cowl and instrument panel. What Origin didn’t tell you was that the computer hidden away underneath all the window dressing was almost certainly much, much more powerful than one you had at home.

Alas, pride goeth before a fall. Just a couple of weeks after Strike Commander’s worldwide release on April 23, 1993, Origin had to admit to themselves in their internal newsletter that sales from retail to actual end users were “slower than expected.” Consumers clearly weren’t as enamored with the change in setting as Origin and just about everyone else in their industry had assumed they would be. Transporting the Wing Commander formula into a reasonably identifiable version of the real world somehow made the story, which hovered as usual in some liminal space between comic book and soap opera, seem rather more than less ludicrous. At the same time, the use of an F-16 in place of a made-up star fighter, combined with the game’s superficial resemblance to the hardcore flight simulators of the day, raised expectations among some players which the game had never really been designed to meet. The editors of Origin’s newsletter complained, a little petulantly, about this group of sim jockeys who were “ready for a cockpit that had every gauge, altimeter, dial, and soft-drink holder in its proper place. This is basically the group which wouldn’t be happy unless you needed the $35 million worth of training the Air Force provides just to get the thing off the ground.” There were advantages, Origin was belatedly learning, to “simulating” a vehicle that had no basis in reality, as there were to fictions similarly divorced from the real world. In hitting so much closer to home, Strike Commander lost a lot of what had made Wing Commander so appealing.

The new game’s other problem was more immediate and practical: almost no one could run the darn thing well enough to actually have the experience Chris Roberts had intended it to be. Ever since Origin had abandoned the Apple II to make MS-DOS their primary development platform at the end of the 1980s, they’d had a reputation for pushing the latest hardware to its limit. This game, though, was something else entirely even from them. The box’s claim that it would run on an 80386 was a polite fiction at best; in reality, you needed an 80486, and one of the fastest ones at that — running at least at 50 MHz or, better yet, 66 MHz — if you wished to see anything like the silky-smooth visuals that Origin had been showing off so proudly at recent trade shows. Even Origin had to admit in their newsletter that customers had been “stunned” by the hardware Strike Commander craved. Pushed along by the kid-in-a-candy-store enthusiasm of Chris Roberts, who never had a passing fancy he didn’t want to rush right out and implement, they had badly overshot the current state of computing hardware.

Of course, said state was always evolving; it was on this fact that Origin now had to pin whatever diminished hopes they still had for Strike Commander. The talk of the hardware industry at the time was Intel’s new fifth-generation microprocessor, which abandoned the “x86” nomenclature in favor of the snazzy new focused-tested name of Pentium, another sign of how personal computers were continuing their steady march from being tools of businesspeople and obsessions of nerdy hobbyists into mainstream consumer-electronics products. Origin struck a promotional deal with Compaq Computers in nearby Houston, who, following what had become something of a tradition for them, were about to release the first mass-market desktop computer to be built around this latest Intel marvel. Compaq placed the showpiece that was Strike Commander-on-a-Pentium front and center at the big PC Expo corporate trade show that summer of 1993, causing quite a stir at an event that usually scoffed at games. “The fuse has only been lit,” went Origin’s cautiously optimistic new company line on Strike Commander, “and it looks to be a long and steady burn.”

But time would prove this optimism as well to be somewhat misplaced: one of those flashy new Compaq Pentium machines cost $7000 in its most minimalist configuration that summer. By the time prices had come down enough to make a Pentium affordable for gamers without an absurd amount of disposable income, other games with even more impressive audiovisuals would be available for showing off their hardware. Near the end of the year, Origin released an expansion pack for Strike Commander that had long been in the development pipeline, but that would be that: there would be no Strike Commander II. Chris Roberts turned his attention instead to Wing Commander III, which would raise the bar on development budget and multimedia ambition to truly unprecedented heights, not only for Origin but for their industry at large. After all, Wing Commander: Academy and Privateer, both of which had had a fraction of the development budget of Strike Commander but wound up selling just as well, proved that there was still a loyal, bankable audience out there for the core series.

Origin had good reason to play it safe now in this respect and others. When the one-year anniversary of the acquisition arrived, the accountants had to reveal to EA that their new subsidiary had done no more than break even so far. By most standards, it hadn’t been a terrible year at all: Ultima Underworld II, Serpent Isle, Wing Commander: Academy, and Wing Commander: Privateer had all more or less made money, and even Strike Commander wasn’t yet so badly underwater that all hope was lost on that front. But on the other hand, none of these games had turned into a breakout hit in the fashion of the first two Wing Commander games, even as the new facilities, new employees, and new titles going into development had cost plenty. EA was already beginning to voice some skepticism about some of Origin’s recent decisions. The crew in Austin really, really needed a home run rather than more base hits if they hoped to maintain their status in the industry and get back into their overlord’s good graces. Clearly 1994, which would feature a new mainline entry in both of Origin’s core properties for the first time since Ultima VI had dropped and Wing Commander mania had begun back in 1990, would be a pivotal year. Origin’s future was riding now on Ultima VIII and Wing Commander III.

(Sources: the book Dungeons and Dreamers: The Rise of Computer Game Culture from Geek to Chic by Brad King and John Borland; Origin’s internal newsletter Point of Origin from March 13 1992, June 19 1992, July 31 1992, September 25 1992, October 23 1992, November 6 1992, December 4 1992, December 18 1992, January 29 1993, February 12 1993, February 26 1993, March 26 1993, April 9 1993, April 23 1993, May 7 1993, May 21 1993, June 18 1993, July 2 1993, August 27 1993, September 10 1993, October 13 1993, October 22 1993, November 8 1993, and December 1993; Questbusters of April 1986 and July 1987; Computer Gaming World of October 1992 and August 1993. Online sources include “The Conquest of Origin” at The Escapist, “The Stars His Destination: Chris Roberts from Origin to Star Citizen“ at US Gamer, Shery Graner Ray’s blog entry “20 Years and Counting — Origin Systems,” and an interview with Warren Spector at RPG Codex.

All of the Origin games mentioned in this article are available for digital purchase at GOG.com.)

Comments
39 Responses

- Elzair

September 6, 2019 at 2:16 pm

Thanks for this article. Ultima fans usually blamed the rushed ending of Serpent Isle on EA interference. It is nice to see a more nuanced portrayal.

- Brian Bagnall

September 10, 2019 at 2:08 pm

This article pretty much confirms it was EA interference, doesn’t it?

- TsuDhoNimh

September 6, 2019 at 2:35 pm

It would be nice to have screenshots of both Wing Commander and Strike Commander side-by-side so that we could easily get an idea of the difference between the two games.

- Jimmy Maher

September 6, 2019 at 7:06 pm

I’ll see what I can do if you’ll give me a couple of days. I had to jump in the car for a little two-day errand just after finishing this article, and won’t be back in my office until Sunday.

- Jimmy Maher

September 9, 2019 at 9:29 am

So, I’m not sure I can adequately illustrate the differences through static screenshots. These are things you really need to see in action to appreciate. But I have added a shot of Strike Commander (and one of Serpent Isle as well for good measure). We’ll revisit the topic when we get to Wing Commander III; it will get a more detailed review than Strike Commander, with more room for such things.

- TsuDhoNimh

September 13, 2019 at 5:59 pm

Thanks for the pictures. It does help illustrate the sophistication of Strike Commander’s game engine. I was never able to run the game after it came out; I only knew it by its reputation.

- Daniel Wolf

September 6, 2019 at 3:44 pm

“the alter growing more and more“ — Should that be “altar”?

- Jimmy Maher

September 6, 2019 at 7:07 pm

Yes. Thanks!

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- Steven Marsh

September 6, 2019 at 5:18 pm

To me, the big problem with Strike Commander was that there wasn’t any mental “hook” to hang your hat on. Like, the Wing Commander series was clearly leaning hard into Star Wars fantasies, while the Ultima series clearly scratched the same itch that had spawned a thousand sword-and-sorcery fantasy epics. Having that mental “hook” lets your imagination fill in the gaps that the game itself isn’t.

But Strike Commander really didn’t “feel” like anything else (at least, nothing that was universally popular or iconic), so it needed to survive or fall based on the strength of its own story. And I just didn’t find it very escapist to leave the problems of the real world to enter a dystopian near-future with endless haze, countless bad guys, and world problems where you really couldn’t make a difference.

- Infinitron

September 7, 2019 at 9:51 am

Without having played it, I figure the pop culture model for Strike Commander was the vast library of Cold War and Cold War-inspired military fiction, from Tom Clancy to Top Gun. It definitely worked for Call of Duty 14 years later.

- Captain Rufus

September 7, 2019 at 10:14 pm

Odd because a very famous classic manga is about being a jet mercenary. Area 88. Except its heavy into angst and melodrama as the pilots are locked into a contract in a third world hellhole and lots of “Company Store” things to try to keep them there. (Plus our hero was practically coerced into it as he was incredibly drunk at the time and a friend was really more a rival and trying to get him out of the picture…)

Its had 2 different anime series and a side scrolling SHMUP arcade game and SNES port. Pretty famous and the manga is from the late 70s and early 80s. It’s more or less what I want out of such a PLANE MERC combat sim. Except back then Strike Commander was an infamous system hog in an era where PC gaming was about upgrading every few seasons. (Yet now other than really GPU swapping every 2-4 years I have been rocking the same Sandy Bridge machine since early 2011. )

So it’s got a hook. But Strike Commander seems more Top Gun Bro oriented which isn’t quite as compelling as virtually enslaved pilots killing themselves to make enough money to get out of a regional civil war.

(I do like the Sim Lite flavor of the Commander series and the Microprose sims over the pure detail of the Microsoft Flight Sims or Falcons though. Enough detail to feel real but not enough to make it a job.)

- Matt

September 6, 2019 at 6:58 pm

Surprised to hear that Worlds of Ultima is your fav of all the Ultimas; I’ll have to revisit that one for sure!

- LeeH

September 6, 2019 at 7:30 pm

I was working at the friendly neighborhood Babbage’s software in the summer of 1994, when I was a young lad who had just turned 16, and I remember hungrily consuming the ad copy on the back of the pile of Strike Commander boxes we had on the shelf at the time. It was one of the first games I checked out overnight—Babbage’s used to allow employees to take software home in order to familiarize themselves with it—but my lowly 386-DX/25 choked to death on it.

I couldn’t play it, but God, I though that game was clearly the greatest thing ever released, ever.

Many years later, when I finally had a computer that could *play* it, I realized how mistaken I’d been in my initial assessment. Still, I recall it having one of the greatest manuals of all time—I’m a sucker for a good in-universe magazine-style manual, and Strike Commander absolutely delivered.

- Alex Freeman

September 6, 2019 at 9:33 pm

If you ask me, the reason it all happened was that we assumed our audience wanted 100 hours of play and didn’t care much about graphics. Even high-end RPGs were pretty plain-jane next to things like Myst and even our own Wing Commander series. I think we fell behind our audience in terms of the sophistication they expected and we catered too much to the hardcore fans. That can work when you’re spending hundreds of thousands of dollars – even a few million – but when games start costing many millions, you just can’t make them for a relatively small audience of fans.
That reminds me of this snippet from this interview ( https://nodontdie.com/al-lowe ) with Al Lowe:

Q: What do you think caused the downfall of adventure games in the ’90s?
Al: I think it was the rise of the suits.

Q: Not the first-person shooters?
Al: [Laughs.] I mean, that didn’t help, of course. But back in the ’80s or early ’90s, if you said you wanted to do a role-playing game, people woulda thought you were crazy. Nobody bought those. They were verboten. It was dead. It was gone. But then suddenly Warcraft came out and it was a huge hit and everybody went, “Oh, of course! We always knew that those games…” [Laughs.] And I kinda felt the same way about shooters, because when shooters rose up, it was like, “Oh, yeah. We went through a period of twitch games back in the ’80s.” No. That was a steady thing. But it became a real factor in the business, so.

So I guess my thinking is that the big problems came when game developers lost control of their companies. The Broderbund guys were programmers and gamers and developers. Ken was. Quite a few of the other — Activision was founded by a game player, and Accolade. A lot of other companies were founded by guys who knew games and as long as they were in charge, it seemed like things were better. But when gradually their companies hired professional management — professional managers love spreadsheets and they loved evidence, because they didn’t have gut feelings that said, “Yeah, that’s a great idea! Yeah, that’ll sell! People will love that! Look at that!” Instead, they would say, “Well, what are the numbers here? How do we compare this? What are your comparables?”

- 12 points remaining

September 7, 2019 at 8:30 pm

Gosh, imagine the nerve of wanting to make back investments of millions of dollars when that’s literally your job.

- Alex Freeman

September 9, 2019 at 5:37 pm

That’s the problem with modern-day game development. The games cost too much to take any chances. It’s killed off most of the creativity that was once in the business.

- Sniffnoy

September 15, 2019 at 2:15 am

The question then becomes, if that’s literally the suits’ job, why are they frequently so bad at it?

Thing is, someone’s always making these decisions — someone’s always leading the company, it’s always someone’s job to make sure the company makes money, makes things that will sell. And somehow when it’s one of the suits doing it, things seem to go much worse! This despite that notionally being their expertise.

Now why might that be? Well, part of it is that going by measures of superficial similarity — “this thing is in/out at the moment, this other thing is similar/different, so it’ll do well/poorly” — is no substitute for actually knowing your domain and knowing what’s relevant! This leads to some truly awful demands by the suits, like the demand that Rascal, a 3D platformer requiring precision control, should use tank controls, because those are “in” at the moment! Yeah, they sure made a whole lot of money off of that decision!

But I’m pretty sure that’s not all of it. Rather it’s also that so many of the suits are not interested in making money for the company, but rather making money for themselves at the expense of the company! How? By, essentially, manipulating assignment of credit. By doing things that sound good, that sound blameless, but aren’t actually good business decisions. But as long as nobody else can tell these are bad decisions — or at least as long as none of the other suits can tell, and how would a fellow suit judge? — they’ll keep their job and get paid!

Thus we get decisions like this, decisions that make you look good instead of actually making the company money. But ultimately, if you want to actually make money, you need someone in charge who can actually tell good product from bad, who knows the domain and can see how decisions will interact, rather than just making decisions based on superficial similarity. Because ultimately the way to do the job of making money, is to do the job of actually making good products.

(See also, see also…)

- Ross

September 15, 2019 at 2:12 pm

Well, I mean, okay. But also, the suits make lots of decisions, and it’s only the bad ones that become historically notorious.

To some extent, the fact that there are so many stories of catastrophic executive meddling has a lot to do with the suits being, in many cases, the last line of defense. So a massive failure at some other level will often be reined in by the suits, so that it becomes a small private embarassment rather than a big failure that becomes the stuff of legend.

For the most part, it’s only the suits who are able to fail big, on account of there being no one higher up to stop them

- Ross

September 7, 2019 at 1:50 am

Well that’s an ending that calls for a dramatic cliffhanger music sting.

- xxx

September 7, 2019 at 7:45 am

“focused-tested” should be “focus-tested”.

Great article!

- SavoniaX

September 7, 2019 at 2:52 pm

GameBytes magazine has an interesting interview with Warren Spector about Serpent Isle ( http://bootstrike.com/Ultima7si/Online/spec.php )

GB: Who does most of the plot details?
WS: I take a different approach from Richard. Rich has a strong conception of what he wants in his story. I have basic ideas, but I like to work on several projects. I was also doing Underworld II and Arthurian Legends at the time. I gave guidelines to my project leader. One was, “Get me off Britannia.” I didn’t want Rich to ever say “that wouldn’t happen in Britannia.” I had several plot elements addressed concerning the Great Earth Serpent and finding out what happened to Shamino’s Land of Danger and Despair.

I said, “Give me a philosophical underpinning which is equally valid but different.” He went off with the writers and came back with a proposal, and I bled all over that, they came back again, and I bled some more. I can show you it in a sec, there’s red ink everywhere. It’s great. Then that particular project leader left. It was funny- the first pass at a plot was something called Pirates of Britannia. It could have been cool, but it wasn’t quite a Britannia adventure. It had a Caribbean flavor involving witch doctors, and all kinds of neat stuff, but he left. And another guy, a refugee of the paper game business like me, Bill Armantrout, took his place.

GB: Richard mentioned in a CompuServe conference that SI was intended as the future setting of Ultima and that Britannia was going to be retired.
WS: That’s news to me. Actually, I’ve always seen SI as a kind of weigh station. It was a place that would be cool to explore with a great story, but I want to use it as a springboard to new worlds. Whether that’s Earth or Pagan doesn’t matter to me. Of course it will always be there if we want to come back to it, and I hope people will want to. Lemme get back to Worlds of Ultima for a second. Because Martian Dreams and Savage Empire didn’t do as well as we wanted, we’re still trying new approaches to using Ultima technology to tell new stories. That’s where the idea for Arthurian Legends was conceived. Instead of going to weird places that Warren wants to do games about, we’re going to try one more experiment which is to take recognizable traditional fantasy elements but having nothing to do with the Ultima mythos.

- Not Fenimorr

September 7, 2019 at 6:30 pm

I only just this moment realized that “Pentium” comes from penta- because its the fifth generation pf x86 chip.

- Lt. Nitpicker

September 7, 2019 at 11:29 pm

If any of you are wondering what Origin’s demise was, a Garriot-less husk with the name died in 2004 after it became apparent that Ultima X wasn’t going to remotely compete with (the then upcoming) World of Warcraft.

- Whomever

September 7, 2019 at 11:59 pm

I would argue much earlier, with the debacle that was Ultima VIII (Or super Mario Ultima as it was mocked). I gave up earlyish and I played through both worlds of Ultima, the Underworlds, etc. but I figure Jimmy will cover that.

- Lt. Nitpicker

September 8, 2019 at 3:17 am

Not disputing that’s when Origin started to seem pointed towards a decline, but the last gasps of Origin died there.

- whomever

September 12, 2019 at 2:27 pm

That’s fair. BTW when I purchased the complete dud that was the Simcity reboot, I noticed with bitter irony that they call their version of Steam “Origin”. I wonder if that’s a co-incidence or they called it that in some vague hope name recognition…

- Pedro Timóteo

September 12, 2019 at 4:34 pm

It’s not a coincidence, in the sense that it was, I believe, simply a case of “we own this brand, and aren’t doing anything with it.”

- Lhexa

September 11, 2019 at 3:40 pm

In an interview conducted sometime around the SotA fundraiser, Richard Garriott was asked why he sold to EA. His answer was something like, “Because they offered the most money.”

In my fantasy of events, Robert Garriott decided to sell his half of the company regardless of his brother’s desires, and Richard, rather than tear the company in two or conduct acrimonious battles with his brother, decided to support his brother and put a brave face on for everyone else. This fantasy has no information to support it.

If you ever get there, I hope you manage to capture the sense of tragedy felt by contemporaneous fans around the turn of the millenium, as Origin gasped its last and Looking Glass died. There was a sense that something irreplaceable had been lost, and some (myself included) became obsessed with the few public details of their ends, trying to make sense of what had happened.

- Foreld

September 12, 2019 at 2:23 pm

Hello. Thank you for your work and interesting articles. I myself do the history of the Ultima Series in Russian and your past articles have helped a lot in understanding situations and events. And a lot of things with SI were not completely clear to me because of another cultural layer-regarding the crisis, the situation with Apple and Commodore and so on. But already figured out the history of its creation and purchase Origin. Remained only the walkthrough the game itself and write about her :D.

- Foreld

September 12, 2019 at 2:54 pm

One more thing, you can say how you look for materials on which you write an article?

- Jimmy Maher

September 12, 2019 at 3:48 pm

Everywhere I can think of until I think I’ve got enough. ;)

Every article has a list of my sources at the bottom. GREP is a great deal for searching through large archives of texts, such as the magazine collection on archive.org, looking for specific mentions. But sometimes there’s no substitute for doing things the hard way. In writing this article, for example, I spent a whole day working through every Point of Origin newsletter from the period in question, gleaning whatever I could about the company’s state of mind.

- Foreld

September 12, 2019 at 4:38 pm

By the way, about Point of Origin, where can I find them? Google only finds a movie :). And what is the GREP?

- Jimmy Maher

September 12, 2019 at 4:39 pm

https://download.wcnews.com/files/documents/
https://www.gnu.org/software/grep/

- Foreld

September 12, 2019 at 4:55 pm

Thanks.

- Kai

September 13, 2019 at 5:51 pm

Personally, the free-roaming and more explorative nature of The Black Gate appealed more to me than the linearity and story-focus of Serpent Isle. I didn’t really notice the degrading quality towards the end, though it might account for my difficulty to actually complete it. Back then I had attributed that to my poor English skill and was certain I must have missed a vital clue somewhere. I finished it more by sheer luck and determination and have no desire to revisit it again, as I still remember the major story beats and I thought it put the player through too many trials and tribulations to be enjoyable more than once. Whereas the first part really made you feel in charge and on top of things, and is worth replaying even today. It’s not looking half as bad as implied in the article either. In 1992 I thought it looked marvellous!

It’s funny though to learn how Serpent Isle came to be. I’d always assumed the two parts had been conceived as a single game initially, but split into two chapters due to sheer size. Given that it is kinda tacked on, it’s been actually not that bad.

- BoardGameNut

September 16, 2019 at 5:35 pm

Being a huge Wing Commander fan while growing up, I thoroughly enjoyed this little history lesson and insight into Origin affairs. Thanks for this. Looking forward to reading many more articles.

- Peter Olausson

October 4, 2019 at 9:12 pm

Pentium was indeed a “snazzier” name than 586, but that wasn’t the main point of the new nomenclature. Pentium is a name you can trademark; you can’t trademark numbers.

- Lhexa

June 5, 2020 at 1:37 pm

Oh, and before you reach Spector’s next appearance, there is something to keep in mind. The first time Spector was given unlimited resources to work with, he and his team made Deus Ex. The second time he was given such resources, he and his team made Epic Mickey.

Opening the Gold Box, Part 6: A Troubled Marriage
September 20, 2019

This pie chart prepared by the investment firm Piper Jaffray Research provides a snapshot of the American computer-game industry as of 1993. Sierra leads the pack with a market share of 11.8 percent, trailed closely by Spectrum Holobyte, who have just increased their profile dramatically by acquiring MicroProse Software. Electronic Arts comes in at only third place here, even following their recent acquisition of Origin Systems, but this chart reflects only their computer-game sales; their total sales including computers and consoles are vastly higher than those of Sierra by this point. SSI manages to come in at a respectable fifth place, thanks not least to the two aforementioned acquisitions of comparably sized competitors, but their trend lines are all moving in the wrong direction; their last new release to cross the magical threshold of 100,000 copies sold was Eye of the Beholder from February of 1991, while their biggest game of 1993 will sell just over 70,000 copies.

Two individually unhappy spouses aren’t the recipe for a happy marriage. By 1992, the computer-game publisher SSI and the tabletop-game publisher TSR, whose announcement of a partnership had so shocked both of their industries back in 1987, were learning this reality the hard way. Dungeons & Dragons, both on the computer and on the tabletop, was in trouble, and the marketing synergy which the two companies had so successfully created just a few years before had now turned into a deadly embrace that threatened to pull them both under.

In many ways, SSI’s problems were typical of any small publisher in their changing industry. Players’ audiovisual expectations of the games they purchased were growing rapidly, and it just wasn’t clear where the money to meet them was to come from. SSI had ridden their Gold Box engine for Dungeons & Dragons CRPGs way too hard, churning out nine games using it — eleven if you count two reskinned science-fictional Buck Rogers games — in a span of less than four years. The engine had received some modest improvements over the course of that time, in the form of rudimentary mouse support and VGA- rather than EGA-standard graphics, but at bottom it still played like what it was: an artifact from an entirely different epoch of gaming, designed around the affordances of the 8-bit Commodore 64 rather than the latest 32-bit Intel wonders. It was so outdated as to seem almost laughable beside a boundary-pushing wunderkind like Origin Systems’s Ultima VII.

Just as distressingly, SSI hardly seemed to be trying anymore even when it came to their Gold Box designs. No later Gold Box game had possessed anything like the creative flair of Pool of Radiance and Curse of the Azure Bonds, the first two games of the line and by far the best.

And so, as the technology had aged and design standards had fallen, gamers had reacted appropriately: sales had dropped almost linearly from title to title. Pool of Radiance had sold 264,536 copies upon its release in August of 1988; Dark Queen of Krynn, the anticlimactic end of the Gold Box line, sold 40,640 copies after its release in May of 1992. SSI was still profitable that year, but only by a whisker: during the fiscal year which ended on September 30, 1992, profits amounted to just $168,000 on sales of a little under $13 million, the latter of which fell short of expectations by $1 million. What would the next year bring?

TSR was a larger and more diversified company, but they were facing the same essential problem: sales of their own Dungeons & Dragons line for the tabletop had been going in the wrong direction as well for the past couple of years, and it wasn’t immediately clear how to reverse that trend. A flood of new rules supplements and settings — by 1993, TSR would offer an extraordinary eight separate boxed “worlds” in which to play the game, ranging from traditional high fantasy to the Arabian Nights to the depths of outer space — certainly wasn’t doing the trick. In fact, by making Dungeons & Dragons ever more impenetrable to newcomers, the torrent of product was arguably hurting TSR more than it was helping them.

Thanks to these trends, Dungeons & Dragons was in danger of seeing its position as the commercial ne plus ultra of tabletop RPGs usurped for the first and only time in the history of the hobby. The biggest threat to its status came from a new RPG called Vampire: The Masquerade, whose rules-lite, storytelling-oriented approach was the antithesis of the baggy monstrosity which Dungeons & Dragons had become. By catching a wave of “goth” inspiration that was sweeping pop culture more generally, Vampire had even accrued a degree of street cred the likes of which TSR’s nerdier, more pedantic offerings couldn’t have hoped to match even in their early 1980s heyday. TSR’s entire Dungeons & Dragons gaming line was in danger of becoming the world’s most elaborate loss leader, fueling sales of the one part of their empire that was still consistently earning money: their vast and ever-growing lineup of fantasy novels based on their gaming properties.

Human nature being what it is, it was perhaps inevitable that SSI and TSR, these two partners with good reason to be profoundly worried about their futures, would each come to blame the other for at least some of their difficulties. SSI noted pointedly that the Gold Box line was supposed to have been a creative as well as financial partnership between the two companies, with TSR’s staff contributing much of the content for the computer games and TSR themselves publishing tie-in products for the tabletop. All of those synergies, however, had dried up after Pool of Radiance and Curse of the Azure Bonds. (The status of these two very first games as the very best of their line begins to seem like less of a puzzle in light of TSR’s active involvement with them.) SSI had been left to their own devices from 1990 on, albeit still subject to the frequently exercised veto power which TSR enjoyed over their ideas.

Meanwhile, even as SSI complained about their creative abandonment, it was hardly lost on TSR that the Gold Box engine had fallen badly behind the state of the art. As they judged it, its antiquity had become extreme enough to actively hurt their brand, not only on the computer but on the tabletop as well; when struggling against their tabletop game’s popular image as a kitschy relic of the 1980s, TSR’s marketers weren’t excited to be confronted with computers games that themselves looked like products of the previous decade. TSR was also unhappy with SSI’s failure to port the Gold Box games from computers to consoles; out of all of them, only Pool of Radiance had been ported to the Nintendo Entertainment System, by a Japanese developer rather than SSI themselves. SSI tried to point out that this port, which played badly and sold worse, only served to illustrate all the ways in which this style of game just wasn’t suitable for consoles, but TSR was having none of it. In their view, the porting issue was a problem for SSI to solve rather than to explain away.

Behind all the bickering loomed a daunting reality: SSI’s exclusive license to Dungeons & Dragons was due to expire on January 1, 1993. One of the partners had far more cause for concern about this fact than the other. For those in the boardroom at TSR, the question of the contract’s renewal was just another business debate to be hashed out, but for SSI it was quite possibly of existential importance. After signing his first contract with TSR, Joel Billings, SSI’s founder and president, had rejiggered the public and private face of his company, from that of a maker of hardcore wargames inspired by the tabletop grognard tradition of Avalon Hill and SPI into the Computerized Home of Dungeons & Dragons. While SSI still published some wargames in the early 1990s, they generally sold even worse than the final stragglers from the Gold Box line, and were made strictly by outside developers; almost the entirety of SSI’s internal development efforts had been devoted to Dungeons & Dragons for the past five years. SSI’s identity had become so bound up with TSR’s flagship property that it wasn’t clear what they could or should be without the Dungeons & Dragons license.

The uncertainty surrounding the future of the contract left SSI paralyzed. It was obvious that they needed a better, more modern engine if they were to continue to make Dungeons & Dragons CRPGs, but it would be foolhardy to embark on that expensive project before they were sure of retaining the license that would let them use it for its intended purpose.

Thus Billings must have breathed a sigh of relief in early 1992, when TSR, despite all their recent misgivings about SSI’s handling of the license, agreed to an eighteen-month contract extension. It would take the license out to July 1, 1994, giving SSI enough time to make a new engine and at least one new game with it. Still, the short length of extension served notice that they were on probation; if the marriage was to continue, SSI would have to deliver a hit of Pool of Radiance proportions.

Billings put his people to work on an engine that would build upon the best ideas of SSI’s competitors, not least Origin’s much-admired Ultima VII engine. Like that one, this one would be designed with a mouse in mind from the start; would offer free-scrolling real-time movement over a large world; would go almost entirely mode-less in terms of interface, integrating combat into the same view where conversation and exploration took place. Gone would be the fussy paragraph books, graph-paper maps, and code wheels of the Gold Box games, which could make the experience of playing them feel almost like a hybrid between a computer and tabletop game. SSI had a very different experience in mind this time out. They planned make the engine effortless enough for the player that it could be ported to the Super Nintendo for play on living-room couches. And if that version did well, other console ports would follow.

TSR, eager to give a boost to one of their sales-challenged alternate settings, convinced SSI to set the first game made with the new engine in the land of Dark Sun, a desert world with a vaguely post-apocalyptic feel. Billings, aware that he was on shaky ground with TSR, also initiated development of an original science-fiction game that was to use the engine as well, just in case the Dungeons & Dragons license went away.

Creating such a complex engine alongside the first two games to use it was a truly enormous task — by far the biggest thing SSI had ever attempted, dwarfing even the initial software engineering that had gone into the Gold Box engine. Development dragged on and on after the Gold Box line had petered out with Dark Queen of Krynn. SSI attempted to plug the Gold Box-sized gap in their product line with such second-string releases as Prophecy of the Shadow, an internally developed, non-licensed CRPG-lite (25,875 copies sold); Pirates of Realmspace, a buggy computerized take on TSR’s Spelljammer setting from an outside developer known as Cybertech (23,280 copies sold); The Summoning, a simple action-RPG from Event Horizon Software (25,273 copies sold); Veil of Darkness, a game of a similar stripe to the previous from the same developer (9866 copies sold); Legends of Valor, a poor man’s Ultima Underworld from Synthetic Dimensions (12,588 copies sold); and Unlimited Adventures, a final hurrah for the Gold Box in the form of a public release of many of SSI’s internal development tools, thereby to let the diehards make more games of their own of the old type (32,362 copies sold).

As the sales figures above attest, none of these games set the world on fire. Indeed, their sales managed to make even the latter days of the Gold Box line look pretty good by comparison. In all, SSI released just three games between the summers of 1992 and 1993 that managed to top 40,000 units: Great Naval Battles in September (43,774 copies sold), Tony La Russa Baseball II in March (70,902 copies sold), and Eye of the Beholder III in May (50,664 copies sold). Of this trio, only the last was a Dungeons & Dragons title, and only the last was developed internally. Needless to say, the bottom line suffered. During the fiscal year which ended on September 30, 1993, revenues fell to $10.5 million, and the company lost $500,000 — the first annual loss SSI had posted in more than a decade.

Joel Billings wrote in that year’s annual report that it had been “the most difficult year in SSI’s 14-year history.” He spoke his personal truth not least. Throughout this period, over the course of which development of the Dark Sun game and its engine kept dragging on far longer than expected, Billings was scrambling madly to stem the bleeding. He put an organization that had always had the atmosphere of a family company through the trauma of its first-ever layoff, slashing the employee rolls from 115 to 75 employees; the memory of doing so still haunts Billings, a gentle soul at heart, to this day. Having been forced to cut the staff needed to create the science-fiction game earmarked for the new engine, he cut that as well, putting all his eggs into the single basket that was the Dark Sun game. Even the Super Nintendo version of that game, which his programmers had been struggling mightily to realize, would have to be set aside as well, at least for now. Much to TSR’s chagrin, this latest Dungeons & Dragons game too would have to live or die on computers.

Yet all of Billings’s scrambling constituted no more than financial triage. The existential obstacle which SSI faced was that of being a small, boutique publisher in an industry whose economies of scale were making it harder and harder for such an entity to survive. It was getting ever harder to win shelf space at retail, harder to pay for advertising in the glossy magazines — and, most of all, harder to foot the ever-increasing bill of developing modern games that met all of the expectations of the 1990s. Billings reluctantly concluded that he had but one choice: he had to sell out, had to find a buyer for the family business he had spent almost a decade and a half building from the ground up.

Accordingly, he spent much of his time in 1993 beating the bushes for just such a buyer. Yet here he was stymied once again by the realities of the marketplace. SSI was far from the only small publisher looking for a port in the storm, and many of the others had — or at least were judged to have — more attractive portfolios of extant and forthcoming games. Thus Billings faced a dispiriting, borderline-humiliating series of near misses, of seeing SSI cast aside in favor of alternative acquisitions in the fast-consolidating industry.

At the beginning of June, he thought he had made a deal with Spectrum HoloByte, an oddly bifurcated publisher that was almost entirely dependent on two wildly divergent games: the ultra-hardcore flight simulator Falcon, whose manual was roughly the size of a Tom Clancy novel, and the casual phenomenon Tetris, a game so brilliantly simple that it took only about 30 seconds of experimentation at the keyboard to spawn a lifetime’s addiction. Both of these games, radically different though they were in personality, were equally successful with their own demographics. Just as importantly, Spectrum HoloByte was absurdly well-connected with the movers and shakers of international finance, and was awash in venture capital as a result.

Due diligence between SSI and Spectrum HoloByte was completed, and a plan was made to meet again and sign a letter of intent as soon as that year’s Summer Consumer Electronics Show was behind both of them. At that show, however, Spectrum HoloByte met with Microprose, whose financial circumstances were even more desperate than those of SSI but who had a much more impressive array of upcoming titles to show to potential suitors. To make a long story short, Spectrum HoloByte bought MicroProse instead, leaving SSI stranded at the altar.

A few months later, the same scenario repeated itself. This time the would-be acquirer was Electronic Arts, a company with which SSI already had a longstanding relationship: Trip Hawkins had been a member of SSI’s board since before he founded EA, SSI had been piggybacking on EA’s distribution network as an “affiliated label” since 1987, and EA in fact already owned 20 percent of SSI thanks to an investment made in 1987, when the smaller company was first scaling up to take on Dungeons & Dragons. For all these reasons, the deal at first seemed a natural one. But Hawkins, the biggest proponent of the acquisition on EA’s side, was busy with a new semi-subsidiary known as 3DO and no longer had the day-to-day involvement necessary with the parent company to push it through. After kicking the tires a bit, the rest of EA’s management decided that SSI just wasn’t worth the asking price — especially given that EA already owned Origin Systems, one of SSI’s biggest rivals in CRPGs. Contrary to Joel Billings’s best intentions, SSI would thus be forced to exit 1993 as they had entered it: still an independent company, facing a future that looked more perilous than ever.

SSI’s struggle to find a buyer was a sign not only of their own weakness but of the diminished commercial profile of Dungeons & Dragons. Five years earlier, three quarters of the industry would have rushed to scoop up SSI, if only to acquire the enviable licensing deal they had recently signed. Now, though, the tabletop game was at a low ebb of its own, even as it seemed hopelessly antithetical to all of the winds of change in digital gaming. Where did this nerdy game played in parents’ basements, all tables and charts and numbers, fit in an industry rushing to make slick, kinetic interactive movies featuring real Hollywood actors? Dungeons & Dragons just wasn’t cool. It had never really been cool, of course, but that hadn’t been a problem when the computer-game industry as well was thoroughly uncool. But now, as computer-game moguls were busily penning paeans to themselves as the next wave in mainstream entertainment, its uncoolness was extremely problematic.

Amidst all of this — in September of 1993, to be specific — Dark Sun: Shattered Lands finally got completed and released. It was the most important game SSI had published since Pool of Radiance; the future of the TSR partnership, and thus their own future as a company, rode on its success or lack thereof.

When viewed separately from all of these external pressures, as just a game to be played and hopefully enjoyed, it revealed itself to be a nobly earnest attempt to improve on SSI’s most recent efforts in the realm of CRPGs, even if it wasn’t an entirely unblemished one. On the technological side, SSI’s next-generation engine largely delivered where it needed to: it was indeed vastly slicker, prettier, easier, and more modern than the Gold Box engine, feeling like a true product of the 1990s rather than a holdover from the last decade. It was an engine that could even stand next to the likes of an Ultima VII without undue embarrassment. Indeed, SSI seemed to have learned from their rival’s mistakes and done Origin one better in some places. For example, in place of the real-time, well-nigh uncontrollable frenzy that was combat in Ultima VII, SSI’s engine lapsed seamlessly into a turn-based mode as soon as a fight began; this allowed combat in Shattered Lands to retain most of the tactical complexity and interest that had marked its implementation in the Gold Box games, with the additional advantages of increased audiovisual interest and a less cryptic interface.

At the same time that they endeavored to keep combat interesting, however, SSI’s design team had clearly made a concerted effort to move beyond the exercises in incessant combat and very little else which the Gold Box games had become by the end. Shattered Lands offered much better-developed characters to talk to, along with heaps of real choices to make and alternative pathways to discover. The new approach was enough to impress even so committed an SSI skeptic as Scorpia, Computer Gaming World magazine’s longtime adventure columnist, who had been roundly criticizing the Gold Box games in print for their “incessant, fight-after-fight” nature for half a decade by this point. Now, she could write that “SSI is taking their role-playing line in a new direction, which is good to see”: “the solution to every problem is not kill, kill, kill.” Shay Addams, another prominent adventure pundit, had a similar take: “It’s no secret that I never liked the Gold Box games. Dark Sun, however, kept me coming back to the dungeon for more: more combat, more exploring, more story.”

Still, the game had its fair share of niggles — more than enough of them, in fact, to prevent its achieving a classic status to rival Pool of Radiance and Curse of the Azure Bonds. While SSI was to be commended for attempting to give the setting and plot more nuance and texture, that just wasn’t the sort of thing they did best, and they were still receiving little to no help from TSR on that front. The writing and plotting were derivative in several different directions at once, hackneyed even by the usual standards of the genre. Mind you, the writing wasn’t actually worse than most of that which had accompanied the Gold Box games — but here, moved as it was from a paragraph book onto the screen and expected as it was to do a lot more heavy lifting, its weaknesses were magnified.

Shattered Lands was also damaged as a computer game by its need to conform to TSR’s tabletop rules. The boxed set which presented the Dark Sun setting for the tabletop included a whole range of new rules complications and variations to distinguish it from the already convoluted Dungeon & Dragons base game, and most of these SSI was expected to implement faithfully as part of their licensing agreement. And so Shattered Lands came complete with a bunch of races and classes unfamiliar even to most Gold Box and tabletop Dungeons & Dragons veterans, along with a veritable baseline expectation that every character would be double- or triple-classed. Clerics suddenly had to choose an “element” to worship, which limited their selection of spells — and now everyone had access to a whole parallel sphere of magic known as psionics, and had to choose a specialty there as well. No game designer starting a CRPG from scratch would ever have inserted so much cruft of such marginal utility to the ultimate goal of fun; it was the sort of thing that could only arise from a company like TSR throwing rule after rule at the wall over the course of years in order to sell more supplements. Certainly none of it made much sense in a game explicitly envisioned as a new beginning for Dungeons & Dragons on computers, a place for fresh players to jump aboard. Nor, for that matter, did the choice of the oddball world of Dark Sun as a setting; for all that critics like me have long railed against the tendency, gamers for time immemorial have been demonstrating their preference for CRPGs set in generic high-fantasy worlds — such as that of TSR’s own Forgotten Realms, home of the most commercially successful of the Gold Box games — over more unique settings like this one.

But whatever its intrinsic strengths and weaknesses, Shattered Lands suffered most of all from one undeniable external failing: it was deeply, thoroughly unfashionable in the context of 1993. At a time when the whole industry was moving toward multimedia “talkies,” its many conversations and descriptions were still implemented via screenful after screenful of boring old text. And in addition to the old-fashioned implementation, there also remained the fact that the Dungeons & Dragons name just wasn’t the force it once had been. A measure of the industry’s attitude toward the game and its commercial prospects can be gleaned from its placement in the magazines. Even as they were giving it reasonably positive reviews, Computer Gaming World buried it on page 124 of 276, Shay Addams’s Questbusters newsletter on page 8 of 16. (The lead review of that issue, evidently judged to be more immediately interesting to the newsletter’s readers than a review of Shattered Lands, was of Legend Entertainment’s Gateway 2, a fine game in its own right but one which still had a parser, for God’s sake.)

So, you’ve probably guessed where this is going: Dark Sun: Shattered Lands proved a devastating disappointment to TSR and especially to SSI. After costing more than $1 million and eighteen months to make, with the additional opportunity cost of preventing SSI’s internal developers from doing much of anything else over the course of that period, it sold just 45,917 copies. To put this figure into perspective, consider that it’s barely 5000 more copies than the last tired release of the old Gold Box line, or that it’s about one-sixth of the sales of Pool of Radiance — this in spite of an expanded marketplace in which the number of copies which a hit game could hope to sell was actually far greater than it had been five years before.

When SSI and TSR met again early in 1994, after it had become all too clear that Shattered Lands wasn’t to be the next Pool of Radiance, TSR stated matter-of-factly that they no longer wished to remain in the marriage. Some tense negotiation followed, during which TSR did make some concessions to a frantic SSI, who were facing down the apocalyptic prospect of a license due to expire in less than six months while they still had a lot more Dungeons & Dragons product from third-party developers in the pipeline. TSR agreed to extend the exclusive license for six more months, to January 1, 1995, and to allow SSI to continue to release new games under a non-exclusive license until July 1, 1995. After that, though, the marriage was through. TSR emphasized that there would be no further settlement agreements.

Thus SSI’s final string of Dungeons & Dragons releases, of which there would still be a considerable number, would have something of the feel of a lame-duck session of government. DreamForge Intertainment provided two real-time CRPGs set in TSR’s Gothic world of Ravenloft and a third set in the Forgotten Realms; Cyberlore Studios provided a similar game set in the Arabian Nights World of Al-Qadim; Lion Entertainment provided a Doom-influenced hack-and-slasher set nowhere in particular. An overoptimistic SSI had launched into Dark Sun: Wake of the Ravager, a sequel to Shattered Lands, before the commercial verdict on the first game and TSR’s final judgment on the whole partnership that had led to it had come in. They finished that game up too, after a fashion anyway, and released it, still full of bugs, unimplemented features, and placeholder writing. It became their final in-house-developed Dungeons & Dragons title. It made for a slightly pathetic way to bow out, but at this point they just couldn’t be bothered to do better; they were now a long way indeed from those enthusiastic early days of Pool of Radiance. None of these games sold more than a few tens of thousands of copies. But then, no one, least of all SSI, had much expected them to.

The news that TSR and SSI were parting ways reached the magazines almost immediately. The two newly minted divorcees couldn’t resist a bit of veiled sniping in the press. SSI, for instance, told Computer Gaming World that they were “unhappy with the rules and restrictions imposed with the license that limited their creativity,” and said they could be perfectly happy and very successful making original CRPGs instead. TSR, for their part, said they’d learned a lesson about binding themselves too inextricably to others, and thus wouldn’t be entering into any more exclusive arrangements at all. Instead they’d play the field, signing deals with publishers on a title-by-title basis, and might just learn how to make computer games of their own.

Yet behind all these brave words lurked a difficult reality for both companies; it was by no means clear that either or both of them would really be better off apart than they’d been together. As if it hadn’t had problems enough already, tabletop Dungeons & Dragons was now getting pummeled by a new arrival with huge appeal to the same demographic: Magic: The Gathering, a fast-playing, accessible “collectible card game” of fantasy combat psychologically engineered to sell an endless amount of content to gamers looking for that one perfect card which could give them an edge over their chums. Magic decks were soon eating up much of the shelf space in hobby stores that had once gone to Dungeons & Dragons, and pushing it out of their display windows entirely. TSR’s only solution was the same as it had always been: to churn out yet more source books. And so the spiral of diminishing returns continued.

The contrast between TSR and Wizards of the Coast, the upstart makers of Magic, was a telling one. The latter engaged with their customers directly at every opportunity, skillfully goosing the grass-roots excitement around their products to yet further extremes. But TSR, still led by the widely disliked non-gamer Lorraine Williams, seemed out of touch, utterly disinterested in their fans and their opinions. Ryan Dancey, who has done a lot of research into TSR’s history, sums up the company’s attitude in damning fashion:

In all my research into TSR’s business, across all the ledgers, notebooks, computer files, and other sources of data, there was one thing I never found — one gaping hole in the mass of data we had available. No customer profiling information. No feedback. No surveys. No “voice of the customer.” TSR, it seems, knew nothing about the people who kept it alive.

The brainy kids who used to fall into the Dungeons & Dragons rabbit hole around the time they entered junior high were now getting their first Magic decks at that age instead. With the red ink beginning to pile up to a truly alarming extent — even the novels were no longer selling like they used to — TSR looked to be headed for an ugly reckoning.

And yet, if TSR was in dire straits, SSI’s position was if anything even worse. Without Dungeons & Dragons, they had almost literally nothing; the strongest remaining item in their portfolio was the Tony La Russa Baseball franchise developed by Stormfront Studios. But a baseball simulation alone wouldn’t be enough to sustain the company, and the sales picture of their other recent products wasn’t pretty. They were still in desperate need of a savior, but now lacked even the TSR connection to offer to potential buyers. Who in the age of multimedia would want to buy a failing publisher of stats-heavy wargames and traditionalist CRPGs? Joel Billings didn’t know, but he had no choice but to keep looking for someone crazy enough to take the plunge.

(Sources: As with all of my SSI articles, much of this one is drawn from the SSI archive at the Strong Museum of Play. Other sources include the book Designers and Dragons by Shannon Appelcline; Computer Gaming World of September 1993, December 1993, April 1994, and December 1994; Questbusters of October 1993. Online sources include Matt Barton’s video interviews with Joel Billings and David Shelley and Laura Bowen.

The two Dark Sun games are available as digital purchases at GOG.com.)

Comments
23 Responses

- Bieeanshee

September 20, 2019 at 5:39 pm

I remember seeing exactly one product questionnaire from TSR, before Wizards bought them out. It was bundled inside of a Dungeon magazine– which sold nowhere near as well as Dragon, given it was aimed entirely at Dungeon Masters and not players in general. It was only a few pages long, but it felt enormous, columns and columns of tick boxes that made me worry TSR was trying to decide which of its competitors to absorb. Boy, was I in for a surprise.

- expdotzine

September 20, 2019 at 6:24 pm

I *really* loved Al-Qadim when I played it as a kid, and it was picked up in a clearance sale in a WH Smiths (or was it still John Menzies?) and it must have been extremely cheap, £5 or something, because I remember buying a few games at the time. I recommend it and would love to replay it, I remember trying in the early 2000s probably and pre-Dosbox there was an issue where you couldn’t get past an early point because the cycles were too high. Would love for you to write more on it, even if it’s a footnote in history really.

I always wanted to play Veil of Darkness, too–the art is great! Maybe one day.

- Jimmy Maher

September 21, 2019 at 7:20 am

I don’t think I’ll be able to get to it here. But keep an eye on the CRPG Addict’s blog. I’m sure he’ll be covering it at some point.

- Steven J Marsh

September 20, 2019 at 8:36 pm

I’m in my mid-40s, so my formative years coincided HUGELY with the domains of this blog.

As I revisit my childhood and try to put memories and feelings into perspective, what I find amazing is how omnipresent the companies I loved felt in the eras as I lived them. Infocom felt like a company that existed and would exist forever, but you can peg it pretty firmly between 1980 and 1989 — nine years — and its “heyday” is probably no larger than a five-year window in that.

Similarly, SSI’s license with TSR felt . . . eternal? And it’s sobering to realize that window was really only seven years, tops. And, yes, 7 years is a long time when you’re 20, but it’s really a blip on the radar of the larger picture. (The Call of Duty franchise has been around longer than both Infocom and the TSR/SSI eras put together. Today, Nintendo is re-releasing a remake of a game that’s over a quarter-century old.)

Anyway, all of this is to say thank you for the historical perspective these articles provide. They’ve been really interesting, in a “listen to the Beatles’ ‘Yesterday’ on repeat” kind of way.

- Jimmy Maher

September 21, 2019 at 7:27 am

Yes, I’m constantly being confronted with the same elasticity of time. I remember reading articles in Compute!’s Gazette around 1986 or 1987 asking how long the already aged Commodore 64 could possibly live on. It seemed like it had been around *forever*. Yet its commercial lifespan in the United States was only about six, six and a half years. Doesn’t seem that long at all now. All of the computers we have in the house are that old or nearly that old, and we have no plans to replace any of them.

And I felt the same about Infocom and other companies I grew up with. Seemed like those classic Infocom gray boxes were an eternal fixture on local bookstore shelves. Actually, that “iconic” packaging lasted only three years.

- Nate

September 22, 2019 at 9:45 am

In 1986, I was upset at Compute’s Gazette for ditching the VIC-20. I’d only been using it for 3 years, and I knew it had a lot of hardware capabilities that hadn’t been fully exploited. By the time I got a C64 in 1988, it was starting its decline, though it had a longer ramp down due to its larger userbase.

Vowing to delay this experience going forward, I spent as much as I could on a 486 system in 1991. It lasted until 1995 as my desktop, then converted to FreeBSD and running as a server until 1999.

Moore’s Law was a big part of it. Computers nowadays aren’t getting faster as quickly as they used to. Wintel won the war by the 90’s, keeping the focus until mobile became the next thing in 2007. Things were starting to change faster by the 90’s, and there were lots of interesting hardware directions (SGI MIPS, Mac PowerPC, BeBox, DEC Alpha, i860, etc.) Intel even hedged their bets with Itanium.

I think the Windows juggernaut from 1990-2005 was primarily driven by the rate of speed increases in hardware. When you swap out your system so frequently, you want constancy in your software environment. It took a brand new software and hardware interface to make mobile competitive as a data access platform with the iPhone.

- Brian

October 19, 2019 at 12:47 am

We pounded our old Tandy 1000 from Christmas of 1985 till 1992… by then we’d added memory, another disk drive, and over locked 8086 chip, two hard drives…

Recently I finally gave up on two Mac book pro 2009 laptops that ran for 10 years with only some extra memory added and SSD replacements for the aging hard drives.

But dang it changed pretty fast in the 80s. By the time our Tandy does above wed already added a 386 clone for Dad’s business.

- Oded

September 21, 2019 at 10:24 am

Typo – “role-paying” :D

- Jimmy Maher

September 21, 2019 at 2:41 pm

Thanks!

- Benjamin Vigeant

September 21, 2019 at 11:33 am

Popping over to the GOG page for the games after reading this, and smiling a bit when I look at the description of the sequel:

“Wake of the Ravager, sequel to the mega-hit Shattered Lands, hurls you back to the scorching AD&D Dark Sun game world of Athas.”

Sure, GOG. Huge hit.

- Kyle Haight

September 22, 2019 at 12:06 am

“Sure, GOG. Huge hit.”

Well, it was a mega-hit to SSI’s bottom line…

- xxx

September 21, 2019 at 5:13 pm

Title-wise, it’s not so much “Opening the Gold Box” as “Closing the Gold Box”. Wonderful article! TSR has always made for such fascinating reading; perhaps never in history has a company become so successful by being so utterly, staggeringly clueless, with such a complete lack of understanding of their industry, their product, their customers, or basic business sense. The schadenfreude is intense.

- Rowan Lipkovits

September 21, 2019 at 9:27 pm

It became their final in-house-developed Dungeons & Dragons title.

So where does the SSI Darksun MMORPG “Crimson Sands” fall in this chronology? (The Rogue/Eye of the Beholder mash-up Dungeon Hack also warrants a mention!)

no choice but to keep looking for someone crazy enough to take the plunge

Ahh, I see the edutainment singularity stormclouds massing on the horizon!

- Jimmy Maher

September 22, 2019 at 1:24 pm

Crimson Sands came out a couple of years after these events, having been negotiated by TSR and SSI on a one-off basis. I mentioned Dungeon Hack in part 5 of this series.

- Brent

September 22, 2019 at 2:22 am

Yes it was a terrible idea to try to rebuild your brand on that setting and the plot was nothing special, but Dark Sun was bursting with ideas and secrets. As D&D games go it was certainly more interesting than any Infinity Engine game besides Torment. I consider it a hidden gem!

- Nate

September 22, 2019 at 9:31 am

I wonder why they couldn’t have just kept revving Eye of the Beholder? That seemed like a good direction, especially as Doom and Hexen took off. But I didn’t follow SSI at this point so I still wonder what happened.

Remove “up” from: “They finished that game too up, after a fashion anyway”

- Jimmy Maher

September 22, 2019 at 1:18 pm

Thanks!

Eye of the Beholder used a stepped-movement engine rather than free-scrolling 3D like Ultima Underworld or Doom. By the time of the third game, which SSI developed in-house after Westwood was bought by Virgin Software, games of its style were becoming passe. I don’t think the market would have looked kindly on a fourth game of the same stripe, and SSI lacked the expertise to develop a state-of-the-art 3D engine — especially while also developing Dark Sun.

- Peter Olausson

September 22, 2019 at 9:19 pm

“Cyberlore Sudios”

Great article, as always!

- Jimmy Maher

September 23, 2019 at 4:45 am

Thanks!

- Poddy

September 23, 2019 at 1:44 am

The only reason I know the name of SSI, other than this blog, was a game called Entomorph, which Wikipedia informs me was published in 1995. I bought it again off GoG a couple years ago, and it’s still delightfully weird to play, not exactly solid evidence of creative bankruptcy.

- BoardGameNut

September 23, 2019 at 6:53 pm

Another great series of articles! The Gold Box series was one of my favorite set of games to play on my Commodore 64 back in junior high and high school. I played PoR, Curse, Doomsday, and Secret of the Silver Blades on it. I remember being very disappointed not being able to transfer my characters over to Pools of Darkness, because it wasn’t available for the C64. I didn’t own a IBM-PC at the time. PoR, Curse, and Doomsday were my favorites though of the Gold Box line. Secret was somewhat forgettable although being so young I didn’t realize how flawed it was.

This is definitely a bittersweet tale of success and mistakes that kept SSI from continuing onward.

- Martin Lindell

December 27, 2019 at 6:17 am

Maybe it doesn’t count as a Gold box game, but the D&D game Heroes of the Lance got a NES and SMS release.

I did love the adaptation of Buck Rogers to Mega Drive, so shame that not more SSI games got a console release.

- Tsubasanut

December 29, 2019 at 10:40 am

There was a strange game released in 1992. “The order of griffin” by Westwood Studios for turbografx 16. For all intents and purposes it has a look alike gold box engine inside. If you are interested in Mystara setting – might check this out. Controls are pretty awkward so be warned.

Betrayal at Krondor
October 4, 2019

During the 1960s and 1970s, a new type of game began to appear in increasing numbers on American tabletops: the experiential game. These differed from the purely abstract board and card games of yore in that they purported to simulate a virtual world of sorts which lived behind their surface systems. The paradigm shift this entailed was such that for many players these games ceased to be games at all in the zero-sum sense. When a group came together to play Squad Leader or Dungeons & Dragons, there hung over the plebeian kitchen or basement in which they played a shared vision of the beaches of Normandy or the dungeons of Greyhawk. The games became vehicles for exploring the vagaries of history or the limits of the imagination — vehicles, in other words, for living out shared stories.

In retrospect, it was perhaps inevitable that some of the stories generated in this way would make their way out of the gaming sessions which had spawned them and find a home in more traditional, linear forms of media. And, indeed, just such things were happening by the 1980s, as the first novels born from games arrived.

Needless to say, basing your book on a game you’ve played isn’t much of a path to literary respectability. But for a certain kind of plot-focused genre novel — the kind focusing strictly on what people do rather than why they do it — prototyping the whole thing as a game makes a degree of sense. It can keep you honest by forcing your story to conform to a simulated reality that transcends the mere expediency of what might be cool and exciting to write into the next scene. By pushing against authorial fiat and the deus ex machina, it can give the whole work an internal coherency — an honesty, one might even say — that’s too often missing from novels of this stripe.

The most widely publicized early example of the phenomenon was undoubtedly the one which involved a humble insurance salesman named Tom Clancy, who came out of nowhere with a techno-thriller novel called The Hunt for Red October in 1984. The perfect book for a time of resurgent patriotism and military pride in the United States, it found a fan in no less elevated a personage than President Ronald Reagan, who declared it “my kind of yarn.” As the book topped the bestseller charts and the press rushed to draft their human-interest stories on the man who had written it, they learned that Clancy had gamed out its entire scenario, involving a rogue Soviet submarine captain who wishes to defect along with his vessel to the United States, with a friend of his named Larry Bond, using Harpoon, a tabletop wargame of modern naval combat designed by the latter. Clancy’s follow-up novel, a story of open warfare between East and West called Red Storm Rising, was a product of the same gestation process. To the literary establishment, it all seemed extremely strange and vaguely unsettling; to many a wargamer, it seemed perfectly natural.

Another line of ludic adaptations from the same period didn’t attract as much attention from the New York Times Book Review, much less the president, but nevertheless became almost as successful on its own terms. In 1983, TSR, the publisher of Dungeons & Dragons, decided to make a new series of adventure modules for the game, each of which would feature a different kind of dragon — because, as some of their customers were writing in their letters, the existing Dungeons & Dragons modules “had plenty of dungeons, but not many dragons.” The marketing exercise soon grew into Dragonlance, an elaborately plotted Tolkienesque epic set in a brand new fantasy world — one which, yes, featured plenty of dragons. TSR asked employees Margaret Weis and Tracy Hickman to write a trilogy of novels based on the fourteen Dragonlance adventure modules and source books they planned to publish. Thus Dragons of Autumn Twilight, the first volume of The Dragonlance Chronicles, was published in the same year as The Hunt for Red October. It promptly became a nerdy sensation, the biggest fantasy novel of the year, spawning a whole new business for TSR as a publisher of paperback novels. In time, said novels would become as big a part of their business as the games on which they were based.

A third, only slightly less heralded example of the games-into-books trend actually predates the two I’ve just mentioned by a couple of years. In the late 1970s, a group of students at the University of California San Diego took up the recently published Dungeons & Dragons. Growing dissatisfied with TSR’s rules, they scrapped them one by one, replacing them with their own home-grown versions. Meanwhile they evolved a world in which to play called Midkemia, complete with its own detailed history, bestiary, sociology, and geography. Forming a little company of their own, as so many Dungeons & Dragons fanatics were doing at the time, they published some of their innovations to modest sales.

Raymond E. Feist

But one of their number named Raymond E. Feist had bigger ambitions. He wrote a novel based on some of the group’s exploits in Midkemia. Calling it simply Magician, he got it published through Doubleday in 1982 as the first volume of The Riftwar Saga. It sold very well, and he’s been writing Midkemia novels ever since.

Unlike the later cases of Tom Clancy and Dragonlance, Magician wasn’t widely publicized or advertised as being the product of a game. It was seen instead as merely the latest entry in an exploding branch of genre fiction: lengthy high-fantasy series inspired by J.R.R. Tolkien, often to the point of one-to-one correspondences between characters and plot events, but written in a manner more immediately accessible to the average Middle American reader, with more action, more narrative thrust, less elevated diction, and markedly less digressive songs and poetry. Dragonlance, of course, is an example of the same breed.

I must admit that I’ve personally read only the first book of Feist’s series, and not even to completion at that. This sort of derivative high fantasy doesn’t do much for me as a rule, so I’m not the best person to judge Feist’s output under any circumstances. Anything positive I do say about it runs the risk of damning with faint praise.

To wit: my wife and I used the book as our light bedtime reading, and we made it about two-thirds of the way through before terminal ennui set in and we decided we’d had enough. If that seems like less than a ringing endorsement, know that it’s farther than I generally get with most fantasy novels, including ones with considerably more literary credibility. I thus feel comfortable in saying that at least the early Raymond E. Feist novels are well-crafted examples of their breed, if you happen to like that sort of thing. (I do understand from others that the quality of his work, and particularly of his plotting, began to decline after his first handful of Midkemia novels. Perhaps because he was no longer basing them on his gaming experiences?)

The world of Midkemia is most interesting for our purposes, however, for the computer game it spawned. Yes, a series of novels based on a game got turned back into a very different sort of game. And then, just for good measure, that game got turned into another novel. It’s a crazy old transmedia world.

The more direct origin of Betrayal at Krondor, the game in question, can be traced back to June of 1991 and a chance meeting between John Cutter and Jeff Tunnell at the Summer Consumer Electronics Show. Both names may be familiar to regular readers of these histories.

John Cutter

Cutter had spent several years with Cinemaware, helping to craft many of their most innovative creations, which blended strong narrative elements with play styles that were unorthodox in story-heavy computer games at the time. In late 1990, with Cinemaware in the process of collapsing, he and several colleagues had jumped ship to New World Computing, best known for their Might & Magic series of CRPGs. But he was trapped in a purely administrative role there, without the freedom to create which he had enjoyed at Cinemaware, and was already feeling dissatisfied by the time he met Tunnell at that Summer CES.

Jeff Tunnell

Tunnell, for his part, was the founder of the studio known as Dynamix, now a subsidiary of Sierra Online. They were best known for their 3D graphics technology and the line of vehicular simulators it enabled, but they had fingers in several other pies as well, from adventure games to a burgeoning interest in casual puzzle games.

Recognizing talent when he saw it, Tunnell asked Cutter to leave Southern California, the home of the erstwhile Cinemaware and the current New World, and come to Eugene, Oregon, the home of Dynamix. Not only would he be able to have a creative role there once again, Tunnell promised, but he would be allowed to make whatever game he wanted to. Cutter jumped at the chance.

Once in Eugene, however, he struggled to identify just the right project. His first instinct was to make a point-and-click adventure game in the Sierra mold, but Tunnell, having made three of them in the last couple of years to less than satisfying effect, was feeling burned out on the genre and its limitations, and gently steered him away from it. (Absolute creative freedom, Cutter was learning, is seldom really absolute.)

At last, Tunnell came to Cutter with an idea of his own. He’d been reading a very popular series of fantasy novels by this fellow named Raymond E. Feist, and he thought they’d make a fine CRPG. Dynamix had never dabbled in the genre before, but when had that ever stopped them from trying something new? He suggested that Cutter give the first few of the books a read. If it turned out that he liked them as well and agreed that they’d make a good game, well, perhaps he should ring Feist up and have a chat about just that possibility.

Glad to finally have a clear sense of direction, Cutter did the one thing and then did the other. Feist was very busy, but was himself a long-time computer gamer, having sat down in front of his first Apple II some twelve or thirteen years before. He liked the idea of seeing Midkemia come to life on a computer screen. Although he didn’t have much time for working personally on such a project, he told his agent to make the deal happen if at all possible. So, a contract was signed that gave Dynamix the right to make Midkemia games until January 1, 1995, with Feist given the right of final approval or rejection of each title prior to its release. By one account at least, it was the most expensive literary license yet granted to a game developer, a sign of Feist’s ongoing popularity among readers of fantasy literature.

Another, slightly less welcome sign of same followed immediately after: upon being asked whether he was interested in authoring the game himself, Feist said that his time was money, so he’d need to be paid something beyond the terms of the licensing agreement itself — and, he noted flatly, “you couldn’t afford me.” This posed a dilemma. Cutter believed himself to be a better designer of game systems than a writer, and thus certainly wasn’t going to take on the job personally. Casting about for a likely candidate, his thoughts turned to one Neal Hallford, an enthusiastic young fellow with a way with words whom he’d befriended back at New World Computing.

Neal Hallford

A fresh-out-of-university Hallford had joined New World in the role of writer some months before Cutter himself had arrived. His first assignment there had been to make sense of the poorly translated English text of Tunnels & Trolls: Crusaders of Khazan, a project New World had chosen to outsource to a Japanese developer, with underwhelming results all the way around. After that truly thankless task, he’d worked for a while on Might and Magic III before playing a pivotal role on Planet’s Edge, an ambitious science-fiction CRPG that had tried to do just a little bit too much for its own good. He was just finishing that project when his old friend John Cutter called.

Like Cutter before him, Hallford found Dynamix’s offer difficult to refuse. Eugene struck him as idyllic by contrast with the crowded, smoggy streets of Los Angeles; meanwhile Dynamix’s offices enjoyed the well-deserved reputation of being just about the most stylish and comfortable in the entire industry, vastly outdistancing even the parent company of Sierra in that respect. Certainly they compared favorably with the chaotic jumble of tightly packed cubicles that was the domain of New World. Thus on Halloween Day, 1991, Hallford shook hands with his old colleagues there for the last time and hopped into his Geo Metro for the drive north.

Upon Hallford’s arrival in Eugene, Cutter pulled him into his office and kept him there for a week, while the two hashed out exactly what game they wanted to make and wrote the outline of a script. Hallford still remembers that week of frenzied creativity as “one of the best weeks of my life.” These two friends, different in talents and personality but unified in their vision for the game, would do the vast majority of the creative heavy lifting that would go into it. Broadly stated, Cutter would be the systems guy while Hallford would be the story guy, yet their visions would prove so simpatico that they’d seldom disagree on much of anything at all.

Jeff Tunnell had initially fallen in love with a Midkemia novel called Silverthorn, and the original plan he’d pitched to Cutter had been to make the game a fairly straightforward adaptation of that book’s plot. But such a thing is inherently problematic, for reasons I’ve had ample cause to discuss in earlier articles. Players who buy the game because they read and liked the novel — who are, after all, the whole reason for making a licensed game at all from a business perspective — won’t be excited about stepping through a plot they already know. At the same time, it’s all too easy from the design side to make a game where victory hinges on taking all of the same idiosyncratic, possibly irrational actions as the protagonists of the novel. And so you end up with a game that bores one group of players to tears, even as it frustrates another group who don’t happen to know what Character A needs to do in Situation B in order to replicate the novel’s story.

The biggest appeal of the Midkemia novels, Hallford believed, was indeed the world itself, with its detailed culture and geography and its cast of dozens of well-established characters. It would be better, he thought, to set a brand new story there, one that would let Feist’s many fans meet up with old friends in familiar locales, but that wouldn’t force them to step by rote through a plot they already knew. During the crash course on Midkemia which he’d given himself in the few weeks before starting at Dynamix — like Cutter, he’d come to Feist fandom cold — Hallford had identified a twenty-year “hole” in the chronology where he and Cutter could set a new story: just after A Darkness at Sethanon, the concluding volume in the original Riftwar Cycle that had started the ball rolling. Somewhat to everyone’s surprise, Feist was willing to entrust this young, unproven writer with creating something really new in his world. Betrayal at Krondor was off and running.

Hallford may have come to Midkemia late, but his dogged determination to capture the world exactly as it existed in the novels would come to a large degree to define the project. He calls himself a “born fanboy” by nature. Thus, even though he wasn’t quite of Feist’s hardcore fandom, he had enormous empathy for them. He points back to an experience from his youth: when, as a dedicated Star Trek fan, he started to read the paperback novels based on the television series which Pocket Books published in the 1980s. I read them as well, and can remember that some of them were surprisingly good as novels, at least according to my adolescent sensibilities, while also managing to capture the spirit of the series I saw on television. Others, however… not so much. Hallford points to one disillusioning book in particular, which constantly referred to phasers as “ray guns.” It inculcated in him a sense that any writer who works in a beloved universe owes it to the fans of said universe — even if he’s not really one of them — to be as true to it as is humanly possible.

So, Hallford wrote Betrayal at Krondor with Feist’s fans constantly in mind. He immersed himself in Feist’s works to the point of that he was almost able to become the novelist. The prose he crafted, vivid and effective within its domain, really is virtually indistinguishable from that of its inspiration, whose own involvement was limited to an early in-person meeting and regular phone conversations thereafter. Yet the latter became more rather than less frequent as the project wore on; Feist found his enthusiasm for the game increasing in tandem with his surprise at how earnestly Hallford tried to capture his novels and the extent to which he was managing to succeed with only the most limited coaching. The fan verdict would prove even more telling. To this day, many of them believe that it was Feist himself who scripted Betrayal at Krondor.

But Betrayal of Krondor is notable for more than Neal Hallford’s dedicated fan service. It’s filled to bursting with genuinely original ideas, many of which flew in the face of contemporary fashions in games. Not all of the ideas work — some of them rather pull against one another — but the game’s boldness makes it a bracing study in design.

Following the lead of GUI advocates working with other sorts of software, game designers in the early 1990s were increasingly embracing the gospel of the “mode-less” interface: a single master screen on which everything takes place, as opposed to different displays and interfaces for different play states. (For an excellent example of how a mode-less interface could be implemented in the context of a CRPG, see Origin Systems’s Ultima VII.) Cutter and Hallford, however, pitched this gospel straight into the trash can without a second thought. Betrayal at Krondor has a separate mode for everything.

The closest thing it has to a “home” screen must be the first-person exploration view, which uses 3D graphics technology poached from Dynamix’s flight simulators. But then, you can and probably often will move around from an overhead map view as well. When interesting encounters happen, the screen is given over to text with clickable menus, or to storybook-style illustrated dialog scenes. When you get in a fight, that’s also displayed on a screen of its own; combat is a turn-based affair played on a grid that ends up vaguely resembling the Battle Chess games by Interplay. (Thankfully, it’s also tactically interesting and satisfying.) And then when you come upon a locked chest, you’re dumped into yet another new mode, where you have to work out a word puzzle in order to open it, because why not? All of these modes are accompanied by different styles of graphics: 3D graphics on the main exploration screen, a no-frills Rogue-like display for the overhead movement view, pixel art with the story scenes, digitized real-world actors with the dialog scenes, the sprite-based isometric view that accompanies combat, etc.

The first-person exploration view.

The overhead view.

A bit of exposition. Could this be a side quest before us?

The combat view.

A puzzle chest. The answer to this one, for the record, is “die.” Later riddles get much more complicated, but the mechanics of the puzzles ingeniously prevent them from ever becoming completely insoluble. Many a player has had a significant other who couldn’t care less about the rest of the game, but loves these puzzle chests…

This mishmash of approaches can make the game feel like a throwback to the 1980s, when genres and their established sets of best practices were not yet set in stone, and when many games that may strike us as rather odd mashups today were being produced. We can certainly see John Cutter’s roots in Cinemaware here; that company made a career out of ignoring the rules of ludic genre in favor of whatever systems best conveyed the fictional genre they were attempting to capture. By all rights, Betrayal at Krondor ought not to work, as so many of Cinemaware’s games tended not quite to work. All of these different modes and play styles — the puzzle chests in particular seem beamed in from a different game entirely — ought to add up to a hopelessly confusing muddle. Somehow, though, it does work; Betrayal at Krondor actually isn’t terribly hard to come to grips with initially, and navigating its many modes soon becomes second nature.

One reason for this is doubtless also the reason for much else that’s good about the game: its unusually extended testing period. When development was reaching what everyone thought to be its final stages, Dynamix sent the game to outside testers for what was expected to be a three-month evaluation period. Even this much usability testing would have been more than most studios were doing at this time. But the project, as so many game-development projects tend to do, ran way longer than expected, and three months turned into nine months of constant player feedback. While our universe isn’t entirely bereft of games that seem to have sprung into being fully-formed, by far the most good games attain that status only gradually, through repeated iterations of testing and feedback. Betrayal at Krondor came by its goodness in exactly this hard, honest way. Unlike a dismaying number of games from its time, this game feels like one that’s actually been played — played extensively — before it got released. The niggling problems that dog even many good games from the early 1990s (such as the infuriating inventory management and rudderless combat of Ultima VII) are almost completely absent here. Instead the game is full of thoughtful little touches to head off annoyance, the sort of touches that can only come from real player feedback.

The final verdict on its mishmash of graphical approaches, on the other hand, must be less positive. Betrayal at Krondor wasn’t a notably attractive game even by the standards of its day, and time has done it no favors; the project desperately needed a strong art director able to impose a unified aesthetic vision. The parts of it that have aged the worst by far are those employing digitized actors, who look almost unbelievably ludicrous, cutting violently against any sense of Tolkienesque grandeur Hallford’s prose might be straining to evoke. Most store-bought Halloween costumes look higher rent than this bunch of survivors of an explosion at the Loony Tunes prop department. John Cutter acknowledges the problems:

We digitized a lot of the actors, and we assumed they were going to be so pixelated that the makeup and costumes didn’t have to look that great. They just kind of had to be… close. But by the time we launched the game the technology had improved… yeah. You could see the elastic bands on the fake beards. It was pretty bad. I wasn’t crazy about a lot of the graphics in the game.

Tellingly, the use of digitized actors was the one place where Betrayal at Krondor didn’t blaze its own trail, bowing instead to contemporary trends.

For all of Betrayal at Krondor’s welcome willingness just to try lots of stuff, its approach to story remains its most memorable and interesting quality of all. This aspect of the game was so front and center in the mind of John Cutter that, when he wrote a brief few paragraphs of “Designer Notes” for the manual, it came to occupy more than half the space:

We decided the game should be an interactive story. Characters would be multidimensional and capable of stirring the player’s emotions. The story would be carefully plotted with lots of surprises, a good mix of humor and pathos, and abundant amounts of mystery and foreshadowing to keep the player intrigued.

Balancing play against plot is the most confounding job any game designer can face on a fantasy role-playing game. In Betrayal at Krondor, we have integrated our plot so that it provides ample gaming opportunities, while also giving the player a sense of time, place, and purpose. This is achieved by making an onscreen map available to the player at all times, and by creating short-term goals — the nine chapters in the game — which give us a unique opportunity to tell a progressive story that still gives the player plenty of freedom to explore and adventure without being confined to a scripted plot.

In thus “balancing play against plot,” Cutter and Hallford were attempting to square a circle that had been bedeviling game designers for a long time. All of the things that mark a rich story — characters with agendas of their own; big reveals and shocking turns; the classic narrative structure of rising action, climax, and denouement; dramatic confrontations with expressive dialog — cut against the player’s freedom to go wherever and do whatever she wants. As a designer, says the conventional wisdom, you can’t have it all: you must rather stake out your spot on a continuum where at one end the player does little more than click her way through a railroaded plot line, and at the other she does absolutely anything she wants, but does it in a world bereft of any larger meaning or purpose. Adventure games tend to lean toward the set-piece-storytelling end of the continuum, CRPGs toward open-ended interactivity.

Even CRPGs from around the time of Betrayal at Krondor which are written expansively and well, such as Ultima VII, generally send you wandering through other people’s stories rather than your own. Each city you explore in that game is full of little story stubs revolving around the inhabitants thereof rather than yourself; your role is merely to nudge these dramas of others along to some sort of resolution before you disappear again. Your larger agenda, meanwhile, boils down to the usual real or metaphorical collecting of pieces to assemble the big whatsit at the end — a series of actions which can be done in any order precisely because they’re so simplistic in terms of plot. You’re in the world, but never really feel yourself to be of it.

Cutter and Hallford, however, refused to accept the conventional wisdom embodied by even so markedly innovative a CRPG as Ultima VII. They were determined to deliver the best of both worlds — an adventure-game-like plot and CRPG-like freedom — in the same game. Unsurprisingly, it doesn’t quite work as a whole. Nevertheless, the attempt is well worth discussing.

Betrayal at Krondor positively trumpets its intentions via the metaphors which its user interface employs. Once again ignoring all of the fashions of its time, which emphasized the definitively non-textual aesthetic of the interactive movie, this game presents itself as an interactive book with an enthusiasm worthy of the 1980s heyday of bookware. The overriding look of the game, to the extent it has one amidst all its clashing graphical styles, is of an illuminated manuscript, ink on yellowing parchment. The story is told in a literary past tense, save points become “bookmarks,” and, as Cutter himself noted in the extract above, the whole experience is divided into nine neat “chapters.”

The game is relentless about describing every single event using full sentences worthy of one of Feist’s novels. Sometimes the end result can verge on the ridiculous. For example, every single time you search the body of an opponent you’ve just killed — something you’ll be doing an awful lot of, what with this being a CRPG and all — you’re greeted with a verbose missive:

Owyn looked for supplies. Feeling like a vulture, he turned the body this way and that as he searched for anything that might be of value to them on their journey. All in all, he supposed that if he were the dead man, it wouldn’t matter to him any longer what happened to his belongings.

Every character has the exact same feeling when searching a dead body, despite very different personalities. This is one of many places where Betrayal at Krondor’s verbosity winds up undercutting rather than strengthening its sense of mimesis.

Of course, you can and quickly will learn to click right through this message and its one or two random variations each time you search a corpse. But it remains an amusing sign of just how committed Cutter and Halford were to their “interactive storybook” concept in even the most repetitive, mechanical areas of their creation. (Imagine what Pac-Man would be like if the title character stopped to muse about his actions every time he swallowed a power pill and killed another ghost…)

All of this past-tense verbosity has an oddly distancing effect. You don’t feel like you’re having an adventure so much as reading one — or possibly writing one. You’re held at a remove even from the characters in your party, normally the primary locus of player identification in a game like this one. You don’t get to make your own characters; instead you’re assigned three of them who fulfill the needs of the plot. And, while you can guide their development by earning experience points, improving their skills, and buying them new spells and equipment, you don’t even get to hang onto the same bunch through the whole game. Characters are moved in and out of your party from chapter to chapter — again, as the needs of each chapter’s plot requires. The final effect almost smacks of a literary hypertext, as you explore the possibility space of a story rather than actually feeling yourself to be embodying a role or roles in that story. This is certainly unique, and not necessarily a bad thing. It’s just… a little strange in relation to what we tend to think of CRPGs as being. These are, after all, role-playing games.

As I’ve described it so far, Betrayal at Krondor sounds more akin to the typical Japanese than the Western CRPG. The former tend to lie much closer to the set-piece-story end of our continuum of design; they provide a set, fairly linear plot to walk through, generally complete with predefined characters, rather than the degree of world simulation and open-ended exploration that marks the Western tradition. (A Japanese CRPG is, many a critic has scoffed, just a linear story in which you have to fight a battle to see each successive scene.) Yet Betrayal at Krondor actually doesn’t fit comfortably with that bunch either. For, as Cutter also notes above, he and his design partner were determined to “give the player plenty of freedom to explore and adventure without being bound to a scripted plot.”

Their means of accomplishing that relies once again on the chapter system. Each chapter begins and ends with a big helping of set-piece plot and exposition. In between, though, you’re free to go your own way and take your time in satisfying the conditions that will lead to the end of the chapter. In the first chapter, for example, your assignment is to escort a prisoner across much of the map to the capital city of Krondor. How and when you do so is up to you. The map is filled with encounters and quests, most of which have nothing to do with your central mission. And when you eventually do finish the chapter and continue on with the next, the same map gets repopulated with new things to do. This is the origin of a claim from Dynamix’s marketing department that Betrayal at Krondor is really nine CRPGs in one. In truth, it doesn’t quite live up to that billing. Only a subsection of the map is actually available to you in most chapters, much of it being walled off by impenetrable obstacles or monsters you can’t possibly kill. Even the repopulation that happens between chapters is far from comprehensive. Still, it’s an impressively earnest attempt to combine the pleasures of set-piece plotting with those of an emergent, persistent virtual world.

And yet the combination between set-piece storytelling and emergent exploration always feels like just that: a combination rather than a seamless whole. Cutter and Hallford didn’t, in other words, truly square this particular circle. There’s one massive block of cognitive dissonance standing at the center of it all.

Consider: you’re told at the beginning of the first chapter that your mission of escorting your prisoner to the capital is urgent. Political crisis is in the air, war clouds on the horizon. The situation demands that you hurry to Krondor by the shortest, most direct path. And yet what do you do, if you want to get the most out of the game? You head off in the opposite direction at a relaxed doddle, poking your nose into every cranny you come across. There’s a tacit agreement between game and player that the “urgent” sense of crisis in the air won’t actually evolve into anything until you decide to make it do so by hitting the next plot trigger. Thus the fundamental artificiality of the story is recognized at some level by both game and player, in a way that cuts against everything Betrayal at Krondor claims to want to be. This isn’t really an interactive storybook; it’s still at bottom a collection of gameplay elements wired together with chunks of story that don’t really need to be taken all that seriously at the end of the day.

The same sense of separation shows itself in those lengthy chapter-beginning and -ending expository scenes. A lot of stuff happens in these, including fights involving the characters ostensibly under your control, that you have no control over whatsoever — that are external to the world simulation. And then the demands of plot are satisfied for a while, and the simulation engine kicks back in. This is no better or worse than the vast majority of games with stories, but it certainly isn’t the revolution some of the designers’ claims might seem to imply.

Of course, one might say that all of these observations are rather more philosophical than practical, of more interest to game designers and scholars than the average player; you can suspend your disbelief easily enough and enjoy the game just as it is. There are places in Betrayal at Krondor, however, where some of the knock-on effects of the designers’ priorities really do impact your enjoyment in more tangible ways. For this is a game which can leave you marooned halfway through, unable to move forward and unable to go back.

Dead ends where the only option is to restore are normally less associated with CRPGs than adventure games; they played a big role in all but killing that genre as a commercial proposition by the end of the 1990s. CRPGs are usually more forgiving thanks to their more simulation-oriented nature — but, sadly, Betrayal at Krondor is an exception, due to a confluence of design decisions that all seem perfectly reasonable and were all made with the best of intentions. It thus provides a lesson in unexpected, unintended consequences — a lesson which any game designer would be wise to study.

The blogger Chet Bolingbroke, better known as The CRPG Addict, made these comments recently in the context of another game:

One of the notable features of CRPGs in contrast to some other genres is that they almost always support a Plan B. When one way of playing doesn’t work out, you can almost always resort to a more boring, more banal, grindier method of getting something done. I tend to mentally preface these fallback plans with “I can always…” Having a tough time with the final battle? “I can always reload again and again until the initiative rolls go my way.” Can’t overcome the evil wizard at your current level? “I can always grind.” Running out of resources? “I can always retreat from the dungeon, head back to town and buy a ton of healing potions.”

The most frustrating moments in CRPGs are when you suddenly find yourself with no way to finish “I can always” — when there is no Plan B, when luck alone will never save you, when there isn’t even a long way around.

This is precisely the problem which the player of Betrayal at Krondor can all too easily run into. Not only does the game allow you to ignore the urgent call of its plot, but it actually forces you to do so in order to be successful. If you take the impetus of the story seriously and rush to fulfill your tasks in the early chapters, you won’t build up your characters sufficiently to survive the later ones. Even if you do take your time and explore, trying to accrue experience, focusing on the wrong skills and spells can leave you in the same boat. By the time you realize your predicament, your “Plan B” is nonexistent. You can’t get back to those encounters you skipped in the earlier, easier chapters, and thus can’t grind your characters out of their difficulties. There actually are no random encounters whatsoever in the game, only the fixed ones placed on the map at the beginning of each chapter. I’m no fan of grinding, so I’d normally be all in favor of such a choice, which Cutter and Hallford doubtless made in order to make the game less tedious and increase its sense of narrative verisimilitude. In practice, though, it means that the pool of available money and experience is finite, meaning you need not only to forget the plot and explore everywhere in the earlier chapters but make the right choices in terms of character development there if you hope to succeed in the later ones.

On the whole, then, Betrayal at Krondor acquits itself better in its earlier chapters than in its later ones. It can be a very immersive experience indeed when you first start out with a huge map to roam, full of monsters to battle and quests to discover. By the time said map has been repopulated three or four times, however, roaming across its familiar landmarks yet again, looking for whatever might be new, has begun to lose some of its appeal.

And then, as Neal Hallford would be the first to admit, Betrayal at Krondor is written above all for Raymond E. Feist fans, which can be a bit problematic if you don’t happen to be among them. This was my experience, at any rate. As an outsider to Feist’s universe, watching characters I didn’t know talk about things I’d never heard of eventually got old. When an “iconic” character like Jimmy the Hand shows up, I’m supposed to be all aflutter with excitement, but instead I’m just wondering who this latest jerk in a terrible costume is and why I should care. In my view, the game peaks in Chapter 3, which takes the form of a surprisingly complex self-contained murder mystery; this is a place where the game does succeed in integrating its set-piece and emergent sides to a greater extent than elsewhere. If you elect to stop playing after that chapter, you really won’t miss that much.

As I noted already, Betrayal at Krondor ran dramatically over time and over budget. To their credit, Dynamix’s management didn’t push it out the door in an unfinished state, as was happening with so many other games during this period of transition to larger and more complex productions. Yet everyone, especially poor Neal Hallford, felt the pressure of getting it done. Not only did he write almost every word of the considerable amount of text in the game, but he also wrote much of the manual, and somehow even wound up on the hook for the puff pieces about it in Sierra’s customer newsletter. After weeks of virtually living at the office, he collapsed there one day, clutching at his chest. His colleagues rushed him to the hospital, believing he must be having a heart attack even though he was still in his twenties. It turned out that he wasn’t, but the doctor’s orders were clear: “You’re not going back to work for a week. Get some rest and eat something proper. No pizza. No soft drinks. It’s either this or next time you leave work it’ll be in a hearse.” Such are the perils of commercial game development.

Betrayal at Krondor finally shipped on June 15, 1993, an inauspicious time in the history of CRPGs. Origin Systems was about to take the Ultima series in a radically different direction after a less than overwhelming response to Ultima VII; Sir-Tech was about to put their equally long-running Wizardry series on ice for similar reasons; SSI was facing dwindling sales of their Dungeons & Dragons games and was on the verge of losing the once-coveted license; other publishers were quietly dropping less prominent franchises and would-be franchises. The several years to come would be remembered by CRPG fans as the Dark Age of their favored genre; relatively few of games of this stripe would be released at all, and those that were would be greeted by the marketplace with little enthusiasm.

Initially, Dynamix’s first CRPG performed about as well as you might expect in this environment. Despite some strong reviews, and despite whatever commercial advantages the Feist license brought with it, sales were slow. Cutter and Hallford had gone into Betrayal at Krondor imagining it to be only the first entry in a new series, but it soon appeared unlikely that a sequel would come to pass. Sierra, Dynamix’s parent company, was having an ugly year financially and wasn’t in the mood to make another expensive game in a passé genre, while Jeff Tunnell, the man who had had the original idea for Betrayal at Krondor, had stepped down from day-to-day management at Dynamix in favor of running a smaller subsidiary studio. Cutter and Hallford begged their new bosses to give the game time before making any final decisions, noting that good reviews and positive word of mouth among fans of the novels could yet pay dividends. The leadership team responded by laying Cutter off.

But over time, Betrayal at Krondor continued to sell steadily if not spectacularly. Then a genuine surge in sales came in early 1994, when a CD-ROM-based version featuring a lovely soundtrack and enhanced if still less than lovely graphics was released, just as the influential magazine Computer Gaming World was crowning the game the best CRPG of the previous year. Dynamix now made a belated attempt to start work on a sequel, asking Neal Hallford to helm it. But he considered the budget they were proposing to be inadequate, the time frame for development far too compressed. He turned it down, and left the company shortly thereafter. Dynamix would never make a second CRPG, whether set in Midkemia or anywhere else.

Nevertheless, that wasn’t quite the end of the story. Feist had been profoundly impressed by Betrayal at Krondor, and now took the ludic possibilities of his series of novels much more seriously than he had before seeing it. As soon as the Dynamix license expired at the beginning of 1995, he began to shop the property around once again. Initially, however, he found no one willing to pay his price, what with the current state of the CRPG market. While interactive Midkemia was thus in limbo, Sierra came up with another, cheaper idea for capitalizing on the first game’s slow-burning success. Lacking the Midkemia license, they decided to leverage the first half of the Betrayal at Krondor name instead, releasing the in-house-developed Betrayal in Antara in 1997. It copied some of the interface elements and gameplay approaches of its predecessor, but moved the action to a generic fantasy world, to less satisfying effect.

And yet the story still wasn’t over. Feist had finally found a buyer for the Midkemia rights in 1996 in the form of a publisher known as 7th Level, who signed a studio known as PyroTechnix to make a direct sequel to Betrayal at Krondor at last. But when 7th Level ran into financial difficulties, Sierra of all publishers bought back the rights, along with PyroTechnix’s development contract. The latter completed the game and saw it released under the Sierra imprint in 1998. Feist played a much more active role on Return to Krondor, the game in question, than he had on Betrayal at Krondor, yet the result once again pales in comparison to the first Midkemia game, perhaps because Cutter and Hallford once again played no role. Its mixed reception marks the last official implementation of Midkemia on a computer to date, excepting only a brief-lived MMORPG.

Two of Feist’s later books, 1998’s Krondor: The Betrayal and 2000’s Krondor: Tear of the Gods, were based upon the first and second Midkemia computer game respectively. Thus Midkemia completed its long, strange transmedia journey from game to book to game to book again. Feist continued to churn out Midkemia books until 2013, when he announced that that year’s appropriately named Magician’s End, the 30th (!) entry in the series, would be the last. The later books, however, didn’t sell in the same quantities as the earlier ones, bearing as they did the stale odor of a series long past its sell-by date.

For many of us, Betrayal at Krondor will always remain the most memorable entry in the exercise in competent derivation that is Midkemia as a whole; the game is ironically much more innovative in its medium than the novels which spawned it are in theirs. Indeed, it’s thoroughly unique, a welcome breath of bold originality in a genre usually content to rely on the tried and true, a game which doesn’t work perfectly but perhaps works better than it has any right to. As a writer, I can only applaud a game which takes its writing this seriously. If it’s not quite the revolutionary amalgamation of narrative and interactivity that its creators wanted it to be, it’s still a heck of a lot more interesting than your average dungeon crawl.

(Sources: the book Designers and Dragons by Shannon Appelcline; Sierra’s newsletter InterAction of Winter 1992 and June 1993; Compute! of December 1993; Computer Gaming World of February 1993, April 1994, June 1994, August 1996, and October 1998; Electronic Games of October 1992 and June 1993; Questbusters of November 1991, August 1992, April 1993, and August 1993; Retro Gamer 84; Dragon of January 2004; the CD-ROM Today bundled CD-ROM of August/September 1994. Online sources include Matt Barton’s interviews with Neal Hallford, Jeff Tunnell, and John Cutter in Matt Chat episodes 191, 192, 201, 291, 292, and 293; Neal Hallford’s blog series Krondor Confidential; the “History of Midkemia Press” on the same publisher’s website.

Betrayal at Krondor and Betrayal in Antara are available as a package purchase at GOG.com.)

Comments
51 Responses

- Andrew Pam

October 4, 2019 at 5:02 pm

“In the last 1970s” doesn’t look right.

- Jimmy Maher

October 4, 2019 at 6:28 pm

Indeed. Thanks!

- James Schend

October 4, 2019 at 5:28 pm

I’m a little confused about your mention of Japanese CRPGs. My (probably wrong?) understanding is that Japanese CRPGs of this era were, generally, all knock-offs of the Wizardry series. The story-based games you refer to in this article were primarily on game consoles, and not on PCs either in Japan or the US.

Usually I’ve seen the distinction given as: CRPGs = western-style “world simulation” RPGs primarily on computers, JRPGs = Japanese-style “story-first” RPGs primarily on game consoles.

Anyway a little more explanation in that paragraph might clarify the meaning.

- Jimmy Maher

October 4, 2019 at 6:33 pm

Sounds like there are some assumptions going on here that don’t apply. Not sure if that’s my fault as the writer or not. I don’t mean to draw any particular distinctions between CRPGs on consoles and computers, nor to limit the comparison to Japanese CRPGs contemporaneous with Betrayal at Krondor. Your understanding of what I mean by those games, in other words, is correct.

- Corey Cole

October 23, 2019 at 2:36 pm

My take on early JRPG’s was that the game play was dominated by constant random-encounter combat. You would be exploring the wilderness, or even trying to get to a particular known place, and every 3rd or 4th step, you would get another encounter.

It was fun for a while, but eventually got tedious. However, those encounters were also essential because you needed the level improvements from them to have any chance against the final bosses.

There were lots of positive elements to JRPG’s – lots of equipment choices (with better equipment showing up in stores in hard-to-reach later areas of the game), some interesting stories told bit-by-bit, well-designed “dungeons” (even in SF titles), lovely graphics by standards of the time, and so on.

- whomever

October 4, 2019 at 5:54 pm

Just to back up Jimmy’s excellent writing, I would state that Betrayal at Krondor was probably the best RPG of its time. Flaws and all, it was genuinely fun to play, especially as this was indeed the dark ages between the decline of Ultima and the rebirth that was The Elder Scrolls.

- pawel

October 28, 2019 at 10:23 pm

I’m sorry, are You comparing Ultima VII to Morrowind? Saying that Elder Scroll games was rebirth of Ultima is like saying that your washing machine manual is rebirth of Homer’s Odyssey.

- Charles J. Geringer

October 4, 2019 at 7:15 pm

“Its mixed reception in 1998 marks the last implementation of Midkemia on a computer to date.”

I think that would actually be the short-lived MMO “Midkemia Online”

I think it is worth a footnote that there was a RiftwarsMUSH that IIRC was unoficial, but got Feist´s authorization.

- Jimmy Maher

October 4, 2019 at 7:29 pm

I didn’t know of them. Thanks!

- matt w

October 4, 2019 at 8:42 pm

Typo thing: “Hallford shook hands with his old colleges” -> “colleagues” I think

Thanks for the article!

- Jimmy Maher

October 5, 2019 at 6:27 am

Thanks!

- Neal Hallford

October 4, 2019 at 8:58 pm

Hi Jimmy. Thanks for the exhaustive write-up about BAK. :) It’s nice to see that someone actually read my Krondor Confidential blog series. LOL. Still very proud of this game all these years later, and still the team I miss most from my 30 years in the game industry. I’m thankful that anyone even remembers us anymore.

Best wishes!
Neal

- Jimmy Maher

October 5, 2019 at 6:29 am

Thanks for writing it! If every project had a similarly well-written first-person history, my job would be a lot easier.

- James

October 4, 2019 at 9:14 pm

First post, so I gotta say you are the only writer online I genuinely look forward to reading. Thanks so much.

One thing that struck me when I played this as a young buck was the death of a central character at a certain point in the game. I played alot of crpgs but had never had that happen before. It really felt like a loss from the story side of things and the gameplay perspective (the character was really good for the role they played in the combat portion)
It really felt like losing someone you relied on, and I had to reconfigure my approach to combat afterwards. I understand that it might have resulted in a fail state for others, but in my experience it conveyed a sense of limping toward the finish line after losing a good friend. I can’t quite put it into words, but it’s one of these “gaming moments” that just resonates for me, so much so that I put this game up there with Planescape or Ultima 7 as something that I would suggest to fellow nerds. I get that they had alot of systems that seemed incongruous but that one narrative hook, or whatever it is called, really brought the entire game into focus and instilled a deep melancholy throughout the rest of the game. It also conveyed a sense of “stakes” that are often referred to in games but not built on. It really affected me then, and I’m a bit surprised it didn’t get a nod from you.

Anyways, I think it’s worth mentioning!

- Eric Nyman

October 4, 2019 at 10:20 pm

I live in Oregon and my current boss actually worked for Dynamix for many years in human resources. If you are interested in contacting her for any future writings about the company I’d be happy to get you in touch with her. In her words, she’s not a “computer person” so I don’t know how helpful she’d be to you, but I imagine she would at least remember the people you’re writing about. As an adventure game fan I was pretty stoked when I learned about her employment history.

- Jimmy Maher

October 5, 2019 at 6:30 am

Cool! Not sure when I’ll return to Dynamix again, but I doubtless will at some point. Will make a note of it. Thanks!

- Lisa H.

October 5, 2019 at 5:02 am

written in a manner more immediately accessible to the average Middle American reader, with more action, more narrative thrust, less elevated diction, and markedly less digressive songs and poetry

Hoom, hom, not to be, you know, That Fan!, but while I won’t quibble with the first three, if you think the songs and poetry are digressive, then I feel you are missing something. (NB, I am American, although probably not “the average Middle American reader”, especially not what I imagine that meant in the 50s-early 80s.)

Jeff Tunnel had initially fallen in love

Tunnell.

but the mechanics of the puzzles ingenuously prevent them from ever becoming completely insoluble

I think you mean “ingeniously”.

Many a male player has had a significant other who couldn’t care less about the rest of the game, but loves these puzzle chests…

…Um?
For you this is quite a weirdly sexist remark…?

All of this past-tense verbosity has an oddly distancing effect.

I thought this was a weird design choice in Journey, too, for example.

Consider: you’re told at the beginning of the first chapter that your mission of escorting your prisoner to the capital is urgent. … And yet what do you do, if you want to get the most out of the game? You head off in the opposite direction at a relaxed doddle

I think this is just a baked-in tension to this kind of game design. Do you make it real-time dependent, and possibly (severely) frustrate the player, especially one completely new to the game who may not wish to replay X times to get everything out of it? Or do you make events player-action-dependent and give up any (or most) feeling of verisimilitude with regards to the passage of time? (I haven’t played tons of this sort of western PC RPG, but this sort of setup is very familiar to me from the Final Fantasy games, for example.)

- Jimmy Maher

October 5, 2019 at 6:44 am

Thanks for the corrections!

I didn’t mean “digressive” as a criticism. I actually reread The Lord of the Rings from start to finish fairly recently for the first time in at least 25 years. I did so somewhat grudgingly — “I’m forced to reference this thing over and over in my writing, so I suppose I need to refresh myself on it” — and was surprised at how much I enjoyed it. The digressive bits were often the best ones, given that I knew how the story was going to end. It was enough to make me reevaluate Tolkien somewhat. He’ll never be one of my absolute favorite writers, but he certainly moved up a notch or two in my estimation. (Although all of the self-consciously epic diction in the first part of Return of the King in particular still bores me…)

To your other point: that was an anecdote that turned up in a couple of places. I included it because I thought it was amusing. It’s no secret that most people playing monster-killing CRPGs in the 1990s were males, while women, to the extent they were playing computer games at all, tended to lean toward more casual styles. The anecdote was meant to be descriptive, not prescriptive. But I can see that it perhaps doesn’t strike quite the right note. It can be fixed easily enough by excising one word. Thanks!

- Scurra

October 5, 2019 at 2:05 pm

Indeed, I’m one of those terribly boring folk who will argue that if you know the novel already, then you can actually read just the poems and nothing else and get a pretty good impression of the narrative flow…
(I would also note that the prose style deliberately shifting to mirror the culture that the story space is currently occupying is one of the things that sets Tolkien apart from most genre writers. But it’s true that the Gondor sections can be a bit pompous as a result – although personally I tend to find the overtly Beowulf-y form of Rohan to be more annoying.)

As to BaK itself – it wasn’t until Deus Ex that I found another game that felt as though everytime I replayed it, I could find entirely new subplots that I hadn’t seen on previous runs. And, like DX, it was engaging enough that I was willing to replay it, which wasn’t true of most RPGs (and certainly not of point-and-clickers, even if they too often had some mild branching elements.)

- Jimmy Maher

October 5, 2019 at 2:29 pm

Yes, while I’d never call Tolkien a Modernist (much less a Postmodernist), The Lords of the Rings becomes downright meta-textual at times in Book 3 and 5. I can respect what the author is doing, but I’m not sure it does much for the reader. It creates a distancing effect and makes kind of boring scenes that ought to be incredibly exciting. I’m more down with the hobbits than the rest of the Fellowship, in other words. ;)

Speaking of which: reading the books as a young man, I was much more interested in the big scenes of battle, and thus preferred the non-Frodo arc. This time through, though, I found Frodo and Sam’s literal descent into Hell much more compelling, moving, and often horrifying. Tolkien’s Catholicism can really be felt here. And then there’s the way he shows Frodo to be scarred by his adventure when it’s all over… something else few of his successors would even think to do, and something that emerges from the space spiritual wellspring, methinks.

- whomever

October 5, 2019 at 2:59 pm

I suspect Tolkien would be absolutely insulted at the very idea of even being considered a modernist. Let’s not forget he was THE expert on old and middle English in his days, wrote the canonical essay on Beowulf and generally had a certain old-fashioned identity even for his day. It’s why I at least am willing to overlook certain of the very problematic, ah, racial aspects of his works…and yes, the Catholicism also shines through (True story: He was the one who made CS Lewis so christian, though of course Lewis was an evangelical protestant).

- Fuck David Cage

October 5, 2019 at 3:17 pm

I can think of great R.P.G.s where you cannot win just by grinding

Disgaea: The geo panels change the game by adding effects to areas of the battlefield that weaken or cripple your characters, overpower the enemies, clone them or make them invincible and turn a lot of battles into challenging puzzles.

Superhero League of Hoboken: The endgame will be nearly impossible if you rush through the game and only level up your base characters, and you cannot go back to old areas and grind. You really need to micromanage skill distribution and leveling and limit your killing until more powerful guys are available.

Mario versus Rabbids Kingdom Battle: The final battles are hard even if you level as much as possible, the movement and behavior of enemies force you to use strategy and tactics to avoid them, and there are stages which are annoying escort missions.

Bloodnet: You are slowly turning into a vampire and will die if you do not drink enough blood or lose your soul if you drink too much blood. Finish the game quickly, control your behavior or you are fucked.

Half Minute Hero 1 and 2: Your main fear is not overpowered enemies, but time: You have half a minute to beat each quest. You can get more, but it get costly and you can sometimes get altenate endings by doing things at the right time.

- John

October 6, 2019 at 12:44 pm

That’s an odd way to characterize Disgaea. While it’s true that there are occasional puzzle levels, the Disgaea series is designed around grind, full of systems, the Item World foremost among them, intended to allow and incentivize grinding. What’s more, while it may not take much grinding to beat the main story line, the optional levels absolutely require it in what I consider to be vast amounts.

- Fuck David Cage

October 5, 2019 at 3:19 pm

I usually love Sierra and Dynamix, but I honestly think this is the most overrated C.R.P.G. and one of the worst ones. I thought the writing was bland, the pacing was a mess, the puzzles–which are usually very strong in Sierra and Dynamix games–were stupid and nonsensical, the combat was boring and it was just a very bland and boring game.

- Brent

October 5, 2019 at 7:00 pm

Nah.

- Rhuantavan

October 9, 2019 at 10:09 am

You’re wrong.

- Killer-Hrapp

March 4, 2020 at 5:12 pm

I disagree with each point, fairly wholeheartedly.

1) The writing simply isn’t bland, even by (fantasy) novel standards. Compared to other rpgs and computer games, it’s *very* colorful and detailed, and descriptive. I can’t fathom how you’d define it as bland.
2) The pacing is excellent – unless you choose for it not to be by exploring every inch of the world. If you actually “role-play” with any sense of agency, it’s pacing is dead-on. Again, doesn’t seem like a fair assessment.
3) Which puzzles are you talking about? Some of the lock-chest riddles are obscenely difficult (and rewarding). The battle-grid puzzles with cannons and staffs are for the most part simple, but often challenging. And, most importantly, the actual side-quest/plot puzzles are fantastic . . . if you can be bothered to follow them, which is no criticism of the game.
4) The combat is fun, technical, and fast-paced. (And can be very difficult).

In sum, your review seems cursory at best, biased (for some reason), and in all honesty, sounds like it’s coming from someone who’s barely played the game, or never gave it a chance.

P.S.- “the most overrated CRPG and one of the worst ones” – oh my. Hahaha, with detailed, no-context insights such as “it’s bland, and boring” you’ve clearly delved deeply into the game.

- xxx

October 5, 2019 at 5:13 pm

I apologize for this particularly nerdy nitpick, but… you write that “In time, said novels would become as big a part of their business as the games whose names the books bore on their spines.” The TSR novels actually didn’t have any reference to Dungeons & Dragons on their spines or covers. Example:

https://media.karousell.com/media/photos/products/2019/01/26/dragonlance_novels_galore_advanced_dungeons_and_dragons_world_of_krynn_eberron_books_1548502388_4ca902f1_progressive.jpg

- Jimmy Maher

October 5, 2019 at 7:05 pm

Fair enough. Thanks!

- Aula

October 5, 2019 at 5:43 pm

“a game which takes it writing this seriously”

should be “its writing”

- Jimmy Maher

October 5, 2019 at 6:51 pm

Thanks!

- Elzair

October 5, 2019 at 6:34 pm

Will this one make the Hall of Fame? I am unsure based on the write up.

- Jimmy Maher

October 5, 2019 at 7:04 pm

No. For me, it’s a worthy effort but it doesn’t quite nail it. But it’s just my arbitrary list, not gospel.

- dsparil

October 7, 2019 at 11:24 am

Return’s to Krondor’s development is a little more complicated than Feist going back to Sierra. 7th Level purchased the rights to the franchise and started working on RtK. They then passed passed on work to Pyrotechnix to finish it up. 7th Level was having financial difficulties in late ’97 and sold the rights to Sierra who also bought Pyrotechnix at the same time. Mobygames says that they were a subsidiary of 7th Level, but I don’t know how accurate that is.

This is briefly documented in the Oct. ’98 issue of CGW. I had originally tried posting this comment with a link to the issue, but it seems to not have gotten through the comment filter.

- Jimmy Maher

October 8, 2019 at 6:44 pm

Edits made. Thanks!

- Alex Freeman

October 9, 2019 at 1:41 am

I must admit that I’ve personally read only the first book of Feist’s series, and not even to completion at that. This sort of derivative high fantasy doesn’t do much for me as a rule, so I’m not the best person to judge Feist’s output under any circumstances. Anything positive I do say about it runs the risk of damning with faint praise.

You might like Jonathan Strange & Mr. Norrell. It was well received by critics. It’s definitely not your typical fantasy novel.

- Jimmy Maher

October 9, 2019 at 3:36 pm

Yeah, I remember hearing a lot about that one. Thought about reading it, but never quite got around to it. I guess I just get enough fantasy through games. ;)

- quinoa

October 11, 2019 at 3:27 pm

I found your blog via Chester Bolingbrok’s “CRPG Addict blog”. I’ve read only half a dozen of your articles so far but I really liked them. This one is exceptionally well written. Thank for all this effort!

- Ralf E.

October 12, 2019 at 9:38 pm

There’s one specific mechanical aspect that surprised me about BaK. In the course of the game you acquire an item that will allow you to instantly kill any enemy in a fight. It has a very limited number of times that it can be used, and the game gives you ample time to use it.
But if you hold on to it to the very end of the game it will work on the final boss, the Big Bad, and the fight will be over before it really begins.
Most games would through somehow take that item away, or have some reason why it would be ineffective on special enemies, but not BoK. You have it, it’ll work.

- Gilles Duchesne

October 22, 2019 at 1:53 am

BaK was one of the first DOS game I played end-to-end, coming from a C64/Amiga background. I absolutely loved it. I can definitely acknowledge every shortcoming you mentioned, but to me everything just jelled into place. Luuuuurved it.
(Oh, and I’m aware I’m not adding anything relevant to this weeks-old comments thread, but once again I enjoyed the game so much I felt compelled to say so. So there. ;-) )

- Corey Cole

October 23, 2019 at 2:51 pm

I am (or was) a Raymond Feist fan – I considered the Magician series to be one of the most readable and interesting fantasy series in the 1970’s/80’s.

I only played an hour or two of Betrayal at Krondor, but I liked what I saw. I have a quibble about the “word-lock” chests in that, who is writing the poetic clues? If I lock a chest, I probably don’t want to let every stranger know the key.

That said, after months of trying to do visual puzzles with 3D gears and getting nowhere, Lori and I ended up adopting a similar approach for trap disarming in Hero-U: Rogue to Redemption. We decided not to do it for lock-picking because it would slow the game down, but traps are less frequent.

We don’t have poems for the locks, but they are themed. If you’re in the Sea Caves, many of the solution words relate to pirates. If you’re practicing on traps keyed by the rogue instructor, they tend to be based on words such as “thief” or “disarm”. The game excuse for using words to disarm traps is that Shawn has a “trap tapper” device that is actually interpreting the trap mechanism in the form of a word.

The actual mechanism is a hybrid of Hangman, Mastermind, and Krondor word locks. We also incorporated our RPG stat mechanics – High “Tool Use” skill eliminates some wrong letters from the selection dial. As you try a letter in a particular position in the word, you get feedback as to whether it’s in the right place, wrong position, or not in the word. A subtle hint is that letters disappear from the wheel as they’re used unless the letter appears more than once in the word.

Spit topic… Ref: ‘There’s a tacit agreement between game and player that the “urgent” sense of crisis in the air won’t actually evolve into anything until you decide to make it do so by hitting the next plot trigger.’

That’s exactly how quests work in World of Warcraft. Occasionally it feels silly, but for the most part “urgent” quests add a sense of tension and excitement. In one recent quest, you’re told that an important prisoner is scheduled to be executed at dawn, and only you can rescue him. But if you spend weeks doing other things and finally get around to the quest, you’re just in time to save him. Ludicrous, but pretty good story telling if you reinterpret it in your mind as, “He just got arrested” or such.

- Corey Cole

October 23, 2019 at 2:53 pm

“Spit” –> “Split”, oops. If there are other typos, sorry!

- Jimmy Maher

October 23, 2019 at 3:13 pm

For what it’s worth, the chest are given the justification that their primary function is to function as a drop point for Moredhel spies to pass messages and supplies back and forth. Since spies in the field can’t really tote big bunches of keys around, this is the alternative. Further, the riddles are written in the Moredhel language, which apparently virtually no one who isn’t a Moredhel can read. (Luckily, you have a renegade Moredhel in your party…)

- slimehunter

October 24, 2019 at 2:48 pm

Great article. I just recently staryed playing BaK for the first time and am becoming a huge fan of the game and the universe.
Really enjoy your articles, Jimmy, and love absorbing knowledge of early games that I missed out on.

- Wolfeye M.

October 27, 2019 at 1:21 pm

I played BAK many years ago, it was one of the first CRPGs I played after Morrowind. At first, the graphics put me off, but the gameplay and interesting story hooked me enough to beat it. I seem to remember getting stuck the first time out, reading an FAQ, and restarting, being more mindful of doing everything I could find to make sure my characters were strong enough… and making sure to save a certain item of instakill for the end, laughing as I used it to beat the big bad.

In what may be a rare case, the game got me into the books. After I beat the game, I went to the library and found Feist’s books, starting with Krondor: the Betrayal then going back to Magician and reading them in order.

Feist wrote 30 books in the series, and it ended in 2013 with Magician’s End. Odd you don’t mention that in your article you wrote in 2019.

The series did decline, and well, if you’re someone who gets attached to characters, like I do, I can’t recommend reading the whole series of all 30 books. Feist seems to delight in being rotten to the characters he writes about. It wore me out to the point I stopped reading the series well before Magician’s End. But, the first few were very good, if you’re into fantasy stuff.

- Jimmy Maher

October 28, 2019 at 3:31 pm

I didn’t know he finally hung it up. Thanks!

- pawel

October 28, 2019 at 10:34 pm

If You are fortunate enough to know Polish try books by Jacek Dukaj – Other Songs, Ice or Black Oceans (maybe they’ll be translated at some point). If You are older than 8 it’s I think pointless to read Feist, Tolkien if You are older than 15 and Sapkowski if You are older than 25.

- James Hofmann

January 6, 2020 at 12:24 pm

Something that instantly came to mind when I read the section mentioning Tunnels and Trolls: Crusaders of Khazan was that there’s a more direct link to the JRPG world there, given how that game passed through the hands of Japanese PC-98 developers before Hallford was subjected to it – and yet, it’s not really like a typical PC-98 RPG of the era either, exactly, since it has a kind of unique nonsense going for it by being a direct adaptation from English-language gamebooks. Unlike the Gold Box games which come to mind as the closest contemporaries, and which tended towards combat, Khazan presents a lot of choice events, all the time.

Going into BaK, “how to do that game properly” would naturally land near the top of Hallford’s mind, and that in turn would result in the approach to scenario that has so much emphasis on written details for every event, overlaid on the systems concepts Cutter brought to the table. The choices are dispensed with; BaK events are resolved not by choosing the right thing but with an automatic stat roll or inventory or quest flag check, which gives them a kind of inevitability.

It should be noted that BaK is also relatively systems-light compared to the prevailing norms. While Ultima VII had gone even more streamlined in terms of character stats, it really complicated the world model with the world scale and inventory management; and if one looks at games like Darklands or the Realms of Arkania series, there’s a contrary trend towards heavier stat-oriented simulation that is rather intimidating; very few games since have tried to follow this path further(though Dwarf Fortress comes to mind as a success story). BaK’s path manages to strike balances everywhere. There are stats and skills, but they’re functional to the scenario, and don’t lead towards elaborate character generation with red herring skillsets. You can’t carry “too much,” and the game guards against dead-man-walking scenarios, with the sole exception of the problem of underpowered characters in the later game.

This is something they nearly could have gotten right, too, with a little more design insight: since they have multiple discrete chapters that do not have hard dependencies on each other, there’s nothing that would have stopped them from allowing players to return to previous chapters and explore them further from any point in the game, sharing character stats and inventories across chapters – and quest items being broken out into something separate from the main inventory. It breaks the timeline of the narrative, but this was already the case with the mixed messages about the urgency of plot events. As a bonus it would let you go into the earlier game with high-powered characters and roll through opposition, always a joy in CRPGs.

- Rafael M.

January 23, 2020 at 4:34 pm

I always thought the silliness of the costumes (especially the wigs, my god) were kinda charming and added a unique personality to the game. It’s impossible to play this without a slight smirk. But coupled with the enjoyable (never too hard) combat, open world exploration, and the great story, this is for sure one of the best RPGs I’ve ever played.

- Barry Boone

May 14, 2020 at 3:34 pm

Coincidentally, I went to high school with Neal Hallford before making a name for myself porting Infocom games, it truly is a small world :)

- Jimmy Maher

May 14, 2020 at 3:43 pm

Wow! It is indeed.

New Tricks for an Old Z-Machine, Part 1: Digging the Trenches
October 18, 2019

One of the most oddly inspiring stories I know of in all computing history is that of the resurrection and re-purposing of the Z-Machine, Infocom’s virtual machine of the 1980s, to serve a whole new community of interactive-fiction enthusiasts in the 1990s and well beyond. Even as the simple 8-bit computers for which it had originally been designed became obsolete, and then became veritable antiques, the Z-Machine just kept soldiering on, continuing to act as the delivery system for hundreds of brand new games that post-dated the company that had created it by years and eventually decades. The community of hobbyist practitioners who spawned the Interactive Fiction Renaissance of the mid-1990s made the Z-Machine one of their technological bedrocks for reasons more sentimental than practical: most of them worshiped Infocom, and loved the way that distributing their games via Infocom’s venerable virtual machine made them feel like the anointed heirs to that legacy. The Z-Machine was reborn, in other words, largely out of nostalgia. Very soon, though, the hobbyists’ restless creativity pushed and twisted the Z-Machine, and the genre of games it hosted, in all sorts of ways of which even Infocom at their most experimental could never have dreamed. Thus a regressive became a progressive impulse.

In the end, then, a design which Joel Berez and Marc Blank first sketched out hurriedly at their kitchen tables in 1979, in response to the urgently immediate problem of how to move their DEC PDP-10 game of Zork out of the MIT computer lab and onto microcomputers, didn’t fall out of general use as a delivery medium for new games until after 2010. And even today it still remains in active use as a legacy technology, the delivery medium for half or more of the best text adventures in the historical canon. In terms of the sheer number of platforms on which it runs, it must have a strong claim to being the most successful virtual machine in history; it runs on everything from e-readers to game consoles, from mobile phones to mainframes, from personal computers to electronic personal assistants. (To paraphrase an old joke, it really wouldn’t surprise me to learn that someone is running it on her toaster…) Its longevity is both a tribute to the fundamental soundness of its original design and to the enduring hold which Infocom’s pioneering interactive fiction of the 1980s has had upon more recent practitioners of the form. Like so many technology stories, in other words, the story of the Z-Machine is really about people.

One of the more ironic aspects of the Z-Machine story is the fact that it was never designed to be promulgated in this way. It was never intended to be a community software project; it was no Linux, no Mozilla, no Java. The ideological framework that would lead to such projects didn’t even exist apart from a handful of closeted university campuses at the time Berez and Blank were drawing it up. The Z-Machine was a closed, proprietary technology, closely guarded by Infocom during their heyday as one of their greatest competitive advantages over their rivals.

The first order of business for anyone outside of Infocom who wished to do anything with it, then, was to figure it out — because Infocom certainly wasn’t telling. This first article in a series of three is the story of those first intrepid Z-Machine archaeologists, who came to it knowing nothing and began, bit by bit, to puzzle it out. Little did they know that they were laying the foundation of an artistic movement. Graham Nelson, the most important single technical and creative architect of the Interactive Fiction Renaissance of the 1990s (and thus the eventual subject of my second and third articles), said it most cogently: “If I have hacked deeper than them, it is because I stand in their trenches.”

Although the Z-Machine was decidedly not intended as a community project, Infocom in their heyday made no particular attempt to hide the abstract fact that they were the proud possessors of some unusual technology. The early- and mid-1980s, Infocom’s commercial peak, was still the Wild West era of personal computing in the United States, with dozens of incompatible models jockeying for space on store shelves. Almost every published profile of Infocom — and there were many of them — made mention of the unique technology which somehow allowed them to write a game on a big DEC PDP-10 of the sort usually found only in universities and research laboratories, then move it onto as many as 25 normally incompatible microcomputers all at once. This was, perhaps even more so than their superb parser and general commitment to good writing and design, their secret weapon, allowing them to make games for the whole of the market, including parts of it that were served by virtually no other publishers.

So, even if highfalutin phrases like “virtual machine” weren’t yet tripping off the tongue of the average bedroom hacker, it wasn’t hard to divine what Infocom must be doing in the broad strokes. The specifics, however, were another matter. For, while Infocom didn’t hide the existence of a Z-Machine in the abstract, they had no vested interest in advertising how it worked.

The very first outsiders to begin to explore the vagaries of the Z-Machine actually had no real awareness of doing so. They were simply trying to devise ways of copying Infocom’s games — most charitably, so that they could make personal backups of them; most likely, so that they could trade them with their friends. They published their findings in organs like The Computist, an underground magazine for Apple II owners which focused mainly on defeating copy protection, hacking games, and otherwise doing things that the software publishers would prefer you didn’t. By 1984, you could learn how Infocom’s (unimpressive) copy-protection scheme worked from the magazine; by 1986, you could type in a program listing from it that would dump most of the text in a game for cheating purposes.

But plumbing the depths of a virtual machine whose very existence was only implicit was hard work, especially when one was forced to carry it out on such a basic computer as the Apple II. People tended to really dive in only when they had some compelling, practical reason. Thus users of the Apple II and other popular, well-supported platforms mostly contented themselves with fairly shallow explorations such as those just described. Users of some other platforms, however, weren’t fortunate enough to enjoy the ongoing support of the company that had made their computer and a large quantity of software on the shelves at their local computer store; they had a stronger motivation for going deeper.

Over the course of the 1980s, the American computing scene became steadily more monolithic, as an industry that had once boasted dozens of incompatible systems collapsed toward the uniformity that would mark most of the 1990s, when MS-DOS, Microsoft Windows, and (to rather a lesser extent) the Apple Macintosh would be the only viable options for anyone wishing to run the latest shrink-wrapped commercial software. This gradual change was reflected in Infocom’s product catalog. After peaking at 25 or so machines in 1984, they released their final few games in 1988 and 1989 on just four of them. The realities of the market by then were such that it just didn’t make sense to support more platforms than that.

But technical transitions like these always come with their fair share of friction. In this case, plenty of people who had been unlucky or unwise enough to purchase one of the orphaned machines were left to consider their options. Some of them gave up on computing altogether, while others sucked it up and bought another model. But some of these folks either couldn’t afford to buy something else, or had fallen hopelessly in love with their first computer, or were just too stubborn to give it up. This state of affairs led directly to the world’s first full-fledged Z-Machine interpreter to be born outside of Infocom.

The orphaned machine at the heart of this story is the Texas Instruments 99/4A, a sturdy, thoughtfully designed little computer in many respects which enjoyed a spectacular Christmas of 1982, only to be buried by Jack Tramiel under an avalanche of Commodore VIC/20s and 64s the following year. On October 28, 1983, Texas Instruments announced they were pulling out of the home-computer market entirely, thus marking the end of one of the more frantic boom-and-bust cycles in computing history. It left in its wake hundreds of thousands of people with 99/4As on their desks or in their closets — both those who had bought the machine when it was still a going proposition and many more who snatched up some of the unsold inventory which Texas Instruments dumped onto the market afterward, at street prices of $50 or less. The number of active 99/4A users would inevitably decrease sharply as time went on, but some clung to their machines like the first loves they often were, for all of the reasons cited above.

This little 99/4A fraternity would prove sufficiently loyal to the platform to support an under-the-radar commercial- software ecosystem of their own into the 1990s. For many users, the platform was appealing not least in that it never lost the homegrown charm of the very earliest days of personal computing, when every user was a programmer to one degree or another, when the magazines were full of do-it-yourself hardware projects and type-in program listings, and when one kid working from his bedroom could change the accepted best practices of everyone else almost overnight. The Z-Machine interpreter that interests us today was a reflection of this can-do spirit.

Infocom’s first taste of major success had corresponded with the 99/4A’s one great Christmas. Naturally, they had made sure their games were available on one of the hottest computers in the country. Even after Texas Instruments officially abandoned the 99/4A, there was no immediate reason to ignore its many owners. Thus Infocom continued to make versions of their games for the machine through The Hitchhiker’s Guide to the Galaxy in September of 1984. In all, they released fourteen 99/4A games.

But continuing to support any given machine eventually tended to become a more complicated proposition than simply continuing to use an already-extant interpreter. The Z-Machine in reality was more of a moving target than the abstract idea behind it might suggest. Infocom’s games got steadily bigger and richer as time went on, with more text, better parsers, and more ambitious world models. The original Z-Machine, as designed in 1979, had a theoretical maximum story-file size of 128 K, but the practical limitations of the machines running the interpreters kept the early games from reaching anything close to this size. (The original Zork, for example, Infocom’s very first game, was just 77 K.) As story files pushed ever closer to their theoretical maximum size in the years that followed, they began to exceed the practical limitations of some existing interpreters. When that happened, Infocom had to decide whether reworking the interpreter to support a larger story file was possible at all, and, if so, whether it was worth the effort in light of a platform’s sales figures. Following Hitchhiker’s (story-file size: 110 K), their fourteenth game, but before Suspect (story-file size: 120 K), their fifteenth, Infocom judged the answer to one or both of those questions to be no in the case of the 99/4A.

Barry Boone, the first person outside of Infocom to create a full-fledged Z-Machine interpreter.

As one might expect, this decision left a number of 99/4A users sorely disappointed. Among them was Barry Boone, a clever young man just out of high school who was already one of the leading lights of 99/4A hackery. Having read enough about Infocom to understand that their game format must be in some sense portable, he started doggedly digging into the details of its implementation. Soon he was able to make a clear delineation between the interpreter running natively on his machine and the story file it executed — a delineation the Apple II crowd writing for The Computist had yet to manage. And then he uncovered the big secret: that the interpreter packaged with one game could actually run the story file from another — even if said story file originated on a platform other than the 99/4A! Boone:

Having worked out the file format, I wrote a program to crunch the non-TI files and build the TI files. The resulting files appeared to work, but I quickly discovered [a] problem. If I converted an older game that already existed in TI format, everything worked perfectly. But with the newer games, there was a big problem.

The problem was that the interpreter software written for the TI had a number of bugs, many of which did not show up with the original set of games, but became all too apparent with the newer ones and made them unplayable. So I began a process of reverse-engineering the Z-Code interpreter for the TI. Once I reached a point of having recreated the source code, I began working on making the code more efficient, and fixing numerous bugs in the implementation. The largest bug I encountered was a vocabulary-table bug. Basically, the original TI interpreter would hit an overflow bug if the vocabulary table was too large, and the binary-search algorithm would start searching the wrong area of memory to look up words. This had the effect of making the last portion of the vocabulary inaccessible, and made the game impossible to play.

I also added a number of enhancements that allowed the games to load about twenty times faster, and modifications to play the games on TI systems equipped with 80-column displays. Finally, I had to make a second variation of the interpreter so that persons who had an extra 8 K of RAM (known as a Super Cart, or Super Space module) could play some of the games that required a larger memory footprint than 24 K of memory buffer. These games included Leather Goddesses.

Boone estimates that he finished his interpreter around 1986, whereupon he promptly began sharing it with his network of friends and fellow 99/4A enthusiasts, who used it to play many of the newer Infocom story files, transferring them from disks for other platforms. Boone was stymied only by the games from Infocom’s Interactive Fiction Plus line, such as A Mind Forever Voyaging and Trinity. Those games used an expanded version of the Z-Machine, known internally as version 4 — the mature version of the original virtual machine was version 3 — which expanded the available memory space to 256 K, far beyond what the 99/4A could possibly manage. Even without them, however, Boone gave himself and his mates ten new Infocom games to play — i.e., all of those released for the 128 K Z-Machine between October of 1984 and July of 1987, when this original incarnation of the virtual machine made its last bow in Infocom packaging.

But even that wasn’t quite the end of the story. An obscure footnote to Infocom’s history took shape in late 1988 or early 1989, when Chris Bobbitt, founder of a company called Asgard, the 99/4A software publisher that most resembled a real business as opposed to a hobbyist project, had the idea of contacting Infocom themselves to ask permission to market the newer games, running under Boone’s interpreter, as legitimate commercial products. Although Bobbitt doubtless didn’t realize it at the time, Infocom was by then on the verge of being shut down, and Mediagenic, their less-than-doting parent company, were also beginning to feel the financial stresses that would force them into bankruptcy in 1990. They saw Bobbitt’s proposal as a handy way to clear their warehouse of old stock and make some desperately needed cash. Jim Fetzner, who worked with Asgard at the time, remembers how the deal went down:

[Bobbitt] contacted Infocom to ask for permission to release the later Infocom releases, and was given permission to do so on one condition: that the packaging and disks had to be originals for other systems, relabeled (the packaging) and reformatted (the disks) for use with the TI. Infocom scoured their warehouse and sent Chris two very large boxes of the titles he was asking to reproduce—and noted on the invoice that these boxes included every single copy of the relevant titles that Infocom still had in their possession. Some of the titles were relatively plentiful, but others were included in much lower numbers. The boxes only contained four copies of Leather Goddesses of Phobos, for example. All other titles had at least ten copies each, and some had a lot more. He was permitted to buy more copies from remainders in the retail channels, though, so it is possible there are more properly badged Asgard copies of the titles that were harder to find. All of the stock he received from Infocom was gone in a matter of months.

These games, which Bobbitt bought for $5 apiece and sold on for several times that, thereby became the last new Infocom games ever sold in their original packaging — out-of-print games from a dead company sold to owners of an orphaned computer.

Asgard prepared their own platform-specific reference card after the Infocom example and inserted it into the box.

Well before Asgard entered the scene, however, another, more structured and sustainable project had led to a Z-Machine interpreter much more amenable to being ported and built upon than Boone’s incarnation of same for an idiosyncratic, bare-bones, orphaned platform. Not long after Boone first started sharing his 99/4A interpreter with friends, a few students at the University of Sydney in far-off Australia started disassembling another of Infocom’s own interpreters — in this case one for Zilog Z80-based computers running the operating system CP/M. The group included in their ranks David Beazley, George Janczuk, Peter Lisle, Russell Hoare, and Chris Tham. They gave themselves the rather grandiose name of the InfoTaskforce, but they initially regarded the project, said Janczuk to me recently, strictly as “a form of mental calisthenics”: “This was never meant to be a public exercise.”

Still, the group had several advantages which Boone had lacked — in addition, that is, to the advantage of sheer numbers. Boone had been a bedroom hacker working on fairly primitive hardware, where cryptic assembly language, highly specific to the computer on which it was running, was the only viable option. The InfoTaskforce, on the other hand, had more advanced hardware at their disposal, and were steeped in the culture of institutional hacking, where portable C was the most popular programming language and software was typically distributed as source code, ready to be analyzed, ported, and expanded upon by people other than its creators, quite possibly working on platforms of which said creators had never dreamed. And then, thanks to their university, the InfoTaskforce was connected to the Internet, long before most people had even heard of such a thing; this gave them a way to share their work quickly with others across a wide, international swath of computing. The contrast with the segregated ghetto that was the world of the 99/4A is telling.

David Beazley, who did almost all of the actual coding for the InfoTaskforce interpreter — the others had their hands full enough with reverse-engineering the Z-Machine architecture — did so in C on a first-generation Apple Macintosh. On May 25, 1987, he used this machine to compile the first truly portable Z-Machine interpreter in history. Within a week, he and his mates had also gotten it compiled and running on an MS-DOS machine and a big DEC VAX. (Ironically, the latter was the successor to the PDP-10 line so famously employed by Infocom themselves; thus one might say that the Z-Machine had already come full-circle.)

As Janczuk remembers it, the first version of the interpreter to reach the Internet actually did so accidentally. He gave it to a friend of his at university, who, as so many friends have done over the years, uploaded it without permission on June 2, 1987. There followed an immediate outpouring of interest from all over the world, which greatly surprised the interpreter’s own creators. It prompted them to release an official version 1.0, capable of playing any story file for the standard — i.e., 128 K — Z-Machine on August 1, 1987. Already by this time, the Commodore Amiga personal computer and several more big machines had been added to the list of confirmed-compatible host platforms. It was a milestone day in the history of interactive fiction; Infocom’s games had been freed from the tyranny of the hardware for which they’d originally shipped. And they could remain free of the vicissitudes and fashions of hardware forevermore, as long as there was an enterprising hacker ready to tweak an existing interpreter’s source code to suit the latest gadget to come down the pipe. (So far, there has been no shortage of such hackers…)

With their university days coming to an end, the InfoTaskforce boys worked on their interpreter only in fits and starts over the years that followed. Not until 1990 did they finish adding support for the Interactive Fiction Plus line; not until 1992, in a final burst of activity, did they add support for Infocom’s last few text-only games, which ran under what was known internally as the version 5 Z-Machine. This last release of the InfoTaskforce interpreter actually attracted a bit of scoffing for its inefficiency, and for generally lagging behind what other hackers had done by that point in other interpreters.

In reality, information and inspiration rather than the software itself were the most important legacies of the InfoTaskForce interpreter. Beazley’s C source told you almost all of what you really needed to know about the Z-Machine, so long as you were sufficiently motivated to dig out the information you needed; doing so was certainly a fair sight more pleasant than poring over eye-watering printouts of cryptic disassembled Z80 machine language, as Beazley and his pals had been forced to do before coming up with it. The InfoTaskforce interpreter thus became the gateway through which the Z-Machine burst into the public domain, even as Infocom was soon to collapse and abandon their virtual machine. This was a role which Boone’s interpreter, for all its naïve brilliance, just wasn’t equipped to play, for all of the reasons we’ve already explored.

An enterprising American hacker named Mark Howell did perhaps the most to build upon the foundation of the InfoTaskforce interpreter during the half-decade after its initial appearance. His own interpreter bore the name of ZIP (for “Z-Machine Implementation Program”), a name it shared with the popular compression format, to enormous confusion all the way around — although, to be fair, this was also the name by which Infocom knew their own interpreters. ZIP was faster and less buggy than the InfoTaskforce interpreter, and for this reason it soon surpassed its older sibling in popularity. But Howell also delved further into the architecture of the Z-Machine than anyone before him, analyzing its design like a computer scientist might rather than as a hacker simply trying to write a quick-and-dirty clone of Infocom’s existing interpreters. When he came up for air, he uploaded his set of “ZTools” — programs for probing story files in all sorts of ways, including a disassembler for the actual code they contained. These tools did much to set the stage for the next phase of the Z-Machine’s resurrection and liberation.

In 1992, another building block fell into place when Activision shipped their Lost Treasures of Infocom collection to unexpected success. It and its sequel collected all of the Infocom games together in one place at a reasonable price, stored as neatly discrete story files ready to be fed into either the original Infocom interpreters included on the disks or an alternative of one’s choice. Lost Treasures shipped only in versions for MS-DOS, the Apple Macintosh, and the Commodore Amiga — the last three commercially viable personal-computing platforms left in North America by that time (and the Amiga wouldn’t enjoy that status much longer). But users of orphaned and non-North American platforms were soon passing around the tip that, if you could just get the story files off of the original Lost Treasures disks, they could be run on their own platforms as well with one of the interpreters that had by now spread far and wide. For example, our old friends at The Computist, still carrying the 8-bit torch in these twilight days of the Apple II, published instructions on how to do just that — a fitting end point to their earliest explorations of the Infocom format.

Across the Atlantic, meanwhile, the magazine Acorn User published a similar article for users of the Acorn Archimedes, a machine that was virtually unknown outside of Britain, a few parts of mainland Europe, and Australasia. (“It’s hard to conceive of videogame nostalgia,” they wrote of the Lost Treasures collections, “but this is as close as it gets.” Little did they know…) It so happened that an Oxford doctoral candidate in mathematics named Graham Nelson was a stalwart Acorn loyalist and a regular reader of that magazine. By the time the article in question appeared, the window opened by the InfoTaskforce interpreter and all the software that had followed it, combined with the Lost Treasures collections, had already led him to begin sliding the next couple of building blocks of the Interactive Fiction Renaissance into place.

Infocom’s The Hitchhiker’s Guide to the Galaxy running on an Acorn Archimedes — a platform for which it was never officially released — under a third-party Z-Machine interpreter by Edouard Poor.

(Sources: The Computist 5, 7, 34, 41, 47, 57, 58, 63, and 86; Acorn User of July 1993; Asgard Software’s newsletters from 1989 and 1990. Online sources include Barry Boone’s memories of writing his Z-Machine interpreter at The Museum of Computer Adventure Game History and his bio for the TI99ers Hall of Fame. The original source for the InfoTaskforce interpreter can be found in various file archives. My huge thanks go to Barry Boone, Jim Fetzner, and George Janczuk for talking to me about their pioneering early work in Z-Machine archaeology.)

Comments
40 Responses

- Pedro Timóteo

October 18, 2019 at 4:51 pm

Can’t wait to read the next two parts. :)

A small (possible) correction: according to both Wikipedia and MobyGames, Lost Treasures was also released for the Apple IIGS. In fact, I think I’ve read somewhere that it was the only way some of the games were (officially, at least) playable on a IIGS, since many of them weren’t individually released for it.

- William Hern

October 18, 2019 at 5:52 pm

Seconded! Another great article by Jimmy.

Yes, I vaguely remember the Apple IIGS version of Lost Treasures – I think that it was released by Big Red Computer Club, rather than Infocom itself.

- Jimmy Maher

October 18, 2019 at 6:56 pm

While I have had a bad tendency to forget the Apple IIGS in the past, I’d say this is at the least a borderline case. I don’t think it came out until a couple of years after the original Lost Treasures, and then in a re-release by a third party. Ironically, the most apt comparison is one from this very article: Asgard’s Infocom re-releases.

- Jeremy Hetzler

October 18, 2019 at 6:19 pm

Fantastic! Cannot wait for the rest of the series. (Is it really only three parts? :))

One suggested edit:
“wasn’t hard to devise” -> “wasn’t hard to surmise”

- Jimmy Maher

October 18, 2019 at 6:51 pm

“Divine” was actually the word I was looking for. ;)

- Keith Palmer

October 18, 2019 at 9:56 pm

I’d been wondering when this piece would show up, but it does seem the time spent researching it has paid off. While waiting I’ll admit to contemplating the obvious differences between ZIL and Inform (1-6), and wondering about “the continuation of the Z-Machine” being a “nostalgic affectation” as opposed to what might have been produced starting afresh (as I have a vague impression TADS was), but setting out a path of history that begins with “getting later Infocom games to run on computers the company had given up on” makes it more a matter of small, reasonable steps. (While the TI 994/A people did it first, and learning what they did does impress me with how long they kept their machines running, I have come across a newsletter for “the last TRS-80 users” that described in 1989 how to combine “driver programs” and “data files.”)

In talking about the Z-Machine, I do wonder a bit about the creation of “parsers as good as Infocom’s” being a separate but just as necessary development. However, I don’t know a lot about how difficult that actually was; my knowledge on the matter stalls somewhere around primitive two-word parsers in BASIC…

- Jimmy Maher

October 19, 2019 at 8:17 am

While the Z-Machine certainly couldn’t parse anything on its own, it came with a lot of opcodes that made parsing and other sorts of lexical manipulations easier than they would be on a (virtual or non-virtual) computer not heavily optimized for the one task of running text adventures. Both ZIL, Infocom’s in-house language, and Inform, Graham Nelson’s, are unusually close to the hardware in the way they leverage these unique affordances of the Z-Machine. This even though their actual syntaxes are radically different, one being based on LISP, the other on C. Thus Inform wasn’t quite starting from scratch on the parser, the way a BASIC programmer would have to. More on some of this in the third article…

- Andrew Plotkin

October 19, 2019 at 3:11 pm

To add a detail (which I’m sure you’ll get into in future articles): The reverse-engineering work of the ITF documented not just the Z-machine “hardware” specification, but the dictionary and grammar tables used by the Infocom parser. These were data tables in Z-machine memory that listed the verb forms used by the parser: “GET [noun]”, “GET IN [noun]”, “PUT [noun] IN [container]”, etc.

With this understanding, replicating the basic algorithm of the Infocom parser was fairly easy. Graham Nelson’s parser uses a different table structure but encodes the same sort of information.

- Peter Ferrie

October 18, 2019 at 10:38 pm

And back to the Apple II, with the 2018 release of Pitch Dark
We collected all known versions of all of the Infocom Z1-Z5 titles, and made them available from a single hard-disk archive, instead of individual floppy disks, with a front-end that has descriptions, hints, and save-game management.

There’s also a sequel Pitch Darker which includes a collection of fan-made Z5 games.

Support for Z6 files is still in development, but we haven’t given up yet!

- Ehren

October 18, 2019 at 10:41 pm

Very interesting history. What did the folks at Infocom think of these alternative interpreters (if they thought of them at all)?

One typo I noticed:
under-the-radar commercia- software ecosystem

- Jimmy Maher

October 19, 2019 at 8:25 am

Thanks!

During the last couple of years of Infocom as a going concern, I don’t think anyone was really aware of the InfoTaskforce interpreter. I suppose they must have understood at some level that someone had made a new 99/4A interpreter, but they had bigger concerns.

- Alex Freeman

October 19, 2019 at 1:15 am

This was, perhaps even more so than their superb parser and general commitment to good writing and design, their secret weapon, allowing them to makes games for the whole of the market, including parts of it that were served by virtually no other publishers.

DEFINITELY more than their parser however superb it was. I actually wonder if Infocom’s parser was TOO superb for its own good. The reason I say that is because, over the years, I’ve learned about how most people struggle with text parser. It seems it’s generally because they type out all kinds of crazy commands like OFFER TO HELP THE MAN WITH HIS FINANCIAL SITUATION. I think it would actually be easier to get people on board with text parsers if they allowed only 3 words at a time. So, for instance, instead of allowing LOOK UP MAGIC IN THE BROWN DICTIONARY, it would work like this:
>LOOK UP MAGIC IN THE BROWN DICTIONARY
One to three words only!
>LOOK UP MAGIC
Where?
>IN DICTIONARY
Which one?
>BROWN

That may seem like a nuisance, but I think most people could figure out a parser like that, one that wasn’t quite as free-form as Infocom’s.

- Jimmy Maher

October 19, 2019 at 8:45 am

This has been a subject of enormous debate for many years now, with some people saying we made a mistake as soon as we departed from the two-word Scott Adams model, others straining toward ever more elaborate forms of natural-language processing. Personally, I confess that I’ve always been slightly baffled that people have so much trouble at all. I suspect that interacting with a parser easily and naturally may require some combination of writerly and programming skills — i.e., the ability to express your desired action simply and precisely in grammatical English (or whatever language you’re playing in). Since I can count those two skills among my shabby collection of same, I struggle to understand why some people find a parser so daunting. Even so, however, I don’t think it’s any harder to interact with a text adventure in the abstract than it is with any number of modern shooters or strategy games, whose interface complexities I do find truly baffling. Much of it is doubtless a question of motivation, and of what you grew up with during that brief window in life when learning things like these is easy.

For what it’s worth, I think the Infocom parser got the complexity just about perfect. A more basic parser just doesn’t let you express enough complication in your actions to enable the full range of puzzle (and general interactive) possibilities, while one that operated like you suggest would quickly drive the player fairly crazy in my opinion. A more complex one leads to all sorts of guesswork, as human language tends to get less precise and direct as it gets more complex. (Witness, for example, the enormous tapestry of indirection and circumlocution that we engage in in the name of politeness: “Could you be so kind as to pass the salt?” instead of just “Give salt to me!” This is the reason that many people speaking a second language tend to come off as slightly brusque or impolite — because those everyday circumlocutions are actually quite grammatically difficult.) When you wander into this area, the computer has to start guessing what you really mean. Inevitably, it guesses wrong a fair amount of the time, and chaos ensues…

Another oft-overlooked area of parser design is error messages. The Infocom parser, and the Inform one after that, tells you precisely what part of your command it didn’t understand and why. This is *so* much better than a simple, “I don’t understand.” It becomes a gentle form of training. In the same spirit, I tend to believe that the best course of action isn’t to attempt to radically expand (or contract) what the parser can understand, but rather to find ways to help people train their minds to interact with the tried-and-true.

- bickerdyke

October 19, 2019 at 12:26 pm

I spent a few weeks this year to bring a z-Machine story I wrote like 25 years ago to the Google Assistant. (to be honest, it started as C64 basic and got it’s Inform6 port like 10 years ago…) and with that experience, if I would write another story, I would let a machine learning speech recognition do the parsing.

While my setup mostly passes the verbatim words spoken to the voice assistant on to the z-machine, I already used it to extend the game based on common utterances during ongoing training. The words don’t need to be exact but you will get an input in the form of intent – object – another object. (And it really feels like bad form translating that back internally into 2 word inform commands….)

- Jimmy Maher

October 19, 2019 at 2:28 pm

I had a fairly long talk with Bob Bates about such a setup fairly recently. He believes that an all-audio form of interactive fiction — voice input and output — is the only long approach likely to have a measure of mass appeal again. I can see what he means, but also think games designed for that medium will almost inevitably have to be different than the Infocom style — less puzzlely, more branching-story-oriented. Solving complex puzzles usually requires scanning through the text over and over. I can’t imagine being able to hold enough of the picture, as it were, in one’s head, nor would it be fun to make the computer read you the same things over and over.

Anyway, voice recognition and voice synthesis have just about gotten good enough that the approach starts to become feasible. Definitely an area ripe for experimentation.

- bifo

November 3, 2019 at 1:24 am

I don’t think that would work without a lot of creativity, imagine going back to the same rooms and endlessly hearing the same descriptions of the same thing. Text is benign enough that you can ask for the same description and it doesn’t get grating, but hearing someone read the exact same description would grate, to the point that people would become abusive to the parser in the same way that they abuse things like Siri.

Frankly, the idea of an audio-based interactive fiction reminds me of the british TV show Taskmaster, where a bunch of comedians compete in solving a series of silly puzzles and their frustration and annoyance is played for laughs. It’s funny to watch, but deeply irritating to participate in.

- Jimmy Maher

November 3, 2019 at 9:19 am

Yes, this is why the nature of the experience would have to change, taking on more of the characteristics of a hypertext narrative rather than a text adventure.

- Alex Freeman

October 21, 2019 at 11:35 pm

That sounds fascinating, bickerdyke! So does the ongoing training consist of having a bunch of text-adventure newbies issue commands to Google Assistant?

- Andy Baio

October 19, 2019 at 2:01 am

Great article. I bought a copy of Hollywood Hi-Jinx off eBay last year, which is in flawless condition and shipped complete with all the feelies—but didn’t come with disks, a UPC code on the back of the page, or sticker identifying which platform it was for. I’m guessing it was one of the unsold inventory that didn’t end up repackaged for the TI…?

- Jimmy Maher

October 19, 2019 at 9:00 am

It’s impossible to say. Sadly, the most likely scenario may be that someone re-shrinkwrapped it to get a better price. It’s actually amazing how much cheating and general skulduggery goes on in the tiny realm of vintage-game collectors. Someone, for example, apparently forged a whole run of the Asgard Software Infocom releases, using photocopied packaging, knowing these are something of a Holy Grail among hardcore Infocom collectors. It’s enough to make me glad I was born without the collector instinct…

- Chris Klimas

October 19, 2019 at 4:39 pm

Small correction: Lost Treasures also shipped for the Apple IIGS, which is where I encountered it.

- Lisa H.

October 19, 2019 at 6:04 pm

I don’t know about running the Z-machine on a toaster, but I’ve seen a refrigerator with a touch screen that was probably smart enough to do it.

- M. Casey

October 19, 2019 at 7:15 pm

Wow, great article Jimmy.

Was this the first time the TI-99/4A made a major appearance in your work? It was totally a footnote in computer history, but it was my first computer–purchased by my dad in the inventory blowout you mention–so there’s a nostalgic appeal to it.

There were some unfortunate choices there that really held the machine back; the days of cassette deck storage were winding down, happily, but had Texas Instruments gone with floppies instead of cartridges as their default I think the TI would’ve been longer-lived.

Back in those days I remember wishing I could afford Hitchhiker’s. Instead it was mostly a diet of Parsec, Munchman, and whatever I could borrow or program myself at that young age.

- Jimmy Maher

October 19, 2019 at 7:23 pm

It’s showed up a bit here and there, such as in the “Business is War” article. Certainly not extensively, though.

- Steve Cook

October 20, 2019 at 1:04 am

Is the InfoTaskforce’s David Beazley the notable Python developer?

- Jimmy Maher

October 20, 2019 at 8:55 am

No. I made the same mistake, to the point of sending him an email to ask about it. He wrote a very friendly note back to say that, while he had fond memories of playing Infocom games, he’d never written an interpreter for them.

- Ben

October 20, 2019 at 1:09 am

“allowing them to makes games for the whole of the market”

Makes should be make?

- Jimmy Maher

October 20, 2019 at 8:53 am

Thanks!

- Jim Fetzner

October 20, 2019 at 1:21 am

Actually, I am pretty sure you may have confused me with Jim Reiss, as I remember writing the Infocom message to you relating to the Asgard production of these titles when you were starting to work on this project. . .I am named Jim, but the last name is Fetzner. I helped Chris Bobbitt sort them out during a visit to Northern Virginia right after he received the two massive boxes of Infocom titles (and purchased one of each title for my personal collection). Jim Reiss was definitely a prolific Asgard programmer though, so he probably gave you a lot of information too!

- Jimmy Maher

October 20, 2019 at 8:53 am

Woops! So sorry about that. Too many Jims in this story…

- Adam Thornton

October 20, 2019 at 2:21 am

An FYI: to bring the story closer to full circle, I’ve ported the Frotz interpreter to TOPS-20 on the PDP-10.

https://github.com/athornton/tops20-frotz

The magic to transform Frotz source into something the TOPS-20 compiler will consume is:

https://github.com/athornton/tops20-frotz

It won’t be _all the way_ back home until ported to ITS–which does not have nearly as modern a C compiler as TOPS-20–but, still, it was pretty thrilling to see _Jigsaw_ run on TOPS-20.

- Carl Grace

October 20, 2019 at 3:41 am

Jimmy, is there a reason you call the TI Computer the 99/4A and not the TI-99? When it was (briefly) popular I only ever recall hearing it called the TI-99 not the 99.

It’s not a big deal to be sure, but even the magazines called it the TI-99 (similar to the C64) as far as I remember although to be fair it was a long time ago.

- Jimmy Maher

October 20, 2019 at 9:02 am

Just an aesthetic preference. I don’t use the C64 abbreviation either, for what it’s worth. Just don’t like the way it looks on the page…

- John

October 21, 2019 at 5:53 am

It’s interesting to think about the different fate of the graphical adventures: roughly the same type of portability has been achieved through ScummVM, but to my knowledge there’s nothing in that world even close to approaching the interactive fiction scene of new creations running on the old systems.

There’s all sorts of perfectly good reasons: maybe the most obvious being the much higher barrier to entry for creators once art enters the picture.

- Jimmy Maher

October 21, 2019 at 9:41 am

Another reason the Z-Machine stuck around so long was that it really did do everything an interactive-fiction virtual machine needed to do, whether in the 1980s, the 1990s, or the 2000s; because of its minimalist nature, it was easy enough to retrofit better typefaces, scrollback buffers, etc., at the interpreter level. Thus playing a TADS game on a TADS interpreter really wasn’t that much different an experience from playing on Infocom’s aged virtual machine with a modern interpreter. We’d probably still be releasing heaps of new games for the Z-Machine if it weren’t for its limitations on size, which really began to bite after the introduction of Inform 7. (The post-Infocom version 8 standard did push allowable story-file size up to 512 K, but it really wasn’t possible to go beyond that without becoming very inefficient.)

But graphics change the picture (ha!) dramatically. Nobody particularly wants to play a new graphic adventure with Sierra graphics from the 1980s, except for nostalgics and lovers of retro kitsch — and catering that slavishly to the nostalgia instinct tends to keep you from doing much that’s new and interesting.

- Scott

October 21, 2019 at 5:16 pm

Fantastic ! Jimmy . Thanks

- Watts Martin

October 22, 2019 at 8:48 pm

As someone who clung tenaciously to the TRS-80 Model 1/3/4 line, I remember that someone managed to produce — actually, I suspect “extract” is the correct word — a version 3 compatible interpreter for the platform. If you put the interpreter and a game file on the same disk with the same name except for the extension — i.e., ZORK3/CMD and ZORK3/DAT — the interpreter would find the correct data file and load it. I’m 99% sure there were several Infocom adventures that were never officially released for the TRS-80 that came out that way.

I was on some pre-internet service, either GEnie or Delphi, that had an official Infocom forum on it, and I proposed in a thread that Infocom see if they could compile a v5 interpreter for the TRS-80 Model 4 with minimal effort: Model 4 computers could have 128K of RAM, (barely) enough to support the format, and there was a C compiler available for them. One of the Infocom engineers actually responded to me and said something along the lines of, “That’s maybe something I could bring up at the next monthly planning meeting.” As it turned out, I’m pretty sure there was no next monthly planning meeting — that was around April or May of 1989.

- Jimmy Maher

October 23, 2019 at 4:53 am

I did find some TRS-80 files floating around some odds-and-ends disk images, called “The Infocom Executor” or something like that, dating from 1986. At first, I thought I might have stumbled upon yet another early third-party Z-Machine interpreter, but eventually concluded that it was just what you describe. I also found what appeared to be a commented disassembly of Infocom’s interpreter. I don’t know whether this was the one used by the InfoTaskforce in their work.

As you may know, the TRS-80 architecture was actually very popular in Australia, largely in the form of a clone manufactured and sold by an electronics chain called Dick Smith’s. George Janczuk at least was active on this scene; I found several pre-InfoTaskforce tools written by him for the TRS-80, such as a story-file vocabulary lister and a text dumper.

- Wolfeye M.

October 28, 2019 at 8:46 am

Looks like I’ve caught up with your blog. It’s been a good read, so far. Looking forward to the next one.

- Pingback: La rinascita della z-machine | Fondazione Elia Spallanzani

New Tricks for an Old Z-Machine, Part 2: Hacking Deeper (or, Follies of Graham Nelson’s Youth)
November 8, 2019

Earlier this year, I reached out to Graham Nelson, the most important single technical architect of interactive fiction’s last three decades, to open a dialog about his early life and work. I was rewarded with a rich and enjoyable correspondence. But when the time came to write this article based on it, I found myself on the horns of a dilemma. The problem was not, as it too often is, that I lacked for material to flesh out his personal story. It was rather that Graham had told his own story so well that I didn’t know what I could possibly add to it. I saw little point in paraphrasing what Graham wrote in my own words, trampling all over his spry English irony with my clumsy Americanisms. In the end, I decided not to try.

So, today I present to you Graham Nelson’s story, told as only he can tell it. It’s a rare treat given that Graham is, like so many people of real accomplishment, usually reluctant to speak at any length about himself. I’ll just offer a couple of contextual notes before he begins. The “Inform” to which Graham eventually refers is a specialized text-adventure programming language by that name targeting the Z-Machine (and much later a newer virtual machine known as Glulx which has finally come to supersede Infocom’s venerable creation); Inform has been the most popular tool of its type through the last quarter-century. And Curses is the first full-fledged game ever written with Inform, a puzzly yet eminently literary time-traveling epic which took the huddled, beleaguered text-adventure diehards by storm upon its release in 1993, giving them new hope for their beloved form’s future and inspiring many of them to think of making their own games — using Inform more often than not. In the third and final article of this series on the roots of the Interactive Fiction Renaissance, I’ll examine both of these seminal artifacts in depth with the detachment of a third party, trying to place them in their proper historical context for you. For today, though, I give you Graham Nelson unfiltered to tell you his story of how they — and he — came to be…

Great Baddow, the quiet Essex village where Graham Nelson grew up.

I was born in 1968, so I’m coeval with The White Album and Apollo 8. I was born in Chelmsford, in Essex, and grew up mainly in Great Baddow, a quiet suburban village. There were arable farms on one side, where in those days the stubble of the wheat would still be burned off once a year. (In fact, I see that the Wikipedia page for “stubble burning” features a photo from the flat countryside of Essex, taken in 1986. The practice is banned now.) My street, Hollywood Close, had been built in the early 1960s on what used to be Rothman’s Farm. The last trees were still being cut down when I was young, though that was mainly because of Dutch Elm Disease. The houses having been sold all at once, to young families of a similar age, my street was full of seven-year olds when I was seven, and full of fifteen-year olds when I was fifteen. I went to local schools, never more than walking distance away. My primary school, Rothman’s Junior, was built on another field of the same farm, in fact.

My father Peter was an electronics engineer at English Electric Valve. My mother Christine — always “Chris” — was a clerical civil servant before she had me, at the National Assistance Board, which we would call social security today. In those days, women left work when they had a child, which is exactly what she did when she had me and my brother. But later on she trained as a personal assistant, learning Pitman shorthand, which I never picked up, and also typing, which I sort of did: I am a two-fingered typist to this day, but unusually fast at it. I did try the proper technique, but on our home typewriter, my little finger just wasn’t strong enough to strike an “A”. Or perhaps I saw no reason to learn how other people did things.

My parents had met in school in Gosport, a naval village opposite Portsmouth, on the south coast of England. As a result, both sides of my family were in the same town; indeed, we were the eccentric ones, having moved away to Essex. My many aunts, uncles, second cousins, and so on were almost all still in Portsmouth, and we would stay there for every holiday or school break. In effect, it was a second home. Though I didn’t know him for long, a formative influence was my mother’s father Albert, a navy regular who became a postman in civilian life. He was ship’s cook on HMS Belfast during the Second World War; my one successful poem (in the sense of being reprinted, which is the acid test for poems) is in his memory.

None of these people had any higher education at all. I would be the first to go to a university, though my father did the correspondence-course Open University degree in the 1970s, and my mother went to any number of evening classes. (She ended up with a ridiculous number of O-levels, rather the way that some Scouts go on collecting badges until their arms are completely covered.) They both came from genuinely poor backgrounds, where you grew a lot of your own food, and had to make and mend. You didn’t buy books, you borrowed them from the library — though my grandmother did have the Pears Cyclopaedia for 1938 and a dictionary for crosswords. But I didn’t grow up in any way that could be called deprived. My father made a solid middle-class income at a time when that could keep a family of four in a house of their own and run a car. He wasn’t a top-bracket professional, able to sign passport applications as a character reference, like a doctor or a lawyer, but he was definitely white-collar staff, not blue-collar. Yes, he worked in a factory, but in the R&D lab at one end. This is not a Bruce Springsteen song. He would not have known what to do with a six pack of beer.

My brother Toby, who later became a professional computer programmer working at Electronic Arts and other places, was two years younger than me, which meant he passed through school with teachers expecting him to be like me, which he both is and isn’t. He’s my only sibling, though I now also have a brother-in-law and sister-in-law. “Graham” and “Toby” are both definitely unusual names in England in our generation, which is the sort of thing that annoys you as a child, but is then usefully distinctive in later life. At least “Graham” is unabbreviable, for which I have always been grateful.

The local education authority would have expected me to pass the eleven-plus exam, and move up the social ladder to King Edward VI Grammar School, the best in the area by far. But my parents, who believed in universal education, chose not to enter me. So at eleven and a half, I began at Great Baddow Comprehensive School. I didn’t regret this then, and don’t now. I had some fine teachers, and though I was an oddity there, I would have been an oddity anywhere. Besides, I had plenty of friends; it wasn’t the social snake-pit which American high schools always seem to be on television.

Until around 1980, there were no commercial home computers in the UK, which was consistently a couple of years behind the United States in that respect. But my father Peter was also an electronics hobbyist. Practical Electronics magazine tended to be around the house, and even American magazines like Byte, on occasion; I had a copy of the legendary Smalltalk number of Byte, with its famous hot-air-balloon cover. But the gap between these magazines — and the book in my school library about Unix — and reality was enormous. All we had in the house was a breadboard and some TTL chips. Remarkably, my father nevertheless built a computer the size of a typewriter. It had no persistent storage; you had to key in opcodes in hex with a numeric keypad. But it worked. It was a mechanism with no moving parts. It’s hard to explain now how almost alchemical that seemed. He would give a little my-team-has-won-again cheer from his armchair whenever the BBC show Tomorrow’s World used the words “integrated circuits”. (I think this was a little before the term “microchips” came into common usage, or possibly the BBC simply thought it a vulgar colloquialism. They were more old-school back then.)

Until I was twelve years old, then, computing was something done on mainframes – or at any rate “minis” like the DEC VAX, running payroll for medium-sized companies. Schools never had these, or anything else for that matter. In the ordinary way of things, I would never have seen or touched a real computer. But I did, on just a few tantalising occasions.

Great Baddow was not really a tech town, but it was where Marconi had set up, and so there were avionics businesses, such as the one my father worked for, English Electric Valve. Because of that, a rising industry figure named Ian Young lived in our street. His two boys were just about the same age as me and my brother, and he and his wife Gill were good friends of my parents — I caught up with them at my parents’ sixtieth wedding anniversary only a few weeks ago. Ian soon relocated to Reading as an executive climbing the ranks of Digital Equipment Corporation, then the world’s number two computer company after IBM, but our families kept in touch. A couple of times each year my brother and I would go off to spend a week with the Youngs during the school holidays. This is beginning to sound like a Narnia book, and in a way it was a little like that. Ian would sportingly take us four boys to DEC’s headquarters — in particular, to the darkened rooms where the programmers worked, in an industrial space shared with a biscuit factory. (Another fun thing about the Youngs was that they always had plenty of chocolate-coated Club biscuits from factory surplus.) We would sit at a VT-220 terminal with a fluorescent green screen and play the DECUS user group’s collection of games for the VAX. These were entirely textual, though a few, like chess or Star Trek, rendered a board using ASCII art. Most of these games were flimsy nothings: a boxing simulator, I remember, a Towers of Hanoi demo, and so on. But the exception was Crowther and Woods’s Adventure, which I played less than a year after Don Woods’s canonical first version was circulated by DECUS. Adventure was like nothing else, and had a depth and an ability to entrance which is hard to overstate. There was no such thing as saving the game — or if there was, we didn’t know about it. We simply remembered that you had to unlock the grating, and that the rusty iron rod would… and so on. Our sessions almost invariably ended in one of the two unforgiving mazes. But that was somehow not an unsatisfying thing. It seemed like something you were exploring, not something you were trying to win.

It was, of course, maddening to be hooked on a game you could play perhaps once every six months. I got my first actual computer in 1980, for my twelfth birthday: an Acorn Atom. I had the circuit diagram on my wall; it was the first and last computer I’ve ever owned which I understood the physical workings of. My father assembled it from the kit form. This was £50 cheaper — not a trivial sum in those days — and was also rather satisfying for him, both because it was a lovely bit of craftsmanship to put together (involving two weekends of non-stop soldering), and also because he was never such a hero to his son as when we finally plugged it in and it worked flawlessly. Curious how much of this story appears to be about fathers and sons…

At any rate, I began thinking about implementing “adventures” very early on. This was close to impossible on a computer with 12 K of RAM (and even that only after I slowly expanded it, buying 0.5 K memory chips one at a time from a local hardware store). And yet… I can still remember the epiphany when I realised that you could model the location of an object by storing this in a byte which was either a room number or a special value to mean “being carried”. I think the most feasible creation I came up with was a procedurally-generated game on a squared grid, ten rooms wide by infinity rooms long, where certain rooms were overridden with names and puzzles. It had no title, but was known in my family as “the adventure of Igneous the Dwarf”, after its only real character. My first published game was an imitation of the arcade game Frogger for the Acorn Atom. I made something like £70 in royalties from it, but it really had no interactive-fiction content of any kind.

My first experience of commercial interactive fiction came for the BBC Micro, the big brother of the Acorn Atom; my father being my big brother in this instance, since he bought one in 1981. The Scott Adams line made it onto the BBC Micro, and so did ports of the Cambridge mainframe games, marketed first by Acornsoft and then by Topologika. I thus played some of the canonical Cambridge games quite a while before going to Cambridge. (Cambridge was then the lodestone of the UK computing industry; things like the BBC Micro and the ARM chip are easily overlooked in Cambridge’s history, given the university’s work with gravity, evolution, the electron, etc., but this was not a small deal at the time.) In particular, the most ambitious of the Cambridge games, Acheton, came out from Acornsoft on a disk release, and I played it. This was an extraordinary thing; in the United Kingdom, few computer owners had disk drives, and no more than a handful of BBC Micro games were ever released in that format.

I made something fractionally like a graphical adventure, called Crystal Castle, for the BBC Micro. (In 2000, Toby helpfully, if that’s the word, found the last existing cassette tape of this, digitised it to a WAV file, signal-processed the result, and ended up with about 22 K of program and data. To our astonishment, it ran.) It was written in binary machine code, which thus had no source code. Crystal Castle was nearly published, but the deal ultimately fell through. Superior Software, then the best marque for BBC Micro stuff, exchanged friendly letters with me, and for a while it really did look like it would happen. But I really needed an artist, and a bit more design skill. So, they passed. I imagine they had quite a large slush pile of games on cassette sent in by aspiring coders back then. You should not think of me as a teenage entrepreneur; I was mostly unsuccessful.

I did get two BBC Micro games published in 1984 by a cottage-industry sort of software house somewhere in Essex, run by a local teacher. Anybody who could arrange to duplicate cassette tapes and print inlay cards could be a “software house” in those days, and quite a lot of firms with improvised names (“Aardvark Software”, etc.) were actually people running a mail-order business out of their front rooms. They sold my two games as one, in that they were side A and side B of the same cassette. The games had the somewhat Asimovian names Galaxy’s Edge and Escape from Solaris. I honestly remember little about them, except that Escape from Solaris was a two-handed game. To play, you had to connect two BBC Micros back-to-back with an RS-423 cable, and then you had to type alternate commands. One program would stall while the other was active, but the thing worked. I cannot imagine that these games were any good, but the milieu was that of alien science being indistinguishable from magic. The role-playing game Traveller may have been an influence, I suppose, but my local library had also stocked a great deal of golden-age science fiction, and I had read every last dreg of it. (I hadn’t, at that time, played Starcross, though I’d probably seen Level 9’s Snowball.) I do not still have copies, and I am therefore spared the moral dilemma of whether I should make them publicly available. I did get a piece of fan mail, I remember, by someone who asked if I was a chemist. From this memory, I infer that there were some science-based puzzles.

The Quill-written games weren’t any influence on me, nor really the Magnetic Scrolls ones. The Quill was a ZX Spectrum phenomenon — and the Spectrum came from Acorn’s arch-enemy Sinclair. I think my father regarded it as unsound. It certainly did not have a keyboard designed to the requirement that it survive having a cup of coffee poured through it, as the BBC Micro did. But it did have an enormous amount of RAM — or rather, it didn’t consume all of that precious RAM on screen memory. The way that it avoided this was a distasteful hack, but also a stroke of genius, making the Spectrum a perfect games machine. As a result, those of my friends whose fathers knew anything about computers had BBC Micros, and the rest had Spectrums. It is somehow very English of us to have invented a new class distinction in the 1980s, but I rather think we did. Magnetic Scrolls were a different case, since they were adopting an Infocom-like strategy of releasing for multiple platforms, but they came along later, and always seemed to me to be more style than substance. The Pawn was heavily promoted, but I didn’t care for it.

I really must mention Level 9, though. They wrote 200-room cave adventures – albeit sometimes the cave was a starship – and by dint of some ingenious compression were able to get them out on tape. In particular, I played through to completion all three of the original Level 9 fantasy trilogy: the first being an extended version of the Crowther and Woods Adventure, the second and third being new but in the same style. I still think these good, in some relative sense. Level 9’s version of the Crowther and Woods Adventure, Colossal Adventure, was the first version which I fully explored, so that it still half seems to me like the definitive version. Ironically, none of Level 9’s games had levels in the normal gaming sense.

I didn’t play any of Infocom’s games until, I think, 1987. I bought a handful, one at a time, from Harrod’s in Knightsbridge — a department store for the rich and, it would like to imagine, the socially elite. I was neither of those things, but I knew what I wanted. Infocom’s wares were luxury goods, and luxury goods tend to stay on the shelves until they sell. Harrod’s had a modest stock, which almost nobody else in the UK did, though you could find a handful of early Infocom titles such as Suspended for the Commodore 64 if you trawled the more plebeian electronics shops of Tottenham Court Road. The ones I bought were CP/M editions of some of the classic titles of 1983 to 1985: Enchanter, I remember, being the first. These we were able to run on my brother’s computer, which was an Amstrad, a British machine built for word processing, but which — thanks to the cheapness of Alan Sugar, Amstrad’s proprietor, a sort of British version of Commodore’s Jack Tramiel — ran CP/M rather than MS-DOS.

That was just after I had begun as an undergraduate at Cambridge and joined the mainframe there, Phoenix, as a user. Each user had an allocation of “shares”, which governed how much computing time you could have. As the newest kid to arrive, I had ten shares. There were legends of a man in computational chemistry, modelling the Schrödinger equation for polythene, who had something like 10,000. At any rate, ten shares was only just enough to read your email in daytime. To run anything like Dungeon, the IBM port of Zork, you had to sit up at night — which we did, a little. I think Dungeon was the only externally-written game playable on Phoenix; the others were all homegrown, using TSAL, the game assembler written by David Seal and Jonathan Thackray. As I wrote long ago, to me and others who played them them those games “are as redolent of late nights in the User Area as the soapy taste of Nestlé’s vending-machine chocolate or floppy, rapidly-yellowing line printer paper.” As I noted earlier, most of them ultimately migrated to Acornsoft and Topologika releases.

But there were other social aspects to Phoenix as well. There was a rudimentary bulletin board called GROGGS (the “General Reverse-Ordered Gossip-Gathering System”) and it was tacitly encouraged by the Phoenix administrators because it stopped people abusing the Suggest program as a noticeboard. (We did not then have access to Usenet.) GROGGS was unusually egalitarian — students and faculty somewhat mingled, which was not typical of Cambridge then. Its undoubted king was Jonathan Partington (JRP1), a young professor who had a generous, playful wit. The Phoenix administrators dreaded his parodies of their official announcements. In his presence, GROGGS was a little like the salon in which the hangers-on of Oscar Wilde would attempt to keep up. Numerous people had a schtick; mine was to mutate my user-name to some version of the Prufrockian “I am not Prince Hamlet”. Commenting on the new Dire Straits album, I would post as “I am not Mark Knopfler”. That sort of thing. Jonathan wrote some of the Cambridge mainframe games. He taught me for a few second-year options.

There was also a form of direct messaging, the “notify” command, and you had the ability to link your filespace to somebody else’s, in effect giving them shared access. At some point Mark Owen and Matthew Richards, inseparable friends at Trinity College, observed that these links turned the users of Phoenix into a directed graph — what we would now call a social network. Mark and Matthew converted the whole mainframe into a sort of adventure game on this basis, in which user filespaces were the rooms, and links were map connections between them. You could store a little text file in your filespace as your own room description. Mark and Matthew’s system was called MEGA, a name chosen as an anagram of GAME. Mark went on to take a PhD in neural networks, back in the days when they didn’t work and were considered a dead end; he eventually wrote a book on signal processing. Matthew, a gifted algebraist and one of the nicest people I have ever known, died of Hodgkin’s disease only a couple of years into his own PhD — the first shock of death close up that most of us had known. The doctors tried everything to keep him alive. There’s no length they won’t go to with a young, strong patient, however cruel.

At any rate, back in the days of MEGA, it occurred to me that more could be done. Rather than storing just a single room description, each user could store a larger blob of content, and we would then have a form of MUD. This system, jointly coded by myself and a CS student called John Croft, was called TERA (I forget why we didn’t go up from MEGA to GIGA — perhaps there already was one?) and its compiler was “teraform”. This is the origin of the “-form” suffix in Inform’s name.

Cambridge mathematics degrees were in four parts: IA, IB, II, and III. Part III was an optional fourth year, which now earns you a master’s, but which for arcane funding reasons didn’t in my day. The Part III people were the aspiring professionals, hoping for a PhD grant at the end of it. Only seven or eight were available, which lent a competitive edge to a social group which was all too competitive already. I was thoroughly settled in Cambridge, living in an old Victorian house off Trumpington Street with four close friends, down by the river meadows. It was a very happy time in my life, and I had absolutely no intention of giving it up. As a geometer, I was hoping to be a research student of Frank Adams, a legendary topologist but a man with an awkward, stand-offish character. I’m now rather glad that this didn’t happen, though I’m sorry about the reason, which was that he died in a car crash. The only possible alternative, the affable Ray Lickorish, was just going on sabbatical. And so I found myself obliged to apply to Oxford instead. I was very fortunate to become the student of Simon Donaldson, only the fifth British mathematician to win the Fields Medal. (He is warmly remembered at St Anne’s College, where I now am, not for the Fields, or the Crafoord Prize, or for being knighted, or winning a $3 million award — not for any of that, but for having been a good Nursery Fellow, looking after the college crèche.) Having opened up a new and, almost at once, a rapidly-moving field of study, Simon was over-extended with collaborators, and I wasn’t often a good use of his time. Picture me as one of those plodding Viennese students Beethoven was obliged to give piano lessons to. But it was a privilege even to be present at an important moment in the history of modern geometry, and in his quietly kind way, Simon was an inspirational leader.

So, although I did find myself a doctoral perch, I had time on my hands — not work time, as I had plenty to do on that front, but social time, since everyone I knew was back in Cambridge. I read a great many books, buying up remaindered Faber literary paperbacks from the Henry Pordes bookshop in Charing Cross Road, London, whenever I was passing through. The plays of Tom Stoppard, Alan Bennett, David Hare; the poems of Philip Larkin, Seamus Heaney, Auden, Eliot, and so forth. I wrote a novel, which had to do with two people who worked in a research lab doing unethical things attempting to control chimpanzees. He took the work at face value, she didn’t, or perhaps it was the other way around. By the time I finished, I knew enough to know that it wasn’t any good, but in so far as you become a writer simply by writing, I had become a writer. I then wrote four short stories, and a one-act play called A Church by Daylight (a title which is a tag borrowed from Much Ado About Nothing). This play was thin on plot but had to do with loss. I wasn’t much good at dialogue, and in some way I boiled the play down to its essence, which was eventually published as a twelve-line poem called “Requiem”.

It was during my second year as a DPhil student that The Lost Treasures of Infocom came out. At this time my computer was an Acorn Archimedes with a 20 MB hard drive. I bought the MS-DOS box because I could read the story files from the MS-DOS disks, even if I couldn’t run the MS-DOS interpreter. I had no modem or network access from my house, and could only get files on or off by taking a floppy disk to the computing-service building right across town. I used the InfoTaskforce interpreter to actually play the games on my Archimedes.

So, I would say that the existence of a community-written interpreter was an essential precondition for Inform. In the period from 1990 to 1992, there were two significant Infocom-archaeology projects going on independently, though they were certainly aware of each other: the InfoTaskforce interpreter, and a disassembler called “txd” by Mark Howell. The InfoTaskforce people were based in Australia, and I had no contact with them, but I saw their code. Mark, however, I did exchange emails with. I remember emailing him to ask if anyone had written an assembler to make new games for the Z-Machine, and he replied with some wording close to: “Many people have had many dreams”. I set myself the task of faking a story file just well enough to allow it to execute on the InfoTaskforce interpreter.

I recall that my first self-made story file computed a prime factorisation and then printed the result. Except that it didn’t. I would double-click on the story file, and nothing would happen. I would assume that this was because there was some further table in the story file which I needed to fake: that the interpreter was refusing my file because it lacked this table, let’s say. As a result, I got into a cycle of making more and more elaborate fakes, always with negative results. Eventually I found that these faux story files had been correct all along; it was just that the user interface for the Acorn Archimedes port of the InfoTaskforce interpreter displayed nothing onscreen until the first moment when a game’s output hit the bottom of its virtual display and caused a scroll event. My story files, uniquely in the history of the Z-Machine, simply printed a few lines and then quit. They didn’t produce enough output to scroll, so nothing ever showed up onscreen. (This is why, for several years, the first thing that an Inform-written game did was to print a run of newlines.) So, when I finally managed to make a story file which factorised the numbers 2 to 100, and found that it worked correctly, I had a fairly elaborate assembler. This was called “zass”, and eventually became Inform 1.

The project might have gone no further except for the arrival of Usenet and the rec.arts.int-fiction newsgroup. Suddenly my email address was one which people could contact, and my posts were replied to. I was no longer on GROGGS, talking to a handful of people I knew in real life; I was on Usenet, talking to those I would likely never meet. People didn’t really use Inform much until around Inform 3, but still, there was feedback. An appetite seemed to exist.

A curious echo of the fascination the Z-machine held is that a couple of tiny story files produced by me in the course of these experiments — I remember one with two rooms in it and a few sample objects, one of them a football — themselves started to be collected by people. Of course there were soon to be lots of story files, an unending supply of them. But for just a brief period, even the output of Inform had a sort of second-hand glory reflected onto it.

Inform 1 was the result of my experiments to synthesise a story file, so it preceded Curses; it’s not that I set out to create both. Still, I did once write that Inform and Curses were Siamese twins, though the expression makes me flinch now. It’s not a comedic thing to be born conjoined. That aside, was it true, or did it simply sound clever? It’s true in part. I steadily improved Inform as I was building up Curses in size, and Curses undeniably played a role as a proof of concept. Numerous half-finished interactive-fiction systems had been abandoned with no notable games to their credit, but TADS, especially, shone by having been used for full-scale works. Yet this linkage is only part of the story.

In retrospect, the decision to write Curses fits with the pattern of imitation which you tend to find in the juvenilia of writers. I had read some novels, I wrote a novel; I had read some plays, I wrote a play; and so on. Lost Treasures may have played the same role for me, in computer-game terms, that those 1980s Faber & Faber paperbacks played in literary terms. But I also wrote Curses as an entertainment for my friends back in Cambridge, who attacked it without mercy. A very early version caused hilarity not so much for its intrinsic qualities as because the command “unlock fish” crashed it right out.

The title alludes to the recurring ancestral curses of the Meldrew family, each generation doomed never quite to achieve anything. (Read into that what you will, but it caused my father to raise an amused eyebrow.) The name was actually a hindrance for a while. In the days of Archie and Veronica and other pre-Web systems for searching FTP sites, “curses” was a name already taken by the software library for text windows on Unix.

What is Curses about? A few years ago Emily Short and I were interviewed, one after another, at the Seattle Museum of Pop Culture. Emily described Curses as being about the richness of culture and the excitement of discovering it. This may be an overly generous verdict, but I see what she means. Curses has a kind of exuberance to it. The ferment of what I was reading infuses the game, and although most people saw it as a faithful homage to Infocom, it was also a work of Modernism, assembled from the juxtaposed fragments of other texts. At Meldrew Hall, I could connect everything with everything.

There were four main strands here. Most apparent is the many-volume Oxford History of England, an old-school reference work, which lined up on my shelf in pale blue dust jackets. I had collected them by scouring second-hand book shops with the same assiduity as a kid completing an album of football stickers. Something of each went into Curses, from Roman England (Vol. I) through to society paintings by Sir Joshua Reynolds, and so on. The second strand was Eliot and The Waste Land, not solely for its content but also for its permissive style, as if it had authorised me to throw everything together. The third strand was classics: I was reading a lot of those “Cambridge Companion to Ancient Greek Philosophy” type of books, and I liked to grab the picturesque parts. Lastly, of course, the fourth strand is Infocom. Some of the puzzle design is lovingly imitative of Lebling, especially. The hieroglyphics from Infidel make a direct appearance. I also took affectionate swipes at the conventions, as with the infamous “You have missed the point entirely” death incurred simply by going down from the opening room, or the part where the narrator awards some points and then, a few turns later, takes them back again. Or the devil, who gives hints, all of which are lies. People actually filed bug reports over that. But really, I don’t think I did anything so transgressive that Infocom might not have done the same itself.

Those four strands are the main ingredients, but I should also acknowledge the indirect influence of the 1980s turn towards magical realism in fantasy novels, where it became possible to marry the fantastical with the merely historical. I had certainly read John Crowley’s Little, Big, for example. You could, at a stretch, say that Curses lies in the same genre.

The art of the Modernist collage is to somehow provide some cement which will hold the whole thing together. In the case of Curses, that cement is provided by the continuity of the Meldrew family and of the house – to which, and this is crucial, the player is always returning, and which ramifies with endless secret rooms. Moreover, you always experience the house through its behind-the-scenes places, joined in a skeletal way around the public areas which you never get to visit. The game is at its best when this cement is strongest, with the puzzles directly related to family members or to the house’s nooks and crannies. It loses coherence when it goes further afield, and this is why a final proposed addition, to do with the subway systems of various world cities all being joined up, was dropped. It didn’t feel like Curses any more. The weakest parts of Curses are the last parts added, and I suspect that the penultimate release is probably a better experience than the final one.

I am sometimes asked if Curses was autobiographical. As the above makes clear, in one sense yes, in that it’s a logbook of my reading. And in another obvious sense, no: I never actually teleported to ancient Alexandria. Nor have I ever lived in a grand house. My family home was built around 1960. It had seven rooms, none of them secret, and its map was an acyclic graph. There were early players who imagined that I might really be from some cadet branch of the landed gentry, with spacious grounds out of my window. This was not the case. Our estate consisted of one apple tree and two gooseberry bushes. All the same, England is not like America in this respect. Because of the Second World War, and because of inheritance tax, the great stately homes of England had essentially all become public places by the time I was a child. A routine way to entertain visiting grandparents was to take them around, say, the Jacobean manor house at Hatfield, where the Cecils had lived since the reign of James I. You didn’t have to be at all rich to do this.

The Attic area of Curses, where the game begins, does also contain just a little of my real family. The most intriguing place in my childhood home was, for sure, the attic, because it was so seldom accessible to me: a windowless but large space, properly floored, but never converted into a living area. My father would develop photographs up there, pouring chemicals into a tray, under a red lamp with a pull-cord switch. He would allow me to pull this cord. The house also had an airing cupboard — that is, a space around the hot-water boiler where towels could be dried. In this cupboard, my mother at one time made home-brew wine, in a sort of slow chemistry experiment with evil-looking demijohns. My brother doesn’t really make an appearance in Curses, which I’m sad about now, but it’s essential that the protagonist has ancestors rather than contemporaries. Though the protagonist has a spouse and children, mentioned right up front, they never appear, which I think is worth noting in a game where almost everything else that is foreshadowed eventually comes to pass.

Curses is by any reasonable standard too hard. In its first releases, I would update it with new material each time I made bug fixes, so that the game evolved and grew. Some players would play each version as it came out, and this enabled them to get further in, because they had prior experience from earlier builds. A dedicated fan base sent in bug reports, my favourite being that the brass key could not be picked up by the robot mouse, because brass is non-magnetic. The reward for any bug reported was that the reporter could nominate a new song to be added to the radio’s playlist, provided that it was both catchy and objectively dreadful. It would be interesting to extract that playlist now and put it on Spotify.

Feedback from players gave Curses a certain polish, but it wasn’t the only thing. I think it’s noteworthy that, just as Infocom had an editor as well as play-testers, so too I had an editor for at least part of the process: Gareth Rees, a Cambridge friend, author of the very wonderful Christminster. Richard Tucker also weighed in. I have the impression that before 1992 works of interactive fiction didn’t have much quality control, not so much because people didn’t want it, but because networking conditions didn’t allow for it.

To my great regret, the source code for Curses is now lost. It was for a while on a disk promisingly labelled “Curses source code”, but that disk is unreadable, and not for want of trying. Somewhere in my many changes of address and computer, I lost the necessary tech, or damaged it. (And Jigsaw too, alas.) It wouldn’t be hard to resurrect something, by working from a disassembly of the story file: there’s actually a tool to turn story files into Inform 6 out there somewhere. I occasionally think of asking if anyone would like to do that, and perhaps produce a faithful Inform 7 implementation.

Today, people play Curses with a walkthrough by their sides. But the game never quite goes away. Mike Spivey told me recently that he introduced himself to modern interactive fiction – “modern” interactive fiction – by playing Curses in 2017. A few people, at least, still tread Meldrew Hall. I remain fond of the place, as you can probably gather from the length of this reminiscence. Once in a blue moon I am tempted to write a sequel, Curses Foiled. But no. Sometimes you really can’t go back.

Comments
31 Responses

- Doug Egan

November 8, 2019 at 8:46 pm

Thanks so much for publishing this correspondance with Graham Nelson. I have always wondered how Inform came to be, and revere “Curses” as one of my introductions to modern interactive fiction.

- Andrew Plotkin

November 8, 2019 at 9:43 pm

Thanks for getting this story out of Graham. :)

> (and much later a newer virtual machine known as Glulx which has finally come to supersede Infocom’s venerable creation)

It felt like “much later”, but really less than seven years later! Inform’s birthday is mid-1993; my first draft of Inform-with-Glulx was late 1999.

A short time by the standards of us senior IF citizens looking back. Or, I suppose, the same interval as Infocom’s entire lifespan as an independent company.

- Ross

November 9, 2019 at 12:26 am

It seemed like a lot longer because we were all a lot younger back then.

- Jimmy Maher

November 9, 2019 at 8:34 am

I think in this context the “much” makes sense. Certainly at the pace this history has been moving. ;) And then there’s the fact that the Z-Machine wasn’t really superseded by Glulx until circa 2010. Before that, Glulx was used only by those who wanted to include multimedia elements, or on those occasions — vanishingly rare prior to Inform 7 — when a game exceeded the size limits of even the version 8 Z-Machine. I remember in the Comps of the aughts there would generally be twenty or thirty Z-Machine games, one or two Glulx.

- Peter Olausson

November 8, 2019 at 11:57 pm

With virtually no interest whatsoever in the IF renaissance etc I expected this post to be a dud, something to read while waiting for the next interesting one. How utterly wrong I was! This is a wonderful gem I will certainly return to many times. Thanks, Graham!

- Captain Kal

November 10, 2019 at 2:10 pm

Same here. It took me back, in my own childhood, quite different is many aspects, the same in others!! Great work!!!

- David Boddie

November 9, 2019 at 1:22 am

“Somewhere in my many changes of address and computer, I lost the necessary tech, or damaged it.”

If it’s not a completely hopeless case, there are people who might have the equipment to help rescue the data. Assuming that we’re talking about old Acorn systems, it’s worth mentioning that there’s an active Acorn retro-scene that tries to repair and preserve as much as possible.

- Jimmy Maher

November 9, 2019 at 8:36 am

I’ll mention it to Graham, in case he doesn’t see your comment. Thanks!

- Rafael

November 9, 2019 at 3:22 pm

Independently of filesystem or media, I am sure there are people very interested in preserving it. Kryoflux dumps (with many revolutions) or similar, could be used to recover as much as possible using modern dsp algorithms and so.

- Martin

November 9, 2019 at 1:31 am

“If you like a lot of chocolate on your biscuit, join our club”.

Sorry most of you will be scratching your heads about this comment.

- Mike Russo

November 10, 2019 at 12:07 am

Whatever its perceived failings, Curses gets away with it all because it’s just so much FUN to play! Thanks for this great article.

- Lee Newsome

November 10, 2019 at 1:45 am

Graham may be interested to know that his early BBC micro adventure games, “The Discovery” and “Escape from Solaris” were recently found and made playable online.
http://bbcmicro.co.uk/index.php?rt_R=&rt_B=&rt_M=&rt_P=&rt_U=&rt_W=&rt_L=&search=Graham+Nelson&sort=u

- Jimmy Maher

November 11, 2019 at 12:47 pm

Cool! Added that link to the article. Thanks!

- Kerry Guerrero

November 10, 2019 at 11:23 pm

Yet another fantastic article! Excellent work.

Some time ago I worked out the song titles played by the radio in _Curses_. I’ll list them below for future reference. Turning the list into a Spotify playlist, is left as an exercise for the reader. Enjoy.

————-

The radio valves glow, and execrable so-called easy listening music fills the air…

The radio plays

* a synthesized
* a light orchestra
* a choral
* a snare drum and strings
* a country-and-western
* a one-finger piano
* a Welsh coal-miners’ Eisteddfod choir
* a Hammond organ
* an easy-listening
* a “lite-n-mellow”
* a jazz trio
* a Big Band

[version | rendition | travesty | arrangement | transcription] of

* a splendid concert of the Sibelius Violin Concerto by the Minot Symphony Orchestra of North Dakota
* Queen’s “I Want To Break Free”
* Bach’s “Air on a G-string”
* Mozart’s “Musical Joke”
* Stockhausen’s “Piano Pieces I-IX”
* Beethoven’s “Moonlight Sonata”
* Summer from Vivaldi’s “Four Seasons”
* the especially slow movement of Gorecki’s “Symphony no. 3”
* Spandau Ballet’s “Gold”
* Duran Duran’s “Is There Something I Should Know?”
* Derek and the Dominos’ “Layla”
* Don McLean’s “American Pie”
* Chopin’s “Nocturne no. 1”
* Oxygene by Jean-Michel Jarre
* the Beatles’ “Yellow Submarine”
* the Beatles’ “She Loves You”
* the Beatles’ “Hey Jude”
* the Beatles’ “Lucy in the Sky with Diamonds”
* Queen’s – “Bohemian Rhapsody”
* the Beatles’ “Magical Mystery Tour”
* the Beatles’ “I Am The Walrus”
* Bill Haley’s “Rock Around the Clock”
* the old Elvis Presley number “Jailhouse Rock”
* the old Elvis Presley number “Blue Suede Shoes”
* ELO’s “Mr Blue Sky”
* Bach’s Toccata in D minor for organ
* ABC’s “The Look of Love”
* the Beach Boys’ “California Girls”
* the Stranglers’ “Golden Brown”
* Genesis’ “That’s All”
* Grieg’s piano concerto
* Bruce Springsteen’s “Born in the USA”
* Beethoven’s Symphony no. 5
* Beethoven’s “Emperor” piano concerto
* Mozart’s “Elvira Madigan” concerto
* Bach’s Brandenburg Concerto no. 5
* Deep Purple’s “Smoke On The Water”
* Faure’s Requiem
* Tchaikovsky’s “1812 Overture”
* the Swan from Saint-Saëns’ “Carnival of the Animals”
* the “O Fortuna” from Carl Orff’s “Carmina Burana”
* Led Zeppelin’s “Stairway to Heaven”
* the Bugs Bunny theme tune
* Strauss’ “Blue Danube” waltz
* the Star Wars theme tune
* the Star Trek theme tune
* the Dallas theme tune
* Wagner’s “Ride of the Valkyries” overture
* Dire Straits’ “Money For Nothing”
* Dire Straits’ “Brothers In Arms”
* Dire Straits’ “Tunnel Of Love”
* Wham’s “Wake Me Up Before You Go-Go”
* something abysmal by Leo Sayer
* Lionel Richie’s “Hello”
* Hot Chocolate’s “Happy Birthday”
* Abba’s “Mama Mia”
* Abba’s “Knowing Me, Knowing You”
* Barry Manilow’s “I Write The Songs”
* Ian Dury and the Blockheads’ “Hit Me With Your Rhythm Stick”
* Ravel’s “Bolero”
* “Nessun Dorma”, as sung simultaneously by Pavarotti, Carreras and Dolly Parton
* Michael Jackson’s “Thriller”
* Michael Jackson’s “Billy Jean”
* Michael Jackson’s “Beat It”
* Kylie Minogue’s “I Should Be So Lucky”
* the Eurovision Song Contest’s finest five minutes, “Diggy-Loo Diggy-Lay (Life Is Going My Way)”
* Dexy’s Midnight Runners’ “Come on Eileen”
* Steppenwolf’s “Born to be Wild”
* Toto’s “The Eye of the Tiger”
* Cyndi Lauper’s “Girls Just Wanna Have Fun”
* the traditional air “Greensleeves”
* Hoagy Carmichael’s “Skylark”
* Noel Coward’s “Don’t Put Your Daughter On The Stage”
* Chas and Dave’s “Rabbit Song”
* Paul McCartney’s “Mull of Kintyre”
* John Lennon’s “Imagine”
* that grisly carol, “We Wish You A Merry Christmas”
* that hoary old favourite, “Oh Come All Ye Faithful”
* “My Way” crooned over by Frank Sinatra

- Jimmy Maher

November 11, 2019 at 8:47 am

Does it really say “Eye of the Tiger” is by Toto? It’s actually by Survivor. (And yes, I’m appropriately ashamed to know this…)

- Kerry Guerrero

November 11, 2019 at 6:12 pm

I rechecked on a fresh disassembly and does say “Eye of the Tiger” is by Toto. Obviously a mistake. Good catch! (And no shame, it’s a great tune…)

- Lisa H.

November 11, 2019 at 6:38 pm

That would be some mashup!

- Chris Charabaruk

December 23, 2019 at 7:35 pm

I can’t wait for Survivor’s cover of “Africa”.

- Lisa H.

November 11, 2019 at 6:00 pm

Sounds like a rather difficult exercise for the reader (is there any other kind?). The Beatles songs especially pop out as ones that have their copyrights very jealously guarded and license fees held at high ransom. Michael Jackson might possibly be the same way.

- Zack Urlocker

November 11, 2019 at 12:16 am

Jimmy, this is a great story. But I would have loved to have more details on the language design, key insights into the implementation of Inform, a discussion of how he came up with some of the concepts in the language and tools, etc. I hope we’ll see some of that in part 3 or maybe in a part 4, 5 or 6. This is a topic worth digging into!

- Mike Taylor

November 12, 2019 at 7:18 am

STRONGLY agree!

- Andrew Plotkin

November 12, 2019 at 9:38 pm

Graham wrote up a great deal of that material in the Inform Tech Manual document: http://inform-fiction.org/source/tm/index.html

I believe that was written in parallel with the launch of Inform 6 (1996), so it’s pretty close to the action.

- Ant

November 12, 2019 at 12:07 pm

This is the quibbliest of quibbles but it’s actually an RS-423 cable that you need if you want to connect two Beebs together to play Escape From Solaris (and not an RS-232 as Graham wrote above).

- Jimmy Maher

November 12, 2019 at 1:41 pm

Fair enough. Thanks!

- Aula

November 16, 2019 at 9:09 am

“Interactive Fiction Rennaissance”
should be “Renaissance”

BTW, it’s interesting timing that between this article and the next, the Adventures of Perseus appeared on the Analog Antiquarian, the connection being that Andromeda appears briefly in Curses and less briefly in the story of her husband. Was that just a coincidence, or did you actually plan things that way?

- Jimmy Maher

November 16, 2019 at 9:30 am

Thanks!

And, while I’d love to take credit for the concordance, it was just a coincidence, I’m afraid. ;)

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- M. Casey

November 22, 2019 at 5:38 am

Great job Jimmy. It takes some humility for a writer to just get out of the way when his subject speaks so well on his own, and it paid off in spades here.

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- moving sound

December 24, 2019 at 5:31 pm

For some reason, I imagine a Curses Foiled game being to Curses what Cragne Manor was to Anchorhead.

- Ibrahim Gucukoglu

December 31, 2019 at 1:34 pm

I always wanted to learn more about the enigmatic, elusive Graham so thanks for bringing this article to print.

New Tricks for an Old Z-Machine, Part 3: A Renaissance is Nigh
November 22, 2019

In 1397, a Byzantine scholar named Manuel Chrysoloras arrived in Florence, Italy. He brought with him knowledge of Greek, along with many ancient manuscripts in Greek and Latin that had been lost to the West in the chaos following the collapse of the Roman Empire. This event is considered by many historians to mark the first stirrings of the Italian Renaissance, and with them the beginning of the epoch of scientific, material, and social Progress which has persisted right up to the present day.

In 1993, an Oxford graduate student named Graham Nelson released a text adventure called Curses that, among other things, functioned as an advertisement for a programming language he called Inform, which targeted Infocom’s old Z-Machine. This event is considered by most of us who have seriously thought about the history of text adventures in the post-Infocom era to mark the first stirrings of the Interactive Fiction Renaissance, and with them the beginning of an interactive-fiction community that remains as artistically vibrant as ever today.

Yes, I can see you rolling your eyes at the foregoing. On one level, it is indeed an unbearably pretentious formulation, this comparing of one of the most earthshaking events in human culture writ large with the activities of a small community of niche enthusiasts. Yet, if we can agree to set aside the differences in scale and importance for the moment, the analogy really is a surprisingly apt one. Like the greater Renaissance in Europe, the Interactive Fiction Renaissance prepared a group of people to begin moving forward again by resurfacing old things that had been presumed lost forever. Taking pride of place among those things, being inextricably bound up with everything that followed, was the Z-Machine, functioning first as a means of running Infocom’s classic games, as we saw in the first article in this series; and then as a means of running new games, as we began to see in the second article and will examine in still more detail today.

As Graham Nelson began to pursue the dream of writing new software to run on Infocom’s old virtual machine, he had no access to the refined tools Infocom had used for that task. Thus he was forced to start from nothing — from what amounted to a bare chunk of (virtual) computing hardware, with no compilers or any other software helpers to aid his efforts. He had to start, in other words, at the bare metal, working in assembly language.

Assembly language is the lowest level at which any computer, whether real or virtual, can be (semi-)practically programmed. Its statements correspond to the individual opcodes of the processor itself, which normally encompass only the most granular of commands: add, subtract, multiply, or divide these numbers together; grab the number from this local register and put it into that memory location; etc. Assembly language is the primordial language which underpins everything, the one which must be utilized first to write the compilers that allow programmers to develop software in less granular, more structured, more human-friendly languages such as C, Pascal, and BASIC.

Already at this level, however, the Z-Machine separates itself from an ordinary computer. Alongside the rudimentary, granular opcodes that are common to any Turing-complete computer, it implements other opcodes that are absurdly baroque. The “read” opcode, for example, does all of the work of accepting a full line of text from the keyboard, then separating out its individual words and “tokenizing” them: i.e., looking them up in a dictionary table stored at a defined location in the virtual machine’s memory and converting them into the codes listed there. Another opcode, “save,” simply orders the interpreter to save the current state of the machine to disk, however it prefers to go about it; ditto the “restore” opcode. These complex and highly specialized opcodes exist because the Z-Machine, while it is indeed a Turing-complete, fully programmable anything machine in the abstract, is nevertheless heavily optimized toward the practical needs of text adventures. Thus an object table meant to represent rooms and things in the world of a game is hard-coded right into its memory map, and there are other single opcodes which encapsulate relatively complex tasks like looking up or changing the properties of an object in the world, or moving one object into another object.

Strictly speaking, none of this is really necessary; the Z-Machine is far more complicated than it needs to be in abstract terms. Infocom could have created a robust virtual machine which implemented only traditional low-level opcodes, building everything else out in the form of software libraries running on said virtual machine. But they had a strong motivation for hard-coding so many of the needs of a text adventure right into the virtual hardware: efficiency. A baroque opcode like “read” meant that all of the many steps and stages which went into accepting the player’s command could take place at the interpreter level, running natively on the host computer. Implementing a virtual machine of any sort was a serious challenge on a 1 MHz 8-bit computer like an Apple II or Commodore 64; Infocom needed every advantage they could get.

By the time of Graham Nelson’s experimentation with the Z-Machine, most of the concerns that had led Infocom to design it in this way had already fallen by the wayside. The average computer of the early 1990s would have been perfectly capable of running text adventures through a simpler and more generic virtual machine where the vagaries of the specific application were implemented in software. Nevertheless, the Z-Machine was the technology Graham had inherited and the one he was determined to utilize. When he began to work on Inform, he tailored it to the assumptions and affordances of the Z-Machine. The result was a high-level programming language with an unusual degree of correspondence to its underlying (virtual) hardware. Most obviously, the earliest versions of Inform couldn’t make games whose total compiled size exceeded 128 K, the limit for the version 3 Z-Machine they targeted. (This figure would be raised to 256 K once Inform began to target the version 4 and 5 Z-Machine.)

Yet this limitation was only the tip of the iceberg. Each function in Inform was limited to a maximum of 15 local variables because that was all that the stack mechanism built into the Z-Machine allowed. Meanwhile only 240 global variables could exist because that was the maximum length of the table of same hard-coded into the Z-Machine’s memory map. Much of Inform came to revolve around the Z-Machine’s similarly hard-coded object table, which was limited to just 255 objects in version 3 of the virtual machine. (This limitation was raised to 65,535 objects in the version 4 and 5 Z-Machine, thereby becoming in practice a non-issue.) Further, each object could have just 32 attributes, or states of being — its weight, its open or closed status, its lit or unlit status, etc. — because that was all that was allowed by the Z-Machine’s standard object table. (Starting with version 4 of the Z-Machine, objects could have up to 48 attributes.) All of the dynamic data in a game — i.e., data that could change during play, as opposed to static data like code and text strings — had to fit into the first 64 K of the story file, an artifact of the Z-Machine’s implementation of virtual memory, which had allowed it to pack 128 K or more of game into computers with far less physical memory than that. This limitation too was inherited by Inform despite the fact that by the early 1990s the virtual-memory system had become superfluous, a mere phantom limb which Inform nevertheless had to accept as part of the bargain with the past which it had struck.

Indeed, having been confronted with so many undeniable disadvantages arising from the use of the Z-Machine, it’s natural for us to ask what actual advantages accrued from the use of a fifteen-year-old virtual machine designed around the restrictions of long-obsolete computers, as opposed to taking the TADS route of designing a brand new virtual machine better suited to the modern world. One obvious answer is portability. By the early 1990s, several different open-source Z-Machine interpreters already existed, which between them had already been ported to virtually every computing platform in the world with any active user base at all. Any Inform game that Graham Nelson or anyone else chose to write would become instantly playable on all of these computers, whose combined numbers far exceeded those to which Mike Roberts, working virtually alone on TADS, had so far managed to port his interpreter. (The only really robust platform for running TADS games at the time was MS-DOS; even the Macintosh interpreters were dogged by bugs and infelicities. And as for Graham’s favored platform, the British-to-the-core Acorn Archimedes… forget about it.)

In reality, though, Inform’s use of the Z-Machine appealed at least as much to the emotions as to technical or practical considerations. The idea of writing new games to run on Infocom’s old virtual machine had a romantic and symbolic allure that many found all but irresistible. What better place to build a Renaissance than on the very foundations left behind by the storied ancients? Many or most of the people who came to use Inform did so because they wanted to feel like the heirs to Infocom’s legacy. Poor TADS never had a chance against that appeal to naked sentimentality.

Even as Inform was first gaining traction, it was widely known that Infocom had had a programming language of their own for the Z-Machine, which they had called ZIL: the “Zork Implementation Language.” Yet no one outside of Infocom had ever seen any actual ZIL code. How closely did Inform, a language that, like ZIL, was designed around the affordances and constraints of the Z-Machine, resemble its older sibling? It wasn’t until some years after Inform had kick-started the Interactive Fiction Renaissance that enough ZIL code was recovered to give a reasonable basis for comparison. The answer, we now know, is that Inform resembles ZIL not at all in terms of syntax. Indeed, the two make for a fascinating case study in how different minds, working on the same problem and equipped with pretty much the same set of tools for doing so, can arrive at radically different solutions.

As I described in an article long ago, ZIL was essentially a subset of the general-purpose programming language MDL, which was used heavily during the 1970s by the Dynamic Modeling Group at MIT, the cradle from which Infocom sprang. (MDL was itself a variant of LISP, for many years the language of choice among artificial-intelligence researchers.) A bare-bones implementation of the famous brass lantern in Zork I looked like this in ZIL:

<OBJECT LANTERN
(LOC LIVING-ROOM)
(SYNONYM LAMP LANTERN LIGHT)
(ADJECTIVE BRASS)
(DESC "brass lantern")
(FLAGS TAKEBIT LIGHTBIT)
(ACTION LANTERN-F)
(FDESC "A battery-powered lantern is on the trophy
case.")
(LDESC "There is a brass lantern (battery-powered)
here.")
(SIZE 15)>

Inform has a fairly idiosyncratic syntax, but most resembles C, a language which was initially most popular among Unix systems programmers, but which was becoming by the early 1990s the language of choice for serious software of many stripes running under many different operating systems. The same lantern would look something like this in a bare-bones Inform implementation:

Object -> lantern "brass lantern"
with name 'lamp' 'lantern' 'light' 'brass',
initial
"A battery-powered lantern is on the trophy case.",
description
"There is a brass lantern (battery-powered) here.",
after [;
SwitchOn:
give self light;
StartDaemon(self);
SwitchOff:
give self ~light;
],
size 15,
has switchable;

After enough information about ZIL finally emerged to allow comparisons like the above, many Infocom zealots couldn’t help but feel a little disappointed about how poorly Infocom’s language actually fared in contrast to Graham Nelson’s. Having been designed when the gospel of object-oriented programming was still in its infancy, ZIL, while remarkable for embracing object-oriented principles to the extent it does, utilizes them in a slightly sketchy way, via pointers to functions which have to be defined elsewhere in the code. (This is the purpose of the “ACTION LANTERN-F” statement in the ZIL code above — to serve as a pointer to the routine that should run when the player tries to light the lantern.) Inform, on the other hand, allows all of the code and data associated with an object such as the brass lantern to be neatly encapsulated into its description. (The “SwitchOn” and “SwitchOff” statements in the Inform excerpt above explain what should happen when the player tries to light or extinguish the lantern.) A complete implementation of the Zork I lantern in Inform would probably fill a dozen or more lines than what we see above, monitoring the charge of the battery, allowing the player to swap in a new battery, etc. — all neatly organized in one chunk of code. In ZIL, it would be scattered all over the place, wired together via a confusing network of pointers. In terms of readability alone, then, Inform excels in comparison to ZIL.

Most shockingly of all given the Infocom principals’ strong grounding in computer science, they never developed a standard library for ZIL — i.e., a standardized body of code to take care of the details that most text adventures have in common, such as rooms and compass directions, inventory and light sources, as well as the vagaries of parsing the player’s commands and keeping score. Instead the author of each new game began by cannibalizing some of the code to do these things from whatever previous game was deemed to be most like this latest one. From there, the author simply improvised. The Inform standard library, by contrast, was full-featured, rigorous, and exacting by the time the language reached maturity — in many ways a more impressive achievement than the actual programming language which undergirded it.

Because it was coded so much more efficiently than Infocom’s ad-hoc efforts, this standard library allowed an Inform game to pack notably more content into a given number of kilobytes. The early versions of Curses, for example, were already sprawling games by most standards, yet fit inside the 128 K Z-Machine. Later versions did move to, and eventually all but fill, the version 5 Z-Machine with its 256 K memory map. Still, the final Curses offers vastly more content than anything Infocom ever released, with the possible exception only of Zork Zero (a game which was itself designed for a version 6 Z-Machine that took the ceiling to 512 K). Certainly any comparison of A Mind Forever Voyaging and Trinity — both famously big games with a story-file size pegged to the version 4 and 5 limit of 256 K — to the final version of Curses — story-file size: 253 K — must reveal the last to be an even more complex, even more expansive experience.

So, the Inform development system could hold its head up proudly next to ZIL; in fact, it was so well-thought-through that ZIL would thoroughly disappoint by comparison once hobbyists finally learned more about it. But what of Curses itself, the game with which Inform was so indelibly linked during the first few years of its existence? Was it also up to the Infocom standard?

Before delving into that question in earnest, I should perhaps elaborate a bit on Graham Nelson’s own description of Curses from the previous article.

In the game, then, you play the role of a rather hapless scion of a faded aristocratic family. Aristocratic life not being what it once was, you’ve long since been forced to register the familial mansion with the National Trust and open it up to visitors on the weekends in order to pay the bills. As the game proper begins, your family is about to take a jaunt to Paris, and you’ve come up to the attic — a place in as shabby a state as the rest of the house — to look for a tourist map you just know is lying around up here somewhere.

It's become a matter of pride now not to give up. That tourist map of Paris must be up here somewhere in all this clutter, even if it has been five years since your last trip. And it's your own fault. It looks as if your great-grandfather was the last person to tidy up these lofts...

Attic
The attics, full of low beams and awkward angles, begin here in a relatively tidy area which extends north, south and east. The wooden floorboards seem fairly sound, just as well considering how heavy all these teachests are. But the old wiring went years ago, and there's no electric light.

A hinged trapdoor in the floor stands open, and light streams in from below.

In the best tradition of shaggy-dog stories, your search for the map turns into an extended adventure through space and time. You just keep finding more and more secret areas and secret things in the attics and the grounds surrounding the house, including a disconcerting number of portals to other times and places. The whole thing eventually comes to revolve around an ancient familial curse reaching back to the time of Stonehenge. If you manage to get to the end of the game — no small feat, believe me! — you can finally lift the curse. And, yes, you can finally find the bloody Paris tourist map.

It’s hard to know where to start or end any discussion of Curses. It’s one of those works that sends one off on many tangents: its technology, its historical importance, its literary worth as a writing exercise or its ludic worth as an exercise in design. Faced with this confusion, we might as well start with what Curses has meant to me.

For Curses is indeed a game which carries a lot of personal importance for me. I first discovered it about four or five years after its original release, when I was working a painfully dull job as a night-shift system administrator — a job which paid not so much for what I did each night as for my just being there if something should go wrong. I had, in other words, copious amounts of free time on my hands. I used some of it playing a bunch of post-Infocom text adventures which I hadn’t previously realized existed. Because they looked — or could be made to look — like just another scrolling terminal window, they suited my purposes perfectly. Thus my memory of many a 1990s classic is bound up with those nights in a deserted data center — with the strange rhythm of being awake when everyone else is asleep, and vice versa.

Of all the games I played during that time, Curses made one of the greatest impressions on me. I was still young enough then to be profoundly impressionable in general, and I found its casual erudition, its willingness to blend science with poetry, mathematics with history, to be absolutely entrancing. Having been a hopeless Anglophile ever since I first heard a Beatles record at circa six years old, I was well-primed to fall in love with Graham Nelson’s dryly ironic and oh-so-English diction. In fact, as I began to write more seriously and extensively myself in the years that followed, I shamelessly co-opted some of his style as my own. I like to think that I’ve become my own writer in the time since that formative period, but some piece of Graham is undoubtedly still hiding out down there somewhere in the mishmash of little ticks and techniques that constitute my writer’s voice.

For all that Curses entranced me, however, I never came close to completing it. At some point I’d get bogged down by its combinatorial explosion of puzzles and places, by its long chains of dependencies where a single missed or misplaced link would lock me out of victory without my realizing it, and I’d drift away to something else. Eventually, I just stopped coming back altogether.

I was therefore curious and maybe even slightly trepiditious to revisit Curses for this article some two decades after I last attempted to play it. How would it hold up? The answer is, better than I feared but somewhat worse than I might have hoped.

The design certainly shows its age. I have less patience than ever today for walking-dead scenarios that are as easy to stumble into as they are here. I wholeheartedly agree with Graham’s own statement that “Curses is by any reasonable standard too hard.”

So far, so expected. But I was somewhat more surprised by my crotchety middle-aged take on the writing. Mind you, some aspects of it still bring a smile to my face; I still can’t resist saying, “It’s a wrench, but I’ll take it,” every time I pick up a wrench in real life, much to my wife’s disgust. (Luckily, as she’d be the first to point out, I’m not much of a handyman, so I don’t tend to pick up too many of them.) In other places, though, what used to strike me as delightful now seems just a little bit too precious for its own good. I can still recognize the influence it had over me and my own writing, but it does feel at times like an influence I’ve ever so slightly outgrown. Today, things like the game’s quotation of the lovely Dorothy Parker poem “Inventory” — “Four be the things I’d been better without: Love, curiosity, freckles, and doubt.” — when you first type the command of the same name can feel just a little bit facile. Curses is constantly making cultural cross-connections like these, but they’re ultimately more clever than they are profound. It’s a game packed with a lot of cultural stuff, but not one with much to really say about any of it. It instead treats its cultural name-dropping as an end unto itself.

Curses strikes me as a young man’s game, in spite of its showy erudition — or perhaps because of it. It was written by a prodigious young man in that wonderful time of life when the whole world of the intellect — all of it — is fresh and new and exciting, when unexpected pathways of intellectual discovery seem to be opening up everywhere one looks. In this light, Emily Short’s description of it as a game about the sheer joy of cultural discovery rings decidedly true. Graham himself recognizes that he could never hope to write a game like it today; thus his wise decision not to return to the well for a sequel.

But to fairly evaluate Curses, we need to understand its place in the timeline of interactive fiction as well as in the life of the man who created it. It’s often billed — not least by myself, in this very article’s introduction — as the game which kicked off the Interactive Fiction Renaissance, the first of a new breed which didn’t have to settle for being the next best thing to more Infocom games. It was the first hobbyist game which could stand proudly shoulder to shoulder with the best works of Infocom in terms of both technical and literary quality.

On the face of it, this is a fair evaluation — which is, after all, the reason I’ve deployed it. Yet the fact remains that Curses’s mode of production and overall design aesthetic mark it as a distinctly different beast from the best later works of the Renaissance it heralded. While the games of Infocom certainly were an influence on it, they weren’t the only influence. Indeed, their influence was perhaps less marked in reality than one might imagine from the game’s intimate connection to the Z-Machine, or from its borrowing of some fairly superficial aesthetic elements from Infocom, such as the letterboxed literary quotations which were first employed to such good effect by Trinity. While Curses’s technology and its prose were unquestionably up to the Infocom standard, in spirit it verged on something else entirely.

In the beginning — the very beginning — text adventures were written on big institutional computers by unabashed eggheads for a very small audience of other eggheads. Games of this type were expected to be hard; questions of fairness rarely even entered the conversation. For these games weren’t just designed for single eggheads to play and conquer — they were rather designed for entire teams of same; adventure gaming in these early days was regarded as a group activity. These games were made publicly available while still works-in-progress; their mode of production bore an ironic resemblance to modern attitudes about “software as a service,” as manifested in modern gaming in things like the Steam Early Access program. In fact, these text-adventures-as-a-service tended not to ever really get finished by their designers; they simply stopped growing one day when their designers left the institution where they lived or simply got bored with them. Graham Nelson was exposed to this tradition early on, via his first encounters with the Crowther and Woods Adventure. (Remember his telling reminiscence: “It seemed like something you were exploring, not something you were trying to win.”) When he came to Cambridge in 1987, he was immersed in a sustained late flowering of this design aesthetic, in the form of the text adventures made for the Phoenix mainframe there.

This attitude cut against the one which Infocom had long since come to embrace by the time Graham arrived at Cambridge: the notion that text adventures should be interactive fictions, soluble by any single player of reasonable intelligence in a reasonable amount of time. As the name “interactive fiction” would imply, Infocom adopted a fundamentally literary mode of production: a game was written, went through lots of internal testing to arrive at some consciously complete state, and then and only then was sent out into the world as the final, definitive work. Infocom might release subsequent versions to fix bugs and incongruities that had slipped through testing, just as the text of a book might receive some additional correcting and polishing between print runs, but Infocom’s games were never dramatically expanded or overhauled after their release. Post-Curses, the hobbyist interactive-fiction community would embrace this Infocom model of production almost exclusively. In fact, a game released “before its time,” still riddled with bugs and sketchily written and implemented, would attract the most scathing of rebukes, and could damage the reputation of its author to the point that she would have a hard time getting anyone to even look at a subsequent game.

Yet Curses was anything but an exemplar of this allegedly enlightened interactive-fiction production function. Graham Nelson’s game grew up in public like the institutional games of yore, being expanded and improved in six major stages, with more than two years elapsing from its first release to its last. Betwixt and between them, Graham shared yet more versions on a more private basis, both among his local peer group and among the burgeoning community of Curses superfans on the Internet. As each new version appeared, these armies of players would jump into it to find the new puzzles and give their feedback on what else might be added to or improved, just as an army of MIT students once did every time the people who would eventually found Infocom put up a new build of the PDP-10 Zork. There are, for example, seven separate ways to solve an early puzzle involving the opening of a stubborn medicine bottle in the final version of Curses, most of them the result of player suggestions.

So, Curses should be understood as an ongoing creative effort — almost, one might say, a collaboration between Graham Nelson and his players — that grew as big as it could and then stopped. A scrupulous commitment to fairness just wasn’t ever in the cards, any more than a rigorously pre-planned plot line. In a telling anecdote, Graham once let slip that he was surprised how many people had finished Curses at all over the years. It was designed, like his beloved Crowther and Woods Adventure, to be a place which you came back to again and again, exploring new nooks and crannies as the fancy took you. If you actually wanted to solve the thing… well, you’d probably need to get yourself a group for that. Even the hint system, grudgingly added in one of the later versions, is oblique; many of the hints come from a devil who tells you the exact opposite of what you ought to be doing. And all of the hints are obscure, and you’re only allowed three of them in any given session.

All of which is to say that, even as it heralded a new era in interactive fiction which would prove every bit as exciting as what had come before, Curses became the last great public world implemented as a single-player text adventure. It’s an archetypal Renaissance work, perched happily on the crossroads between past and future. Its shared debt to the institutional tradition that had stamped so much of interactive fiction’s past and to the Infocom approach that would dictate its future is made most explicit in the name of the language which Graham developed alongside the game. As he told us in the previous article in this series, the first syllable of “Inform” does indeed refer to Infocom, but the second syllable reflects the habit among users of the Cambridge Phoenix mainframe of appending the suffix “-form” to the name of any compiler.

Speaking of Inform: Curses also needs to be understood in light of its most obvious practical purpose at the time of its creation. Most new text-adventure creation systems, reaching all the way back to the time of Scott Adams, have been developed alongside the first game to be written using them. As we’ve seen at some length now in this article and the previous one, Inform was no exception. As Graham would add new features to his language, he would finds ways to utilize them in Curses in order to test them out for himself and demonstrate them to the public. So, just as Inform reflects the Z-Machine’s core capabilities, Curses reflects Inform’s — all of them. And because Inform was designed to be a powerful, complete system capable of producing games equal in technical quality to those of Infocom or anyone else, the puzzles which found their way into Curses became dizzying in their sheer multifariousness. Anything ZIL could do, Graham was not so subtly implying, Inform could do as well or better.

Here, then, the Infocom influence on Curses is much more pronounced. You can almost go through the Infocom catalog game by game, looking at the unique new interactive possibilities each release implemented and then finding a demonstration somewhere in Curses of Inform’s ability to do the same thing. Zork II introduced a robot to which the player’s avatar could issue verbal commands, so Curses does the same thing with a robot mouse; Enchanter had an underground maze whose interconnections the player could alter dynamically, so Curses has a hedge maze which let its player do the same thing; Infidel drew hieroglyphic symbols on the screen using groups of ASCII characters, so Curses has to demonstrate the same capability; etc., etc. (One of the few Infocom affordances that doesn’t show up anywhere in Curses is a detailed spell-casting system, the linchpin of the beloved Enchanter trilogy — but never fear, Graham wrote an entirely separate game just to demonstrate Inform’s capabilities in that area.) If all this doesn’t always do much for the game’s internal coherence, so be it: there were other motivations at work.

Graham Nelson’s own story of the first release of Curses is stamped with the unassuming personality of the man. On May 9, 1993, he uploaded it to an FTP site connected with the Gesellschaft für Mathematik und Datenverarbeitung — a research institute in Bonn, Germany, where a friendly system administrator named Volker Blasius had started an archive for all things interactive fiction. He then wrote up a modest announcement, and posted it to the Usenet newsgroup rec.arts.int-fiction — a group originally set up by stuffy academic hypertext enthusiasts of the Eastgate stripe, which had since been rudely invaded and repurposed by unwashed masses of text-adventure enthusiasts. After doing these things, Graham heard…nothing. Feeling a little disappointed, but realizing that he had after all written a game in a genre whose best days seemed to be behind it, he went about his business — only to discover some days later that his incoming Usenet feed was bollixed. When he got it fixed, he found that his little game had in fact prompted a deluge of excitement. No one had ever seen anything like it. Just where had this mysterious new game that somehow ran on Infocom’s own Z-Machine come from? And where on earth had its equally mysterious author gone to after releasing it?

It really is hard to overstate the impact which Curses, and shortly after it Inform, had on the interactive-fiction community of 1993. Text adventures at that time were largely an exercise in nostalgia; even all of the work that had been done to understand the Z-Machine and make new interpreters for it, which had been such a necessary prerequisite for Graham’s own work, had been done strictly to let people play the old games. While some people were still making new games, none of them could comprehensively stand up next to Infocom at their best. Yes, some of them evinced considerable creativity, even a degree of real literary ambition, but these were held back by the limitations of AGT, the most popular text-adventure development system at the time. Meanwhile Adventions, the makers of the most polished games of this period, who were wise enough to use the technically excellent TADS rather than the more ramshackle AGT, were more competent than inspired in churning out slavish homages to Zork. All of the absolute best text adventures, the ones which combined literary excellence and technical quality, were still those of Infocom, and were all more than half a decade old.

And then along came Curses as a bolt out of the blue. Even if we wish to argue that some aspects of it haven’t aged terribly well, we cannot deny how amazing it was in 1993, with its robust determination to do everything Infocom had done and more, with its distinct and confident literary sensibility, and not least — the appeal this held really cannot be emphasized enough — the fact that it ran on Infocom’s own virtual machine. It dominated all online discussion of text adventures throughout the two years Graham spent continuing to improve and expand it in public. The gravitational pull of Curses was such that when Mike Roberts, the creator of TADS, released an epic of his own later in 1993, it went oddly unremarked — this despite the fact that Perdition’s Flames was progressive in many ways that Curses distinctly wasn’t, making it impossible to lock yourself out of victory, prioritizing fairness above all other considerations. It stands today as the better game in mechanical terms at least, recommendable without the caveats that must accompany Graham’s effort. Yet it never stood a chance in 1993 against the allure of Curses.

And so it was that the quiet, thoughtful Englishman Graham Nelson — hardly the most likely leader of a cultural movement — used Curses and Inform to sculpt a new community of creation in his own image.

Graham’s technological choices became the community’s standards to a well-nigh shocking extent. The version 5 Z-Machine, the last and most advanced of its text-only iterations to come out of Infocom, had only been used by a few late Infocom games, none of them hugely beloved. Thus its implementation had tended to be a somewhat low priority among interpreter writers. But when Curses outgrew the 128 K memory space of the version 3 Z-Machine fairly early in its release cycle, and Graham stepped up to the 256 K version 5 Z-Machine, that decision drove interpreter writers to add support for it; after all, any Z-Machine interpreter worth its salt simply had to be able to play Curses, the sensation of the text-adventure world. Thus the version 5 Z-Machine became the new standard for the hobbyist games that followed, thanks not only to its expanded memory space but also to its more advanced typography and presentation options. (Graham would later define two new versions of the Z-Machine for really big games: an experimental and seldom-used version 7 and a version 8 which did come into common use. Both would allow story files of up to 512 K, just like Infocom’s graphical version 6 Z-Machine.)

Graham was utterly disinterested in making money from his projects. He made Inform entirely free, destroying the shareware model of AGT and TADS. David Malmberg, the longtime steward of AGT, stepped down from that role and released that system as well as freeware in 1994, signalling the end of its active development. Mike Roberts did continue to maintain and improve TADS, but soon bowed to the new world order ushered in by Inform and made it free as well. Not coincidentally, the end of the era of shareware text adventures as well as shareware text-adventure development systems coincided with Graham’s arrival on the scene; from now on, people would almost universally release their games for free. It’s also of more than symbolic significance that, unlike earlier hotbeds of text-adventure fandom which had coalesced around private commercial online services such as CompuServe and GEnie, this latest and most enduring community found its home on the free-and-open Internet.

It’s important to note that Graham’s disinterest in making money in no way implied a lack of seriousness. He approached everything he did in interactive fiction with the attitude that it was worth doing, and worth doing well. In the long run, his careful attention to detail and belief in the medium as something worthy of serious effort and serious study left as pronounced a stamp on the culture of interactive fiction as Inform or Curses themselves.

In 1995, he produced “The Z-Machine Standards Document,” which replaced years of speculation, experimentation, and received hacker wisdom with a codified specification for all extant versions of the Z-Machine. At the same time that he worked on that project, he embarked on The Inform Designer’s Manual, which not only explained the nuts and bolts of coding in the language but also delved deep into questions of design. “The Craft of Adventure,” its included essay on the subject, remains to this day the classic work of its type. Working with what was by now an enthusiastic hobbyist community which tempered its nostalgia for the medium’s commercial past with a belief in its possibilities for the present and future, Graham even saw The Inform Designer’s Manual — all 500-plus pages of it — printed as a physical book, at a time when self-publishing was a much more fraught endeavor than it is today.

But the most amusing tribute to the man’s sheer, well-earned ubiquity may be the way that his personality kept peeking through the cracks of every game made with Inform, unless its author went to truly heroic lengths to prevent it. His wryly ironic standard responses to various commands, as coded into the Inform standard library — “As good-looking as ever” when you examined yourself; “Violence isn’t the answer to this one” when you gave in to frustration and started trying to beat on something; “You are always self-possessed” when you attempted to take yourself — proved damnably difficult to comprehensively stamp out. Thus you’d see such distinctly non-Nelsonian efforts as zombie apocalypses or hardcore erotica suddenly lapsing from time to time into the persona of the bemused Oxford don wandering about behind the scenes, wondering what the heck he’d gotten himself into this time.

Seen with the hindsight of the historian, the necessary prerequisites to an Interactive Fiction Renaissance aren’t hard to identify. The Internet gave text-adventure fans a place to gather and discuss the games of the past, as well as to distribute new ones, all unbeholden to any commercial entity. Free Z-Machine interpreters made it easy to play Infocom’s games, widely recognized as the best of their type ever made, in convenient ways on virtually every computer in existence. Activision’s two Lost Treasures of Infocom collections made the complete Infocom canon easy to acquire, placing all text-adventure fans on an even footing in the course of providing them with their equivalent of The Complete Works of William Shakespeare. And then Graham Nelson came along and gave so much: a superb programming language in Inform, a superb demonstration of where interactive fiction could go in the post-Infocom era in Curses, documentation that exceeded the standard of most professional efforts, and, perhaps most of all, a living example of how interactive fiction was worth taking seriously in all its aspects, worth doing completely and well — and forget worrying about making money out of it. So, my next statement is as cringe-worthy as it is inevitable: Graham Nelson became interactive fiction’s Renaissance Man.

Now, it was just a matter of time before all of these forces forged something rather extraordinary. The year after Graham arrived on the scene in such exciting fashion was actually one of the quietest in the history of text adventures in terms of new releases; AGT was dying, while Inform was just beginning to pick up steam as an entity separate from Curses. But the following year, 1995, would see an embarrassment of worthy releases, large and small, trying all sorts of things, even as the cultural capstone to the new edifice of post-Infocom interactive fiction — an annual Interactive Fiction Competition — arrived to complete the construction process. The events of 1993 had been the harbinger; 1995 would become the true Year One of the Interactive Fiction Renaissance.

(Sources: the book The Inform Designer’s Manual by Graham Nelson; Stephen Granade’s timeline of interactive fiction on Brass Lantern; archives of rec.arts.int-fiction and rec.games.int-fiction, available on the IF Archive. My warmest thanks go once again to Graham Nelson for sharing so much of his story for these articles.

Curses remains available for free. It can of course be played on any Z-Machine interpreter.)

Comments
42 Responses

- Jason Scott

November 22, 2019 at 5:55 pm

I am delighted that after not even doing me the favor of even responding to an interview for GET LAMP, Graham Nelson finally has put together (with Jimmy’s help) the important backstory of Inform and the part it played in the Z-Machine story.

- Allan Holland

November 24, 2019 at 9:09 pm

Between you and Jimmy, I owe a huge debt of gratitude as a lifelong infocom and IF fan. Get Lamp is info nirvana for me. Thank you both times infinity.

- Jason Scott

November 29, 2019 at 1:20 am

Jimmy took a fun movie and turned its droppings into a compelling, epic narrative, for which I will always be grateful.

- Torbjörn Andersson

November 22, 2019 at 7:16 pm

“Further, each object could have just 32 properties, or states of being — its weight, its open or closed status, its lit or unlit status, etc. — because that was all that was allowed by the Z-Machine’s standard object table.”

The open/closed and lit/unlit statuses would probably be attributes (or flags, depending on which specification you’re looking at), rather than properties. For instance “TAKEBIT” AND “LIGHTBIT” in your ZIL example, and “light” and “switchable” in your Inform example.

The Inform 6 Technical Manual notes that later versions worked around the property limitation by adding “a major data structure not present in the Z-machine architecture: the concept of “individual property”, a mechanism to allow games to have more or less unlimited numbers of properties which don’t need to be declared before use.”

- Jimmy Maher

November 22, 2019 at 8:00 pm

Yes, you’re right, of course. Thanks!

At some point, Inform began to bypass the hard-coded object table entirely — implementing its own data structures in software, as if the Z-Machine was the more bare-bones virtual machine I described it in the article as *not* being. This was possible, of course, because performance was no longer an issue. However, I’m not exactly sure offhand when this happened, other than sometime between the first release of Inform 6 and the first release of Inform 7. I’m not sure if what you’re referring to is the same thing or an interim step.

- Andrew Plotkin

November 22, 2019 at 8:23 pm

Individual properties came in with the first release of Inform 6. I6 also added a class inheritance model, giving the language a more explicitly OO slant.

Those were the last major extension that Inform provided (over Infocom limitations) until the invention of Z-code versions 7 and 8.

- Aula

November 24, 2019 at 3:39 pm

“However, I’m not exactly sure offhand when this happened”

IIRC it was at the same time that Inform started to support Glulx as an alternative target VM. Since Glulx has no opcodes to handle an object tree, Inform needed to be changed so that it wouldn’t try to generate them, which had the side effect of not using them on the Z-Machine either.

- Jimmy Maher

November 24, 2019 at 4:55 pm

Ah, yes, that makes a lot of sense…

- Andrew Plotkin

November 25, 2019 at 4:15 pm

Whoops, no, that’s not correct.

When the Glulx back-end went into I6, I deliberately avoided changing the Z-machine generation code. I might have added some minor optimization to the code generator, but that’s all. My concern was to add new functionality as cleanly as possible while not breaking anything that was already there.

The fact is, I6’s Z-machine code still uses the native Z-code object tables. They are *not* bypassed, and I’m not sure where you’re getting the claim that they are.

As I said above, I6 adds a new individual property table, and it adds a class hierarchy. (Object classes are represented as special Z-code objects outside the world.) There’s also “strict mode”, which adds *wrappers* around the native Z-code opcodes to check for various errors. But the Z-code opcodes are still there at the bottom.

- Jason Dyer

November 22, 2019 at 7:38 pm

I may be in error on this, but I believe the final version of the medicine bottle had more than 7 methods — 11 I think? I unfortunately no longer have a save file at the end of the game where I could easily check (it’s in the end notes part, I know).

- Jimmy Maher

November 22, 2019 at 8:17 pm

Just checked using TXD because I don’t have an end-of-game save handy either. Oddly, the story file seems to list only six — and I believe that one of these, giving it to Aunt Jemima, actually hoses you because she eats the pill inside. But seven is stated in several places online, and that’s Graham’s recollection.

- Andrew Plotkin

November 22, 2019 at 8:10 pm

“Instead the author of each new game began by cannibalizing some of the code to do these things from whatever previous game was deemed to be most like this latest one.”

When the Infocom source code came out this year (thanks Jason!), it turned out to include a source directory marked “generic”. This was a game with a parser, a couple of blank rooms, and a couple of blank objects — clearly intended as a base for copying.

The compiled files in that directory are dated 1985 and 1987, so it’s not clear how many Infocom games were started by forking the generic template, as opposed to cloning an earlier full game. But it’s an apparent attempt to standardize the original parser code. (Distinct from the “New Parser” of the final V6 games.)

- Jimmy Maher

November 22, 2019 at 8:23 pm

Interesting. In some of the interviews for Get Lamp, Imps described their habit of taking a previous game and stripping it down to only the needful, so this likely was a fairly late practice. The sadly departed Stu Galley, for example, definitely said that The Witness was built on the foundation of Deadline.

- Jason Scott

November 22, 2019 at 11:32 pm

I suspect that each of the imps had their own approach to this situation, and in the interviews there’s definitely a “lineage” between them, with a lot eminating from Marc Blank. (For example, Marc Blank to Stu Galley, Marc to Steve Meretzky, and so on.)

I’m surprised the ZIL community hasn’t tried a “overlapping code” test to see how much of each game’s DNA is like the others from the source code, but when they do, I bet it’ll be informative.

At various points in the history, like Zarf has hinted, there are attempts to “clean up” the Infocom structure, to various degrees of success. Remember, for example, that both Blank and Berlyn essentially separated from Infocom and worked as remote contractors for various reasons, so their day to day was different. And Bates, I’m sure, caused a lot of cleaning up because he was trying to duplicate the environment and understand it, which meant all the dusty corners got a look.

I’m just encouraging us to not think of the place as a monolithic “and then they did this” because it’s very obvious that was not the case.

- Quinn Dunki

November 24, 2019 at 5:06 pm

Both are probably true. The generic source folder would provide many basics, but it would still have made sense to also start with a similar game to avoid rewriting some of the more subtle things.

As for Infocom not having a standard library, that makes sense from a technical standpoint. Libraries are a trade off of reduced development time versus code size. If the library is implemented as source, more generic or abstracted services create longer code and larger data structures. If the library is implemented as binary, you have overhead introduced by linkers and potentially code relocation, symbol tables, etc.

Writing each game from first principles may not be the fastest way, but it likely did result in smallest possible code, the paramount concern. I haven’t seen the “generic” source folder referenced above, but my guess it is provides some very basics- the stuff you CAN share without incurring increased code size from abstraction.

- Jimmy Maher

November 25, 2019 at 11:35 am

Although your logic would be completely correct under most scenarios, I’m not certain about this one. A text adventure is a fairly specialized piece of software, and a standard library designed just for that purpose may not suffer so horribly from the inefficiencies you describe, as long as its designers struck the right balance between complexity and commonality. While I’ve by no means extensively analyzed the Infocom source code that was released with such fanfare a while back, my strong impression is that in general it’s not particularly good or efficient code in an abstract sense. There’s a lot of unnecessary elaboration and particularly a lot of local repetition of things that could be better encapsulated into global functions. (This makes a degree of sense, given that a number of the Imps didn’t come to Infocom with a deep background in programming in the abstract, essentially learning ZIL as their first and only language on the fly.)

And in the end, as they say, the proof is in the pudding: Curses, using the rigorously engineered Inform library, packs a heck of a lot more game into the 256 K Z-Machine than either A Mind Forever Voyaging or Trinity.

- Dave Lebling

December 7, 2019 at 12:28 am

…and Suspect was built on Deadline as well. I haven’t polled the other imps on this, but I believe no actual game was based on the “generic” core game.

Fundamentally it was the space limitations that led us away from having a generic library. With the later, larger size limits, this was potentially something we could have ignored (also ignoring for the moment the limitations of floppy disk capacity), but other issues sucked up a lot of the air that such an effort would have taken.

Hard as it is to believe, the period in which Zork was written was also early days for the whole object-orientation, inheritance, classes, strong-typing philosophy. In fact, we were right down the hall from Barbara Liskov, who was defining them and promoting them at the same time we were writing Zork. The language she and her team invented (CLU) was in fact originally implemented in Muddle. (It was also very slow in Muddle, so they moved off of it as soon as they could.)

Jason Scott’s suggestion of DNA testing to determine the parentage of each line or ZIL function is a good one. I suggest someone with a lot of time and energy take it on!

- matt w

November 22, 2019 at 8:14 pm

About the default messages for Curses peeking through in later games–I’m pretty sure I’m not the only Cragne Manor author who went through replacing all the default messages except the one for WAKE (“The dreadful truth is, this is not a dream.”) [FWIW, someone did try to smell the welcome mat, so my effort was not wasted.]

- Jimmy Maher

November 24, 2019 at 4:58 pm

That’s actually an amusing example of a message stemming directly from Curses that has remained a part of Inform’s standard library right up until today. It exists in Curses because you enter one of its parallel dimensions by lying down and sleeping. But, as the text says…

- S. John Ross

November 22, 2019 at 8:52 pm

I’m going to get awfully emotional when you get to the parts about I7, when non-programmers like me were invited to play. But it’s certainly also moving reading about these foundations; it really highlights the level of effort Graham put into it all.

- Keith Palmer

November 22, 2019 at 9:46 pm

I recall first encountering Curses as a self-contained Macintosh application in the shareware folder of a monthly “CD-ROM magazine”; unfortunately, I don’t know where those old disks have got to to confirm that memory. However, where some time before (as I commented on “The Last Works Before the Renaissance“) I’d happened on a TADS adventure and merely been amused someone had managed something so nostalgic without really wondering how they’d done it, the “about menu” in Curses described Inform and gave me a sense of potential just over the horizon.

With that said, though, I didn’t play very far into the game then; having struggled with “The Lost Treasures of Infocom” might have left me intimidated. A while after that I first got connected to the Internet, and one of the first things I went looking for via the just-established Yahoo and its ilk was “text adventure information,” if as much to finally finish A Mind Forever Voyaging and Trinity as anything. The First Interactive Fiction Competition did happen later that year, however, and I did eventually resort to a Curses walkthrough…

- S. John Ross

November 22, 2019 at 10:42 pm

If the monthly CD-ROM magazine was Interactive Entertainment, I used to be a department editor there =) You can snag copies of the CDs here: https://archive.org/details/interactive_entertainment

- Keith Palmer

November 23, 2019 at 2:05 am

I have the impression the CD-ROM we subscribed to was “Nautilus,” but thanks for the link anyway. One other thing that caught my attention about this piece but which I didn’t put into my first comment was mentioning “adventures meant to be played by a team”; Renga in Blue’s recent ascent of the mountain named “Warp” brought that idea to my mind just before seeing it here.

- Ross

November 22, 2019 at 10:55 pm

I always hoped the number of times I am referenced in footnotes in the Inform Designer’s Manual might someday help me professionally. So far, it has not.

- Michael

November 23, 2019 at 12:55 am

“At the same that that he worked on that project…”
–>same time?

- Jimmy Maher

November 23, 2019 at 9:46 am

Thanks!

- Eddie

November 23, 2019 at 6:40 am

Thank you Jimmy for the wonderful article, and thank you Graham for Inform and Curses.

It is so amazing to play zcode games on an old Palm IIIx.

I wish someone would make Frotz for Chromebooks!

- mathew

November 25, 2019 at 8:02 pm

DOS Frotz should work in DOSBox for Chromebook.

Or the Parchment Z-code interpreter should work, in which case you can play Curses right now by going to https://ifdb.tads.org/viewgame?id=plvzam05bmz3enh8 and clicking the Play on-line button.

- flowmotion

November 23, 2019 at 6:57 am

The Inform example here doesn’t appear to be “{C;}-like” at all to my eyes. More like a DSL implemented in Ruby or something from the natural language school like HyperTalk/AppleScript. Or maybe even pascal.

- Ross

November 23, 2019 at 7:19 am

Object declarations are the least C-like thing in Inform. The actual procedural code is just exactly straight-up C with like 4 syntactic oddities (The use of colons as separators in the for-loop, square brackets rather than braces for function declarations, the use of the arrow operator for array indexing, and the idiosyncratic escape sequences in strings)

- Aula

November 24, 2019 at 3:29 pm

“given the the Infocom principals’ strong grounding”

“Graham even saw the The Inform Designer’s Manual”

both of these have a duplicate “the”

- Jimmy Maher

November 24, 2019 at 4:55 pm

Thanks!

- Ken Brubaker

November 24, 2019 at 8:44 pm

Actually, the second one is grammatically correct since the first ‘the’ is referring to a title which starts with ‘The’. But it does sound a bit weird.

- Carl

November 25, 2019 at 4:47 am

Not a huge deal of course but assembly language is not the lowest level you can use to program a machine. While you’re right that each mnemonic usually corresponds to an opcode, in assembly language you also have variable declarations, macros, and some assembly languages have subroutines and facilities for memory allocation.
The lowest level is pure machine code,

- Mike Taylor

November 25, 2019 at 8:23 am

True — and inherent in the very name “assembly”, which indicates that the real code is being assembled from some more symbolic representation. Back when I was learning to program on a Commodore Pet 2001, I did write actual 6502 machine language by hand (a little, and very poorly), so I still have some opcodes stuck in my head decades later: hex A9 for Load Direct, AA for Transfer A to X, AD for Load Indirect, 00 for Break, etc. I would poke those numbers directly into their locations.

- Jimmy Maher

November 25, 2019 at 11:39 am

I take your point, but I’m going to take refuge in “(semi-)practically.” While I’ve heard a number of stories of people able to write binary code on the fly — I certainly have never had the mind for such a thing, even when I was younger — few would do so unless there just wasn’t any other alternative.

- Lisa H.

November 25, 2019 at 5:15 am

The several references in the comments to Get Lamp make me wonder how many other readers out there have one of the challenge coins. (I had forgotten, or not known, that they were numbered until I looked them up before making this comment and found 1. a cancelled Kickstarter that offered coins made by the same company as a perk, but “they won’t be individually numbered”; and 2. one on eBay for $125 (!!).

- Peter Olausson

November 25, 2019 at 6:49 pm

I must be even more ignorant of modern IF than I thought, since I fail to see how eg “just” 255 objects with “just” 32 attributes each matter to anyone but the most ambitious authors, and indeed are “undeniable disadvantages”.

- Jimmy Maher

November 25, 2019 at 7:02 pm

They fill up fast. Every room is an object, as is the player character, every other character or creature, and every, well, *object* in the world (including all the ones you can’t pick up and carry, like tables and carpets and rivers). As are lots of seemingly more abstract things — like every possible direction for movement (that’s twelve objects right there), possible conversation topics, etc. If you can reference it as a direct or indirect object in a command, it’s probably an object in the programmatic sense. Even Infocom struggled mightily with the 255-object limitation, which often bit harder than the 128 K limitation. Today, when players expect a much more richly implemented world as a matter of course, it would be hopeless.

Attribute inflation is similarly deceptive. Object taxonomy functions via a series of true-false questions, implemented as attribute flags. Am I a room? Am I a door? Am I a compass direction? Am I a living creature? Can I be taken? Can I be opened? AM I currently open? Can I be lit? Can I be turned on and off? AM I turned on? Etc., etc.

- Ross

November 26, 2019 at 2:33 am

It has been a heck of a long time, but the most implacable limit you ran up against in the Z-machine was the 64k ram limit. The limits on global properties and attributes mostly impact the design of the library – why some things are lookup tables and others are subroutines, and you can muddle your way around the object limit by recycling objects (There’s a bit of black magic I hammered out years ago – rewriting the object table at runtime in software), but you still ran into the wall that only the first 64k of memory was dynamic and byte-addressable.

- Peter Olausson

November 27, 2019 at 10:23 am

Ahh, or should it be ooh — *those* kinds of objects! Then I get it. Completely different.

- Fuck David Cage

November 27, 2019 at 8:02 pm

I think a great game series that shows how much can be programmed, and pushes the limits well
beyond most games–a series I put on a list of suggestions in the comments for the hall of fame–is Metal Gear Solid. I respect Hideo Kojima for many reasons, such as his complex stories, challenging and fun gameplay and appreciation for the player’s intelligence, and his detailed programming tricks are perfect examples. He managed to program ice melting, enemies who could hear the characters sneeze, commanders who respond to almost everything the player does–even deeply embedded actions, like eating a vulture that has eaten a man and being accused of cannibalism by proxy.

I wonder how often a programmer got confused by the references to an object as “self,” and forgot whether he was working on an object or the main character? How did the Inform interpreter refer to the main character? This could explain a lot of the bugs on Nathan Simpson and Graham Cree’s lists. *Tangential note: I think fans of those lists would also enjoy David Wonn’s list and Zany Video Game Quotes*

Eric the Unready
December 6, 2019

In September of 1991, Bob Bates of Legend Entertainment flew to Florida for a meeting of the Software Publishers Association. One evening there after a long day on the job, still dressed in his business suit, he took a walk along the beach, enjoying a gorgeous sunset as he anticipated a relaxing dinner with his wife and infant son, who had joined him on the trip.

Yet his mind wasn’t quite as peaceful as was the scenery around him. He was in fact wrestling with a tension which everybody who does creative work for a living must face at some point: the tension between what the artist wants to create and what the audience wants to buy. Bob had made Timequest, his first game after co-founding Legend, as a self-conscious experiment, meant to determine whether a complicated, intricate, serious, difficult parser-driven adventure game was still a commercially viable proposition in 1991. The answer was, as Bob puts it today, “kind of”: Timequest hadn’t flopped utterly, but it hadn’t sold in notably big numbers either. Steve Meretzky’s decidedly lower-brow games Spellcasting 101 and 201, which had bookended Timequest on Legend’s release schedule, had both done considerably better. Bob had already started making notes for a Timequest II by the time the first one shipped, but he soon had to face the reality that the sales numbers just weren’t there to support more iterations on the concept.

Now, in the midst of his walk on the beach, a name sprang unbidden into his head: “Eric the Unready.” Such a gift from God — or from his subconscious — had never come to him before in that manner, and never would again. But no matter; once in a lifetime ought to be enough for anyone. He found the name hilarious, and chuckled to himself over it the rest of the way to the restaurant. At last, he knew what his next game would be: a straight-up farce about a really, really unready knight named Eric. With that decision made, he was ready to enjoy his evening.

The more he thought about the idea upon returning to daily life inside Legend’s Virginia offices, the more he realized that it had more going for it in practical terms than most rarefied bolts from the blue can boast. Indeed, it was an idea about which no marketer could possibly have complained, being well-nigh precision-targeted to hit the industry’s commercial sweet spot as accurately as any Legend title could hope to. If the success of Legend’s Spellcasting games hadn’t sufficiently proved to the company how potent a combination comedy and fantasy could be, there was plenty of other evidence on offer. Adventure gamers loved comedy, which was just as well given that it was the default setting the form always wanted to collapse back into, a gravitational attraction that could be defied by a designer only through serious, single-minded effort; these realities explained why Sierra made so many comedies, and why LucasArts’s adventure catalog contained very little else. And gamers in general just couldn’t get enough fantasy; this explained the quantity of dungeon-crawling CRPGs clogging store shelves, not to mention the success of Sierra’s King’s Quest adventure series. To complete the formula for sales gold, Bob soon decided that Eric the Unready would also toss aside all of Timequest’s puzzle complexity to jump onto what Legend saw as another emerging industry trend: that of making adventure games friendlier, more accessible to the non-hardcore. In short, Bob’s latest game would be easy.

So, Eric the Unready was to be an unabashed bid for mainstream success, as safe a play as Legend knew how to make at this juncture. But such a practical commercial profile isn’t necessarily an artistic kiss of death; like all of the best of such efforts, Eric the Unready is executed with such panache that even a jaded old critic like me just can’t help but love it in spite of his snobbishness.

Inveterate student of history that he is, Bob’s first impulse upon starting any project is always to head to the library. In fact, one might say that his research for Eric the Unready began long before he even thought to make the game. The name itself actually has an historical antecedent, one which was doubtless bouncing around somewhere in the back of Bob’s mind when he had his brainstorm: Æthelred the Unready is the name of an English king from shortly before the Norman Conquest. The epithet had always amused Bob inordinately. (For the record: the word “unready” in this context means something closer to poorly advised than personally incompetent. Nevertheless, it was the latter, anachronistic meaning which Bob was about to embrace with glee.)

After the project began in earnest, Bob’s research instinct meant lots of reading of contemporary fantasy, a genre he had heretofore known little about. More out of a sense of duty than enthusiasm, he worked through Margaret Weis and Tracey Hickman’s Dragonlance and Death Gate novels, Michael Moorcock’s Elric saga, and even Stephen R. Donaldson’s terminally turgid Chronicles of Thomas Covenant the Unbeliever.

In the end, none of it would prove to have been necessary — and this was all for the best. Eric the Unready has little beyond its “fantasy” label in common with such po-faced epics. The milieu of the finished game is vaguely Arthurian, as you might expect of a game written by the Anglophile creator of Arthur: The Quest for Excalibur. This time out, though, Bob tempered his interest in Arthurian myth with a willingness to toss setting and even plot coherence overboard at any time in the name of a good joke. As such, the game inevitably brings to mind a certain Monty Python movie — and, indeed, there is much of that beloved British comedy troupe in the game. Other strong influences which Bob himself names include Douglas Adams, Terry Pratchett, and, hitting closer to home, Steve Meretzky.

The humor of Eric the Unready might best be summarized as “maximalism with economy.” Bob:

My [plots] were always meant to be scrupulously well-designed,. There was never a logical inconsistency. All of them were solidly constructed. But with Eric the Unready, I consciously said, “If I see the opportunity for a joke that doesn’t quite make sense, I’m going to do it anyway.” Toward the end of the project, I wondered how many jokes there were in Eric. I can remember counting that there were over a thousand of them. It’s just crammed full of funny material: in the newspapers, hidden in the conversations, hidden all over the place.

The economy comes in, however, with Eric the Unready’s determination never to beat any single joke into the ground — something that even Steve Meretzky was prone to do in too much of his post-Infocom work. As Graham Nelson and others have pointed out, one of Infocom’s secret weapons was, paradoxical though it may sound, the very limitations of their Z-Machine. The sharply limited quantity of text it allowed, combined with the editorial oversight of Jon Palace, Infocom’s unsung hero, kept their writers from rambling on and on. But text had become cheap on the computers of the 1990s, and thus Legend’s software technology, unlike Infocom’s, allowed the author an effectively unlimited number of words — a dangerous thing for any writer. A Legend author was under no compulsion whatsoever to edit himself.

Luckily, Bob Bates’s dedication to doing the research came through for him here, in a way that ultimately proved far more valuable than his study of fantasy fiction. He had been interested in the mechanics and theory of comedy long before starting on the game, and now reread what some of the past masters of the form — people like Milton Berle and Johnny Carson — had to say about it. He recalled an old anecdote from the latter, which he paraphrases as, “Not everybody is going to like every joke. But if you can get 60 percent of the people to laugh at 60 percent of your jokes, you’re a success.” One of the funniest writers ever once noted in the same spirit that “brevity is the soul of wit.” Combining these two ideals, Bob’s approach to the humor in Eric the Unready became not to stress over or belabor anything. He would crack a joke, then be done with it and move on to the next one; rinse and repeat, rinse and repeat. “There’s always another bus coming,” says Bob by way of summing up his comedy philosophy. “If you don’t get this one, don’t worry; you’ll get the next one.”

At this point, then, I’d like to share some of Eric the Unready’s greatest comedic hits with you. One of the pleasures for me in revisiting this game a quarter-century on has been remembering all of the contemporary pop culture it references, pays homage to, or (more commonly) skewers. Thus many of the screenshots you see below are of that sort — wonderful for remembering the somehow more innocent media landscape of the United States during the immediate post-Cold War era, that window of peace and prosperity before history caught up with us again on September 11, 2001. (Why does the past always strike us as more innocent? Is it because we know what will come after, and familiarity breeds quaintness?)

But another of my agendas is to commemorate Legend’s talented freelance art team, whose work was consistently much better than we had any right to expect from such a small studio. Being a writer myself, I have a tendency to emphasize writing and design while giving short shrift to the visual aesthetics of game-making. So, let me remedy that for today at least. The quality of the artwork below is largely thanks to Tanya Isaacson and Paul Mock, Legend’s two most important artists, who placed their stamp prominently on everything that came out of the company during this period.

Each chapter includes a copy of the newspaper for that day. Together, they provide a running commentary on Eric’s misadventures of the previous chapters — and lots of opportunities for more jokes. Shay Addams, the publisher of the Questbusters newsletter and book series and a ubiquitous magazine commentator and reviewer, rivaled Computer Gaming World’s Scorpia for the title of most prominent of all the American adventure-game superfans who parleyed their hobbies into paychecks. (Scorpia as well showed up in games from time to time — perhaps most notably, as a poisonous monster in New World Computing’s Might and Magic III, her comeuppance for a negative review of Might and Magic II.) Alas, Addams disappeared without a trace about a year after Eric the Unready was published. Rumor had it that he took up a career as a professional gambler (!) instead.

A really old-school shout-out, to Scott Adams, the first person to put a text adventure on a microcomputer. “Yoho” was a magic word in his second and most popular game of all, Pirate Adventure.

The computer-game industry of the early 1990s still had some of the flavor of pre-Hays Code Hollywood. Even as parents and politicians were fretting endlessly over what Super Mario Bros. was doing to Generation Nintendo, computer games remained off their radar entirely. That would soon change, however, bringing with it the industry’s first attempts at content rating and self-censorship.

The “tastes great, less filling” commercials for Miller Lite were an inescapable presence on American television for almost two decades, placing athletes and B-list celebrities in ever more elaborate beer-drinking scenarios which always concluded with the same tagline. They still serve as a classic case study in marketing for the way they convinced stereotypically manly, sports-loving male beer drinkers that it was okay to drink a (gasp!) light beer.

We couldn’t possibly skip an explicit homage to Monty Python and the Holy Grail, could we?

Wheel of Fortune — and the bizarre French obsession with Jerry Lewis.

More risque humor…

David Letterman’s top-ten lists were a pop-culture institution for almost 35 years. Note the presence on this one of Vice President Dan Quayle, who once said that Mars had air and canals filled with water, and once lost a spelling bee to a twelve-year-old by misspelling “potato.”

Rob Schneider’s copy-machine guy was one of the more annoying Saturday Night Live characters to become an icon of his age…

Speaking of Saturday Night Live: in one of the strangest moments in the history of the show, the Irish singer Sinead O’Connor belted out a well-intentioned but ham-fisted a-capella scold against human-rights abuse in lieu of one of her radio hits. At the end of the song, she tore up a picture of the pope as a statement against the epidemic of child molestation and abuse in the Catholic Church.

Some of Miller Lite’s competition in terms of iconic beer commercials for manly men came in the form of Old Milwaukee and its “It just doesn’t get any better than this” tagline. (Full disclosure: Old Milwaukee was my dad’s brew of choice, I think mostly because it was just about the cheapest beer you could buy. I have memories of watching John Wayne movies on his knee, coveting the occasional sip of it I was vouchsafed.)

Madonna was at her most transgressive during this period: she had just released an album entitled Erotica and a coffee-table book of softcore porn entitled simply Sex. Looked back on today, her desperate need to shock seems more silly than threatening, but people reacted at the time as if the world was ending. (I should know; I was working at a record store when the album came out. Ah, well… even as an indie-rock snob, I had to recognize that her version of “Fever” slays.) Meanwhile the picture that accompanies the newspaper article above pays tribute to another pop diva: Grace Jones.

My favorite chapter has you exploring a “galaxy” of yet more pop-culture detritus with the unforgettable Captain Smirk, described as “250 pounds of captain stuffed into a 175-pound-captain’s shirt.” (This joke might just be my favorite in the whole game…)

Fantasy Island, in which a new collection of recognizable faces was gathered together each week to live out their deepest desires and learn some life lessons in the process, was one of the biggest television shows of the pop-culture era just before Eric the Unready, when such aspirational lifestyle fare set in exotic locations — see also Fantasy Island’s more family-friendly sibling The Love Boat — was all the rage. It all really does feel oddly quaint and innocent today, doesn’t it?

Eric the Unready manages to combine all three of actor and decadent lifestyle icon Ricardo Montalbán’s most recognizable personas in one: as Mr. Roarke of Fantasy Island, as Khan of Star Trek II: The Wrath of Khan, and as a pitchman for Chrysler.

And at last we come to Gilligan’s Island, a place within a three-hour sailing tour of civilization which has nevertheless remained uncharted — the perfect scene for a sitcom as breathtakingly stupid as its backstory.

Eric the Unready is the first Legend game to fully embrace the LucasArts design methodology of no player deaths and no dead ends. Even if you deliberately try to throw away or destroy essential objects out of curiosity or sheer perversity, the game simply won’t let you; the object in question is always restored to you, often by means that are quite amusing in themselves. Just as in a LucasArts comedy, the sense of freedom this complete absence of danger provides often serves the game well, empowering you to try all sorts of crazy and funny things without having to worry that doing so will mean a trip back to your collection of save files. Unlike many LucasArts games, though, Eric the Unready doesn’t even try all that hard to find ways of presenting truly intriguing puzzles that work within its set of player guardrails. In fact, if there’s a problem with Eric the Unready, it must be that the game offers so little challenge; Bob Bates’s determination to make it the polar opposite of Timequest in this respect carried all the way through the project.

The game is really eight discrete mini-games. At the start of each of these “chapters,” Eric is dumped into a new, self-contained environment that exists independently of what came before or what will come later. By limiting the combinatorial-explosion factor, this structure makes both the designer’s and the player’s job much easier. Even within a chapter, however, there are precious few head-scratching moments. You’re told what you need to do quite explicitly, and then you proceed to do it in an equally straightforward manner — and that’s pretty much all there is to solving the game. Bob long considered it to be the easiest game by far he had ever designed. (He was, he noted wryly when I spoke to him recently, forced by popular demand to make his recent text adventure Thaumistry even easier, which serves as something of a commentary on the ways in which player expectations have changed over the past quarter-century.)

All that said, it should also be noted that Eric the Unready’s disinterest in challenging its player was more of a problem at the time of its original release than it is today. Whatever their other justifications, difficult puzzles served as a way of gumming up the works for the player back in the day, keeping her from burning through a game’s content too quickly at a time when the average game’s price tag in relation to its raw quantity of content was vastly higher than today. Without challenging puzzles, a player could easily finish a game like Eric the Unready in less than five hours, in spite of its having several times the amount of text of the average Infocom game (not to mention the addition of graphics, music, and sound effects). At a retail price of $35 or $40, this was a real issue. Today, when the game sells as a digital download for a small fraction of that price, it’s much less of one. Modern distribution choices, one might say, have finally allowed Eric the Unready to be exactly the experience it wants to be without apologies.

Certainly Bob has fantastically good memories of making this game; he still calls it the most purely enjoyable creative endeavor of his life. Those positive vibes positively ooze out of the finished product. Yet there was a shadow lurking behind all of Bob’s joy, lending it perhaps an extra note of piquancy. For he knew fairly early in Eric the Unready’s development cycle that this would be the last game of this type he would get to design for the foreseeable future. Legend, you see, was on the verge of dumping the parser at last.

They had fought the good fight far longer than any of their peers. By the time Eric the Unready shipped in January of 1993, Legend had been the only remaining maker of parser-based adventure games for the mainstream, boxed American market for over two years. As part of their process of bargaining with marketplace realities, they had done everything they could think of to accommodate the huge number of gamers who regarded the likes of an Infocom game much as the average contemporary movie-goer regarded a Charlie Chaplin film. In a bid to broaden their customers demographic beyond the Infocom diehards, Legend from the start had added an admittedly clunky method of building sentences by mousing through long menus of verbs, nouns, and prepositions, along with copious multimedia gilding around the core text-adventure experience.

As budgets increased and the market grew still more demanding, Legend came to lean ever more heavily on both the mouse and their multimedia bells and whistles. By the time they got to Eric the Unready, their games was already starting to feel as much point-and-click as not, as the regular text-and-parser window got superseded for long stretches of time by animated cut scenes, by full-screen static illustrations, by mouseable onscreen documents, by mouse-driven visual puzzles. Even when the parser interface was on display, you could now choose to click on the onscreen illustrations of the scenes themselves instead of the words representing the things in them if you so chose.

Still, it was obvious that even an intermittent recourse to the parser just wouldn’t be tenable for much longer. In this new era of consumer computing, a command line had become for many or most computer users that inscrutable, existentially terrifying thing you got dumped into when something broke down in your Windows. The last place these people wanted to see such a thing was inside one of their games. And so the next step — that of dumping the parser entirely — was as logical as it was inevitable.

Eric the Unready wouldn’t quite be the absolute last of its breed — Legend’s Gateway 2: Homeworld would ship a few months after it — but it was the very last of Bob’s children of the type. Once Eric the Unready and Gateway 2 shipped, an era in gaming history came to an end. The movement that had begun when Scott Adams shipped the first copies of Adventureland on hand-dubbed cassette tapes for the Radio Shack TRS-80 in 1978 had run its course. Yes, there was a world of difference between Adams’s 16 K efforts with their two-word parsers and pidgin English and the tens of megabytes of multimedia splendor of an Eric the Unready or a Gateway 2, but they were all nevertheless members of the same basic gaming taxonomy. Now, though, no more games like them would ever appear again on the shelves of everyday software stores.

And make no mistake: something important — precious? — got lost when Legend finally dumped the parser entirely. Bob felt the loss as keenly as anyone; through all of his years in games which would follow, he would never entirely stop regretting it. Bob:

What you’re losing [in a point-and-click interface] is the sense of infinite possibility. There may still be a sense that there’s lots you can do, and you can still have puzzles and non-obvious interactions, but you’ve lost the ability to type anything you want. And it was a terrible thing to lose — but that’s the way the world was going.

I found the transition personally painful. That’s evidenced by the fact that I went back and wrote another parser-based game more than twenty years later. A large part of the joy of making this type of game for me is the sense that I’m the little guy in the box. It’s me and the player. The player senses my presence and feels like we’re engaged in this activity together. There’s a back-and-forthing — communication — between the two of us. It’s obviously all done on my part ahead of time, but the player should feel like there’s somebody behind the curtain, that it’s a live exchange. It should feel like somebody is responding as an individual to the player.

As Bob says, point-and-click games are … not necessarily worse, but definitely different. The personal connection with the designer is lost.

A long time ago now in what feels like another life, I entitled the first lengthy piece I ever wrote about interactive fiction “Let’s Tell a Story Together.” At its best, playing a text adventure really can feel like spending time one-on-one with a witty narrator, raconteur, and intellectual sparring partner. I would even go so far as to admit that text adventures have cured me of loneliness once or twice in my life. There’s nothing else in games comparable to this experience; only a great book might possibly compare, but even it lacks the secret sauce of interactivity. Indeed, text adventures may be the only truly literary form of computer game. Just as a book is the most personal, intimate form of traditional artistic expression, so is a text adventure its equivalent in interactive terms.

Granted, some of those qualities may initially be obscured in Eric the Unready by all the flash surrounding the command prompt. But embrace the universe of possibilities that are still offered up by that blinking cursor, sitting there asking you to try absolutely anything you wish to, and you’ll find that the spirit which changed the lives of so many of us when we encountered our first Infocom game lives on even here. Don’t just rush through the fairly trivial task of solving this game; try stuff, just to see what the little man behind the curtain says back. Trust me when I say that he’s very good company. One can only hope that all of those who bought Eric the Unready in 1993 appreciated him while he was still around.

(My huge thanks go to Bob Bates for setting aside yet another few hours to talk about the life and times of Legend circa 1992 to 1993.

Eric the Unready can be purchased on GOG.com. It’s well worth the money.)

Comments
34 Responses

- Rowan Lipkovits

December 6, 2019 at 5:11 pm

“Madonna was at her most transgressive during this period”

Also perhaps worth noting in that caption; the illustration in that newspaper is repeating an iconic pose by Grace Jones on the cover of her 1985 album Island Life.

- Jimmy Maher

December 6, 2019 at 7:59 pm

Good catch. Thanks!

- Lisa H.

December 6, 2019 at 5:51 pm

I thought huh, Aethelred’s epithet is a bit funny given that his name includes the element -rede, advice or counsel, so I looked him up. According to Wikipedia the pun was intentional

- Lisa H.

December 6, 2019 at 5:52 pm

Oops, missed the closing period there.

- drphish

December 6, 2019 at 8:13 pm

The infinite feeling of the text parser has just been revived! Check out this research project in the form of a kind of interactive collaborative storytelling AI:
http://www.aidungeon.io/

It needs lots of horsepower, and runs on google’s cloud GPU service in your web browser (for free once you log in to a google account)

I have been absolutely blown away by this thing, and I can imagine a renaissance brought about by these techniques combined with a custom trained and seeded AI model (and a LOT more polish)

- Brian Bagnall

December 22, 2019 at 4:26 pm

Thanks for the link, I hadn’t heard of this one before. It’s interesting to try out cutting edge tech that might evolve into something useful someday. For now it generates a pretty nonsensical story. I played a detective mystery and there was a man standing behind me in a forest who took a shot at me. After some talk he walked up to me and I grabbed his gun, talked a bit more, then shot him. I then examined his body and he was made of wood apparently. He also kept talking after he was dead and told me his name was James Bond. Either this is a surreal nightmare adventure or there is a lot of work to be done.

- Wouter Lammers

December 6, 2019 at 8:52 pm

Will definitely give this one a try!

vastly high than today -> vastly higher than today?

- Jimmy Maher

December 6, 2019 at 9:00 pm

Thanks!

- Martin

December 7, 2019 at 12:45 am

So what is the number one favorite prank of the gods?

- Lisa H.

December 7, 2019 at 1:00 am

…David Letterman’s haircut? which it says at the bottom of the screenshot?

- Martin

December 7, 2019 at 1:37 am

Duh! For some reason I didn’t see that.

- Roberto

December 7, 2019 at 1:07 am

I actually don’t think this game is much easier than, say, Meretzky’s Planetfall (I actually solved that one in less time than this one, but obviously this is a subjective thing). But (maybe even more than the other Legend games I played, namely Gateway I and II) it really feels “sandboxed”. Every chapter is closed in itself, the typical Infocom interlocking puzzles spread out over the game’s geography are definitely gone here. The other “problem” I see in this game is the “baseball” probem, or whatever Graham Nelson named it, not about puzzles, but the humour. I think I missed half of the jokes just because I’m not american (at least as I can tell from this article, in which I discovered jokes I simply couldn’t taste not knowing american pop culture at that specific time). Maybe that’s also a reason why I found it more difficult than it should be (while still easy), I’m not sure. Despite all of this, I still reccomend this game as a funny fantasy rope (and there’s also poking on adventure tropes, see the Underworld part). There’s even an hint for a sequel in the ending, but that didn’t happen.

- Menneisyys

December 7, 2019 at 5:14 pm

“I think I missed half of the jokes just because I’m not american (at least as I can tell from this article, in which I discovered jokes I simply couldn’t taste not knowing american pop culture at that specific time)”

Yup, the same problem here. I (European) have played thru the game in Summer 1993 but “got” only very few of the jokes / references (Terry Pratchett, Monty Pyhton etc. but definitely not for example Madonna).

BTW, I’m still loving this game. I’ve recently started to re-playing it, along with TimeQuest. (The latter I couldn’t finish in 1991 – I may have been too young for its immense complexity. Now I’m far more ahead without any help or walkthrus.) I even own all Legend games, some even in two versions (TimeQuest in 1.0 and 1.1.)

- menneisyys

December 7, 2019 at 5:18 pm

“I found it more difficult than it should be (while still easy)”

For me, back in 1993, w/o any walkthrus, the largest time I ended up spending was on the “sacrifice” scene – I spend hours on trying to find out what I should do.

Other puzzles were quite easy (and immensely easier than those of TimeQuest and still easier than Spellcasting 101/201, particularly with the Lost Souls chapter of the former, which is plain impossible to complete for a non-English native speaker) – probably as easy as those of Gateway 1.

- Tsubasanut

December 25, 2019 at 10:58 am

I second this. Played Eric somewhere in 1996. Despite being Russian and pretty bad at English at that time, I just loved the game, still in my top 10 P&C adventures. I haven’t watched Star trek, nor Monthy Python, and missed a lot of references. And still the game has such reaching across the cultures humor! I’m still cracking up just remembering this door with ten doorbells. Thanks for bringing this up, got to replay it ASAP.

- Lane

December 7, 2019 at 1:53 am

One of the few games I ever returned for a refund. Not because it was bad, per se. But I bought the CD-ROM version – which was not enhanced in *any* way over the floppy version.

- Jacen aka Jaina

December 7, 2019 at 3:29 am

“should know; I was working on a record store”

Clicking on the first picture got me the text ” was perhaps the most prominent and long-lived of all the American adventure-game superfans whp”

- Jimmy Maher

December 7, 2019 at 6:54 am

Thanks!

- Chris Lang

December 7, 2019 at 4:50 am

Ah, Eric the Unready. It’s a fun game, with fun parodies of everything from Renaissance faires to Star Trek. Its only real weakness (that I can think of offhand) is the dated cultural references (such as the Sinhead O’Connor reference, and the jokes aimed at Bill Clinton, George HW Bush, and Ross Perot) that kind of ‘date’ the game.

There ARE a few ways to die in this game, but they’re easily undone with an ‘UNDO’ command. But the ‘instant death’ from nowhere thing is mostly averted. And at one point, the game even hilariously subverts your expectations that doing a certain thing will lead to your demise. It’s been a while, but if I recall correctly, you pass through a spiked turnstile before entering the Zork/adventure parody area. If you look at the turnstile, you’re advised against touching it. Attempting to touch it results in a hilarious response from the parser, as it goes out of its way to avoid killing you for doing so.

And yes, the text parser gives us a sort of connection with an adventure game unlike any other. It’s fun typing in all sorts of inputs just to see if you’ll encounter some witty response or some Easter egg. And yes, I agree completely that it’s a more intimate experience, a ‘Let’s Tell a Story Together’ type thing, than any other interface.

- Peter Olausson

December 7, 2019 at 2:05 pm

Worth mentioning: The great cover is original art by fantasy master Boris Vallejo.

- Kerry Guerrero

December 7, 2019 at 9:46 pm

In caption for next to last image: Ricardo Montalbán rather than Ricardo Monelban

- Jimmy Maher

December 9, 2019 at 12:54 pm

Thanks!

- Fuck David Cage

December 7, 2019 at 11:13 pm

I love this game: The hilarious humor, great characters, nice variety of settings and witty death scenes made it a classic. No matter what you and Ron Gilbert say, I say that clever death scenes add tension and excitement to an adventure–no one would read Lord of the Rings or War and Peace if the characters were always safe! That is part of the reason why I prefer Sierra, Access and Legend to Lucasarts games–the lack of tension and danger make it the black sheep of my favorite adventure game companies and lessen the excitement of its games.

- Bluddy

December 15, 2019 at 11:02 pm

I generally agree, though I think LucasArts games are superior in many other ways as well. They tend to be better made and designed, aside from this point. I think there’s a distinction though — I don’t mind saving in a dangerous situation. Having the loss of work as a threat is akin to the threat of having to redo a section in an action game, and the remedy is a save system or checkpointing. Note that more serious LucasArts games, such as Indiana Jones and Full Throttle have dangerous parts for this reason.

The real problem is when tiny, meaningless objects you missed can no longer be accessed, causing a dead man walking situation. Avoiding this problem requires heavy investment into a meta-game of save indexing, and is completely inappropriate IMO. This comes about purely due to bad design, and unfortunately, as is well documented in this blog, Sierra were the kings of bad design.

- Fuck David Cage

December 7, 2019 at 11:20 pm

I agree with Scorpia about Might and Magic: It really is a dull, repetitive, unimaginative series with a lot of bad decisions like having enemies age the characters constantly and putting the fountain of youth at the end. Give me Zelda and Metroid for dungeon crawling R.P.G.s and Superhero League of Hoboken and Xenoblade for open world R.P.G.s.

- GeoX

December 13, 2019 at 1:47 am

Having beaten, oh, every Might and Magic game, I can honestly say that I never had any trouble whatsoever with the aging mechanic. Sure, it was pointless (though amusing in the early games to use magic to give your characters negative ages), but really, that’s a weird thing to be hung up on.

- Gerry Quinn

January 31, 2020 at 11:04 pm

She was writing about MM2, and for me that game was a huge breath of fresh air after the relatively turgid and humourless Bards Tale.

M&M games had their flaws, but at the end of the day they were always a good old-fashioned monster bash with great freedom of movement.

(Not to mention spawning what was my favourite strategy game ever, Heroes of Might and Magic III.)

- Fuck David Cage

December 7, 2019 at 11:27 pm

Fun fact: Dictionary.com says “potatoe” was considered an acceptable spelling until the reaction to Dan Quayle showed that the everyone had forgotten about it. Dan Quayle was still retarded.

- Ross

December 8, 2019 at 12:01 am

It’s not like Quayle made up that spelling. It was what was on the card they gave him. I mean, would you have overruled the official answer given to you? Is a special celebrity emcee at a spelling bee supposed to have the authority to override the official printed answer sheet?

- Carlton Little

December 8, 2019 at 8:20 pm

But he knew better than that. You’re telling me you’d have done the same, in his shoes?

- Mike

December 8, 2019 at 8:31 pm

“pre-Hayes Code Hollywood”

“Hays Code”, after Will H. Hays.

- Jimmy Maher

December 9, 2019 at 12:52 pm

Thanks!

- Bluddy

December 15, 2019 at 11:07 pm

I must admit that even though I grew up adjacent to the period of text adventures’ popularity, they never appealed to me. I played Hitchhiker’s Guide, for example, and though I liked it, it doesn’t remain vivid in my memory. Only with the combination of parser and images, as in Sierra’s AGI and early SCI games, did I find the combination that worked for me. So even though I respect these games, I don’t particularly like any of them. I would, however, love to see some company return to that space of parser/2d/3d space combinations — even if it might mean doing away with prerecorded voice work.

- Pingback: CALTROPS » Blog Archive » The Caltrops Top 50 Games of 2010-2019: #39-30

Companions of Xanth (Preceded by the Worrisome Case of Piers Anthony)
December 20, 2019

I first read Piers Anthony’s thick 1969 novel Macroscope when I was in my early teens, and haven’t returned to it since. Nevertheless, I still remember the back-of-the-jacket text on my dog-eared old first paperback edition: “Existence is full of a number of things, many of them wondrous indeed — and these are the things of this soaring novel.” This high-flown blurb has remained so memorable to me because it’s so unlike anything anybody would ever write about Anthony’s work today.

Piers Anthony was born in 1934, and first made a name for himself in literary circles as one of the slightly lesser lights among science fiction’s New Wave of the 1960s. He was no Roger Zelazny, Ursula Le Guin, or Harlan Ellison, but he was regarded as a modestly promising young writer in his own right; he even contributed a story to the second of Ellison’s landmark Dangerous Visions anthologies in 1972.

But that honor, along with Macroscope, which became his second and last novel to be nominated for a Hugo award in 1970, actually mark the high point of Anthony’s respectable literary career. It had always been difficult for him to pay the bills as a second-string writer of serious speculative fiction, and it only grew more difficult as the luster faded from the New Wave in the 1970s and his books attracted even less attention. He was saved from a perhaps not-undeserved obscurity by Lester del Rey, one of genre fiction’s most legendary editors and curators. As the first to nurture and publish such writers as Stephen R. Donaldson, Terry Brooks, and David Eddings, del Rey became largely responsible for the post-Tolkien, post-New Wave boom in epic fantasy fiction. But, apparently seeing a different set of strengths and weaknesses in Anthony than he did in those other charges, del Rey guided him down a rather less epic path. Thus in 1977 Anthony came to write A Spell for Chameleon, the first novel in an endless series of them set in the pun-infested light-fantasy world of Xanth.

A Spell for Chameleon certainly wasn’t the worst fantasy novel to be published that year. While it had nothing of any substance on its mind whatsoever, its very lightness made it a welcome alternative to the likes of the three other writers I’ve just mentioned, whose books came complete with all the labored self-seriousness of an Emerson, Lake, and Palmer album. The fact is, there really wasn’t much else like A Spell for Chameleon on bookstore shelves in 1977; it felt like a genuine breath of fresh air.

Unfortunately, that book was as good as Xanth ever got. When it became the best-selling novel he had ever written by far, Anthony recognized it for what it was: a formula for maximum sales with minimum labor investment. And from that point on, he never looked back.

Still, even the first few Xanth novels after A Spell for Chameleon weren’t horribly written by the standards of their kind. Eventually, though, Anthony decided that such niceties as editing were incompatible with his desire to publish one of them every year, along with two or more other books from his other series. In time, he admitted to writing his novels using a “template” in his word processor — ah, the wonders of technology! — that he needed merely fill in, Mad Libs-style. He was actually able to outsource much of the writing to his readers, by inviting them to submit their own jokes and plots and character outlines. But where the rubber meets the road, in the form of sentences on the page, none of these assistants could make up for his refusal to take the time to be any good at his craft. There are sentences in latter-day Anthony in particular which are simply appalling from a writer with decades of experience. Consider, for example, this extract: “So why would I break with him? Because I came to the conclusion that he was a loose cannon. The problem with such a cannon is that it is more dangerous to its friends than to its enemies. I had suffered such looseness before…” If ever a court is established for crimes against the English language, Piers Anthony ought to be one of the first writers it indicts.

Between 1977 and today, Anthony has churned out no less than 42 Xanth novels, with another four reportedly complete and merely awaiting release as of this writing. And in between all those Xanth novels, he’s written dozens of other books. His guiding principle appears to be that not one word he writes should ever be put to waste; he wants somebody to pay for every last stroke of the keyboard. Thus he’s written two rambling, unfocused “autobiographies” which seem to be composed of journal extracts and “how to be a successful writer” advice columns he wasn’t able to place anywhere else. And thus when he wrote a series of letters to a twelve-year-old Xanth fan who had been paralyzed in a car crash, he irretrievably tainted the kindness he had evinced in doing so by compiling all of them into a book and publishing that too.

Anthony’s great stroke of genius for promoting all of these books came right out of the modern social-media playbook: he built his brand out of himself, building a cult of personality that superseded pesky details like the quality of his prose or the originality of his plots. For most people, Xanth fandom has a definite expiration date; it generally begins in one’s preteen years, and is over around the time one learns to drive a car. Within that window of time, however, many youngsters are all in for Xanth, and this is due not least to the connection they feel to its mastermind. Early on, Anthony took to appending an “author’s note” to each of his novels, in which he mused about the circumstances of its creation. That anyone, much less impatient youngsters, should have found these interesting was rather bizarre on the face of it. Anthony didn’t travel much or have adventures in the real world or build or do unusual things. He mostly just sat in front of his computer in his suburban home — not exactly a memorably unusual lifestyle in this modern world of ours. In the context of his author’s notes at least, the purchase of some extra memory for his computer or the switch to a new word processor counted as major life events for him.

And yet his fans absolutely ate it up. Most of them were still at an age when books and other creative works seemed to fall out of the sky fully-formed from a realm completely isolated from their own experience. Their glimpses of a real person behind the curtain of the Xanth novels marked for many of them their first exposure to the idea of artistic creation as a human labor — perhaps one they could even engage in themselves. And so, far from being a disadvantage, this sweeping away of the creative mystique was a big part of Xanth’s appeal, inculcating enormous loyalty in Anthony’s young readers. A memorable 2012 episode of the radio show This American Life illustrates the real bond that existed (and presumably still exists) between Anthony and his fans by telling the story of a picked-on teenage boy who ran away to the house of his favorite author — and was, it must be said, treated by said author with great kindness and compassion when he arrived there.

Yet even as he was nurturing such a warm relationship with his fans, Anthony was cementing his reputation among his peers as one of the biggest jerks in genre publishing. His career has been a long string of feuds and shattered friendships, which he describes at length in his autobiographies. His most longstanding battle has been with the Science Fiction Writers of America, an organization he claims to have “blacklisted” him during his lean years; no one actually involved with the SFWA is quite sure what he’s talking about. The real core of Anthony’s anger would seem to be his frustration at not being taken seriously by such establishment organs as this one. He’s long since been dismissed — admittedly, on pretty good evidence — as a hack; there will be no more Hugo talk in his future. Anthony complains endlessly about how all of his more “adult” fiction has been overshadowed by the Xanth novels which have made him a rich man, but has never taken the obvious step of simply not writing any more of the latter. The tension between artistic and commercial demands has tortured the psyche of many a writer, but in Anthony’s case it feels more comical than tragic, given that his adult books all tend to read like Xanth novels with more explicit violence — and, most especially, with much more explicit sex. And so we arrive at the really disturbing side of Piers Anthony.

I want to be especially careful in what I say next because I’ve always tried to separate the creator from his work when writing criticism of any stripe. Certainly there’s no shame in writing disposable children’s entertainment. And certainly there have been plenty of other writers who have also been jerks, including some whose talents far exceeded those of Anthony. And certainly writers need to be able to address difficult, uncomfortable subject matter without being accused of promoting or glorifying the things they describe; Vladimir Nabokov should not be deemed a pedophile because he wrote Lolita. But, even having taken all of that to heart, it remains hard for me to avoid the feeling when reading Piers Anthony on the subject of sex that something is simply wrong with this guy.

Anthony’s wrongness about sex, I should emphasize, isn’t the usual science-fiction author’s clunky mawkishness. It’s more extreme even than Robert A. Heinlein during his Dirty Old Man phase, when he wrote about sex like an alien with no understanding of human psychology might, describing it like any other mechanical process might be described by any of the dozens of stock Competent Men who populated his novels: “Now, you see, Friday, it’s just a matter of inserting Tab A here into Slot B, then moving it in and out like so.” No, Anthony’s obsession with girls just past the age of puberty — or in some eye-opening cases with girls who have not yet reached puberty — is more pernicious than this sort of rank cluelessness. It’s the reason that, if I saw a youngster I was fond of reading an Anthony novel, I wouldn’t just shrug my shoulders, but would actively try to steer her toward something I consider more healthy. For there really is, I think, a sickness — moral if not psychological in the clinical sense — running through this man’s body of work.

This side of Anthony isn’t new, although it has grown more pronounced over time as he’s become less beholden to editors. A Spell for Chameleon’s gender politics weren’t particularly progressive even by the standards of the late 1970s. Its hero is a young man named Bink who wants something which his author considers to be impossible under normal circumstances: a girl with whom he can enjoy a warm friendship-of-intellectual-equals and whom he also finds sexually attractive — for it’s taken as a given by Anthony that a smart girl can never be a sexy one. The solution to Bink’s problem arrives in a girl with the unsubtle name of Chameleon, who cycles over the course of a month between a hideous but brilliant hag and a beautiful but moronic nymphomaniac. (Yes, Anthony’s idea of allegory really is that banal.) And so Bink’s problem is solved. The solution comes complete with a bit of teenage philosophizing, which Bink delivers to Chameleon’s nympho-bimbo incarnation just before they go at it again.

“I like beautiful girls,” he said. “And I like smart girls. But I don’t trust the combination. I’d settle for an ordinary girl, except she’d get dull after a while. Sometimes I want to talk with someone intelligent, and sometimes I want to –” He broke off. Her mind was like that of a child; it wasn’t really right to impose such concepts on her.

“That’s the point,” he said. “I like variety. I would have trouble living with a stupid girl all the time — but you aren’t stupid all the time. Ugliness is no good for all the time — but you aren’t ugly all the time either. You are — variety. And that is what I crave for the long-term relationship — and what no other girl can provide.”

Cringe-inducingly adolescent though this take on guys and chicks might be — especially when one considers that it was written without any apparent irony by a 43-year-old man — it’s pretty harmless compared to where the Xanth novels went later on. Uncomfortably young girls get put in sexually charged situations, often with much older men, over and over. There’s little to no explicit sex — note where Bink “breaks off” in the extract above — but the subtext keeps getting more and more creepy. By 1992, Anthony felt free to entitle one of his Xanth novels The Color of Her Panties. At this point, it was hard to avoid the feeling that he was deliberately trolling the critics who had by now been calling him out for his books’ pervy subtexts for quite some time.

Still, Anthony’s allegedly prurient interest in his young female subjects would be much more speculative — and I would probably not be writing this article — were it not for those other, “adult” books of his. Many of these ooze the same disturbing fixations as the Xanth books, but are able to carry them through to, shall we say, consumation. Exhibit Number One in this category must be Firefly, a 1990 attempt at horror dealing primarily with what Anthony himself describes as “inflamed and perverted sexual desire.” It includes a lengthy sex scene between an adult man and a five-year-old girl, described in minute detail. In fact, the scene is another, rather horrifying example of Anthony’s habit of outsourcing the writing of his books: it came from an imprisoned pedophile with whom he corresponded. Anthony, in other words, literally published child porn. It’s quite simply the most disturbing thing I’ve ever read in a lifetime of prolific reading. Not even Mein Kampf bothers me like this. Needless to say, I won’t be quoting it here.

But, you counter, this was a horror novel, a genre meant to shock and transgress norms. Don’t confuse the author with the work, etc. And I might reluctantly agree with you, even if I didn’t have any personal desire to ever read anything by this writer again. But then comes the author’s note, in which Anthony justifies the rape of this five-old-girl because… she wanted it. She was asking for it, tempting the man who had sex with her into the deed. (Did I mention that she is five years old?) Her name is Nymph. (Did I mention that Anthony isn’t subtle?)

There seems to be a broad spectrum of human desire, and what we call normal is only the central component. It may be that the problem is not with what is deviant, but with our definitions. I suggest in the novel that little Nymph was abused not by the man with whom she had sex, but by members of her family who warped her taste, and by the society that preferred to condemn her lover rather than address the source of the problem in her family.

Those who feel that [the imprisoned pedophile’s] stories represent abnormal taste should read My Secret Garden by Nancy Friday, which details some of the sexual fantasies of women. Neither is Nymph an invention; similar cases are all too frequent. These aspects were from my research rather than my imagination. I don’t know what is right and what is wrong; I merely hope to raise some social questions along with the entertainment provided in the novel. I suspect our priorities are confused. We have problems enough with world hunger and injustice, without making more by punishing people for deviant but perhaps harmless behavior.

Here we have it from the horse’s mouth. The rape of a five-year-old girl is “perhaps harmless.”

We often see this pattern of argument — the “hey, I’m just asking questions!” pattern — among those who wish to say something much of the society around them will consider reprehensible but who lack the courage to stand right up and do so. (You see it constantly, for example, in the toxic arena that is present-day American politics.) Added to all of the other circumstantial evidence swirling around Piers Anthony — his many almost-as provocative statements made in interviews; his correspondences with multiple imprisoned pedophiles, not just this one; the unending fascination with pubescent and prepubescent girls running through most of his novels — it raises a strong feeling that something is indeed wrong inside this fellow’s head. I should emphasize that I have no reason to believe that Anthony has ever acted on the urges in question, if they do in fact exist. Has he found a way to satisfy them through his writing instead? That would be a good thing, if so; the crime exists not in the unfortunate psychological kink of being a pedophile, but in acting upon it. Or, that is, it would be a good thing — if only his books weren’t being read.

Once you’ve seen these things, you can never unsee them. Anthony’s cherished relationships with his young fans — and again, I have no reason to believe he has ever abused their trust in any physical sense — takes on a new, creepy flavor. Suddenly all those long letters to the paralyzed girl, as collected in the book Letters to Jenny, begin to read disturbingly like… well, like he’s flirting with her. And suddenly we breathe a sigh of relief that the teenage runaway whose story was chronicled on This American Life was a boy rather than a girl. How much of this is real and how much is projection? It’s impossible to say. (Hey, I’m just asking questions…) I will say only this: please, read someone else’s books, and try to get your children to do so as well. I smell something rotten at the core of this writer’s output, and I know I’m not alone.

All of the foregoing ruminations were prompted by my ostensible “real” subject for today, the 1993 Legend Entertainment game Companions of Xanth. Ironically, I find myself with somewhat less to say about that subject than I do about Piers Anthony’s odd and disturbing career arc as a writer. The game is… reasonably good, actually, if hardly one of the most memorable works in the history of adventure gaming. The creepiness factor is kept surprisingly low under the circumstances, the humor is hit-and-miss but always good-natured, and the design, with one glaring exception which we’ll get to momentarily, is up to Legend’s usual high standard. Further, in one sense at least, the game represents a real landmark in Legend’s history: it marks the point where they finally dumped their parser and embraced the point-and-click paradigm, thus ushering in the second of the three broad phases of the company’s history and ushering out the age of the commercial text adventure writ large.

Companions of Xanth came to exist at all entirely thanks to Legend’s everyday composer and music programmer Michael Lindner, who also happened to be one of those rare readers who defy the usual age-circumscribed window of Xanth fandom; he had retained his affection for the series right into his adult years. He had first supplemented his usual duties at Legend with those of a writer and designer on 1992’s Gateway, a project consciously engineered by the company’s co-founder Bob Bates to serve as a sort of boot camp for training up new designers. Having duly completed that apprenticeship, Lindner begged for permission to make a Xanth game as his first project as a head designer. His managers obligingly made inquiries, and soon brought home a contract to make a game version of Piers Anthony’s latest Xanth novel-in-progress, which was to be titled Demons Don’t Dream. As was more usual than not for licensed projects like this, Lindner had very little direct contact with Anthony in the course of making the game. He largely had to content himself with pre-release proofs of the novel in question, whose plot the game he made follows fairly closely but not slavishly.

We can probably feel pleased for Anthony’s lack of involvement, in that it means that most of the pervier elements of Xanth are missing. While Anthony in his novel dwells at length over the “luscious young women” in the story, Lindner lays it on considerably less thickly.

The pervy aspects of Xanth aren’t overly prevalent in the game, but aren’t entirely absent either. You can look up “panties” in the in-game encyclopedia…

Still, the plot is rife with other Xanthian staples — not least the meta-fictional elements that had become such a hallmark of the series by this point, sixteen books in. Many of the jokes, situations, and characters in both the book and the game come courtesy of Anthony’s army of fans, who are scrupulously credited by name in the book’s author’s note. The most notable example of fan service is the character of Jenny Elf, based on the author’s young friend Jenny, the car-crash victim he wrote to at such length. (By this point, Anthony tells us in his author’s note, she had recovered from her paralysis sufficient to sit and even stand briefly without support. She would make further strides in the years to come, although she would never regain her full range of motion.) Jenny Elf, who is blessedly not overly sexualized even in the book, appears alongside Sammy Cat, the real girl’s favorite pet.

You yourself play as a teenage boy named Dug who lives in Mundania, the non-magical alternative to Xanth; Mundania, that is to say, is our world. As a hater of computer games, Dug has made a bet with his friend Ed that he won’t like one called Companions of Xanth. If his faith in the pointlessness of the gaming hobby holds true, he wins Ed’s motorcycle; if this game proves an exception to the rule, Ed gets a date with Dug’s estranged girlfriend. (“But what if she doesn’t want to go out with you?” asks Dug. “That’s a technicality we’ll deal with at the appropriate time,” answers Ed. Okay, the game isn’t totally without creepy elements…)

So, the earliest stages of the real Companions of Xanth require you to open this virtual Companions of Xanth and boot it up on your in-game computer. (Confused yet?) After some preliminaries, you get sucked through the monitor screen into Xanth. (That is to say, your character in the game you’re playing gets sucked through the monitor of the computer running the game he’s playing.)

Companions of Xanth resoundingly fails to put its best foot forward. Just as you’re about to enter Xanth and get started properly, it lives up to its name by asking you to choose a companion for your adventures from four possibilities. A nice little addition, this, you think to yourself, as you choose the companion that looks most interesting and entertaining. This must be a way to make the game replayable, a la Maniac Mansion. But nope! Think again! There’s just one “correct” companion to be chosen. Naturally, this being a Piers Anthony creation, that companion is the nubile serpent chick named Naga. If you make the supremely non-Xanthian move of choosing any of the others, the game lets you play for a few minutes longer, then dead-ends you; it’s time to restart or restore, my friend.

Such a colossal design fail is downright bizarre to see in a Legend game of this vintage. It struck me immediately that it must be an artifact of an earlier, more ambitious plan to offer four genuinely divergent experiences — a plan which got chopped down to size once the realities of time, labor, and money came home to roost. Unfortunately, neither Bob Bates nor Mike Verdu can recall what might have gone down here, and I haven’t been able to locate Michael Lindner. So, all we can do is speculate.

After a beginning like that, whatever the reason for its existence, one goes into the rest of Companions of Xanth decidedly nervous, wondering if it’s going to be one of those sorts of games. Thankfully, it isn’t; the aforementioned is its only real design pratfall. After it gets going properly, it evinces the meticulous commitment to fair play which the Legend brand was coming to stand for by 1993.

Much of the humor, and with it many of the puzzles, revolve around puns and wordplay, long a Xanth staple. Mind you, Companions of Xanth isn’t as clever as something like Infocom’s Nord and Bert Couldn’t Make Head or Tail of It in this respect. It is, after all, implicitly written for a less sophisticated audience, yet it can still be good fun in its own right. You’ll spend time here battling a censor ship, finding a way to get beyond the pail, and visiting the Fairy Nuff. Sometimes the puns go a little too far out on a limb — the “com-pewter,” an interactive compendium made out of pewter, is one example — but the puzzles themselves are always comprehensible, which is the most important thing. Only those who struggle a bit with idiomatic English in general, such as non-native speakers, are likely to have any major problems solving the game.

Companions of Xanth as a whole is as lightweight as the novels which inspired it. If it never quite dazzles, it never annoys overmuch either, at least once you get past that first hump, and it might even prompt a chuckle or two. It’s a sort of baseline standard game for Legend, never really managing to distinguish itself in either a positive or a negative way. Yet its interface did mark it as something truly new for the four-year-old company at the time of its release, and as such is perhaps worthy of more attention than the game it supports.

As I noted in my last article, in reality the parser disappeared more gradually than suddenly from Legend games; the full run of titles the company released between 1990 and 1993 shows a slow marginalization of the parser, until finally, beginning with Companions of Xanth, it just wasn’t there at all anymore. In fact, this same evolutionary process could be said not to have really ended even here. Although the move to point-and-click has forced the loss of that sense of infinite possibility that so delights people like me and Bob Bates, what remains here is about as text-adventure-like an interface as can be imagined under the new paradigm. Indeed, it smacks of the old ICOM Simulations interface from the mid-1980s, the industry’s earliest serious attempt to recast the classic adventure game in this mold, more so than it does the contemporary interfaces of Sierra and LucasArts. In a sense, one might even say, the parser still exists in this game. It’s just that you now build your imperative sentences with the mouse instead of the keyboard. Such an approach had always been an option in the earlier Legend games; now, it merely becomes a requirement.

Given that the screenshots of the interface included with this article are all but self-explanatory, I won’t dwell too long on its mechanics. Clicking a hotspot in the onscreen picture will highlight a default verb in the list on the left of the screen. Simply clicking on the hotspot again at this point will take that action, but you can also choose another verb from the list, if you wish. Many objects also have unique verbs which show up below the standard list when they’re highlighted; a rock, for example, might have an additional “throw” verb. And indirect objects are connected to certain actions; throwing the rock will require a third click, specifying what to throw it at. As you’re doing all of this, you see your command being built right there on the screen, just as if you were typing it in via a parser. It’s even possible to specify a verb first, then choose the object it acts upon, although this approach is of limited utility in that it doesn’t give you access to the special verbs connected to some objects.

All of which is to say that the new interface truly does represent another evolutionary rather than revolutionary technological step for Legend. What we have here is not a whole new game engine, bur rather the old one with a different front end. Once it gets past the stage of interpreting the player’s command, there’s less difference than you might expect between this Legend game and those that came before it.

This fact is most clearly illustrated in the screenshots by that little “Undo” button in the corner, something you would never — could never — see in a Sierra or LucasArts game. For those games run in real time, while Companions of Xanth, like a text adventure or an ICOM game, is still turn-based. This distinction has an enormous impact on the character of the game, reaching far beyond the welcome ability to instantly undo your last action when you get yourself killed or otherwise try something unfortunate. Legend games even after the parser went away have a more relaxed, contemplative, literary sensibility than the works of Legend’s peers. There’s still quite a lot of text here, and that text is still treated with unusual care and respect. It isn’t hard to divine, after playing around with one of their point-and-click games for just a few minutes, why Legend became the go-to studio for literary adaptations during the 1990s. While it had proved possible to take the type-in parser out of Legend’s engine, it was more difficult to take the literary spirit of the text adventure out of the company’s collective design aesthetic.

One holdover from text adventures that may not thrill some players is the maze…

This held true even when Legend was otherwise embracing the multimedia era with gusto. Although Eric the Unready and Gateway 2: Homeworld had both been released in CD-ROM versions prior to Companions of Xanth, those were mere repackagings of the floppy-disk-based versions into a more convenient format. But when the subject of this article appeared on CD-ROM about six months after its original floppy-based release, it sported voice acting for the first time in a Legend title. And yet even here the voice acting only covered words said by the characters you met; there was no global narrator. Such an approach felt very much in keeping with that overarching literary sensibility that so marked Legend’s work. In this game, and in the next several Legend games to come, you were still expected to do a lot of reading for yourself.

For the record, the voice acting that is to be found in the CD-ROM Companions of Xanth is excellent — an impressive feat considering that this was Legend’s first foray into such a thing. Even here, their first time out, they were wise enough to employ professional actors recruited from the local union for same and recorded at a professional sound studio. It’s obvious that the actors had fun with their roles; my favorite part of the whole game might just be the blooper reel of outtakes which plays over the closing credits.

In the end, though, I find myself torn on the subject of Companions of Xanth in a way I can’t recall being for any other game I’ve written about here. If it existed in a vacuum, shorn of its association with Piers Anthony, I would call it a fun, frothy little fantasy romp, a solid debut for a new interface which retains more of the spirit of the old than we might have dared to hope for. And I would be happy enough to leave it at that. But, even as I believe it’s wrong to judge art on external factors in the vast majority of cases, there are exceptions, and I’m not sure this isn’t one of them.

I don’t blame Legend in any sense for making this game. Many of the more worrisome aspects of Anthony’s oeuvre become obvious only in the aggregate; most or all of those who worked on this game at Legend doubtless believed that they were merely capitalizing on a popular, harmless series of lightweight fantasy books. And yet I do find myself wishing that they had chosen some other series, just as I wish any current readers of Xanth, young or old, would do likewise. In my role of critic, I can tell you that Companions of Xanth is a (mostly) well-constructed game that’s relatively inoffensive in itself. But should you play it? That is, as always — but perhaps here even more so than usual — something you’ll have to decide for yourself.

(Sources: the Piers Anthony books Bio of an Ogre, How Precious was that While, Letters to Jenny, Macroscope, A Spell for Chameleon, The Color of Her Panties, Firefly, and Demons Don’t Dream; Computer Gaming World of July 1993 and March 1994; Questbusters 108. My thanks go to Bob Bates and Mike Verdu for talking with me about this period of Legend’s history — but I must emphatically state that all of the opinions expressed herein, especially of Piers Anthony and his work, are mine alone.

Companions of Xanth has not been re-released as a digital edition, doubtless owing to the complications involved with licensed titles. I’d prefer not to host it here due to my distaste for Piers Anthony, but you can find it elsewhere without too much trouble.)

BONUS:

The Compiled Life Wisdom of Piers Anthony, as Found in His Autobiographies

Writers like Roger Zelazny and Samuel Delany got awards because of their sophistication as writers, which sophistication I do not question, but I was regarded from the outset as an entertainment writer. What I was doing was too complex and subtle, not only for others to understand, but for them even to realize that it existed.

The best guide for a book to avoid is an award winner.

I worried that I would not be able to write fantasy well without Lester del Rey’s editing. But instead it was like a burden lifting from my shoulders. Suddenly I was free of oppressive editing.

Then Lester tried to cut the entire Author’s Note from the fourth Incarnations novel, Wielding a Red Sword. He said it was too long, and anyway, they were in the business of publishing fiction, not nonfiction. This was the Note in which I described my computerization — I had until then written my novels in pencil and then typed them with a manual machine, so it was a significant step for me.

When I read Isaac Asimov’s massive two-volume autobiography I found it interesting, but concluded that the minutia of daily existence are seldom worth recording for posterity.

I dumped SFWA, and have remained hostile to it since. There is evidence that some of its members are still spreading falsehoods about me. If ever push comes to shove, I will put it out of business. Because today I have the resources to sue. All I need is the pretext.

I, like most boys, would have been capable of orgasm at any time in childhood, had I known how to masturbate.

A formula I invented for explaining the ways of publishers: TPB = SOD. What does it mean? Typical Publisher Behavior is Shitting On Dreams.

So are publishers really as rapacious and idiotic as they seem? Yes and no. Just as the intelligence and conscience of a lynch mob may be less than that of any individual person within it, so may the net savvy of a publisher be below that of any of its components.

I feel like a beautiful woman. That is, a lovely woman is pursued by many men — but when she mentions commitment, most of them vanish. Some vanish when they find they can’t get her into bed on the first date. Others vanish after they do get her into bed. So she becomes cynical; it is evident that most of those ardent suitors are insincere; all they want is her body for a night, rather than an enduring relationship, unless she happens to be rich. All the publishers really wanted from me was my best-selling series, Xanth — and those who lost it and those who got it tended to vanish as far as my other novels went.

I pondered, and my agent pondered, and it was my wife, who evidently understands the situation of beautiful women, who came up with an effective notion: link the one to the other. Make a package deal. So when the time for a new multi-novel Xanth contract came up, we put it to TOR: double or nothing. If this man wanted to get this woman in bed again, there would have to be marriage — though TOR’s chief editor is female, and I’m male.

[My wife and I] have what I call a conventional marriage: I earn the money, she spends it. In fact she keeps accounts and does the taxes, which are complicated. I decide on the big things, like the significance of world events, and she decides the small things, like everything else. I’m glad I married her, and believe that I would not be where I am today without her. But if I should find myself alone, I would then consider more carefully what else offers, with strong cautions from my life experience. Meanwhile I have a small category of correspondents I treat politely: those who profess or imply love for me.

Women of any age are interesting, and as a general rule, the younger a woman is, the more interesting she is, because natural selection dictates that the man who controls the greatest part of a woman’s fertile years will have the most children. A girl of twelve may have breasts and be a young woman in appearance; she is sexually desirable, regardless of law or custom. A girl of eleven may lack the breasts but be of similar general appearance, and her clothing masks her lack of maturity. So it is evident that some men aren’t concerned about the distinction, and go for the vagina regardless.

I have an insatiable curiosity about the nature of the universe and mankind’s place in it, and my profession of writing allows me to explore it all, seeking answers. I have fathomed a number of things to my satisfaction before they were clarified by the scientists.

Sometimes I’m stupid. This is annoying when I’m taking an IQ test.

Comments
60 Responses

- S. John Ross

December 20, 2019 at 4:56 pm

Yikes. I’ve read only the first three Xanth books before I drifted away from them (I remember liking the first, disliking the second, more-or-less liking the third), and Prostho Plus (sci-fi shorts about a space dentist, reassembled into a novel), so I clearly only scraped the Anthony surface. Sounds like a lucky escape on my part. I read them all while still in high school, but I’ve always kinda-sorta wanted to read the dentist one again.

- Michael Russo

December 20, 2019 at 6:27 pm

hear hear. i think i read the same 3 and while i enjoyed them more of less i decided it would be diminishing returns from there (even before i heard about all the other nonsense). there’s so much other great stuff to read, why bother with crap?

- S. John Ross

December 20, 2019 at 10:11 pm

I forgot! I read 1.333 of the Incarnations of Immortality novels. I forgot they were Anthony plus forgot them altogether.

- whomever

December 20, 2019 at 5:23 pm

Good on you Jimmy for tackling this head on. Funnily enough even as a young boy Piers Anthony felt really…off, and I didn’t even finish the book that I started (can’t even remember which one). This post will almost certainly bring on the trolls so I urge everyone to please please ignore them.

However I did actually find this posting quite interesting, firstly as finding out more about Mr. Anthony (Next up: Did “Mists of Avalon” ever get made into a game? Google says no, thankfully) and secondly about a game that I completely missed (and this is one of the ones I won’t bother to go back and try and play).

- Tucker McKinnon

December 20, 2019 at 5:50 pm

Do note that Spell For Chameleon includes, for no apparent reason, a mock rape trial which ends with “she was asking for it.”
https://specficjunkie.blogspot.com/2015/07/review-spell-for-chameleon-by-piers.html
No matter how poorly you think Piers Anthony’s writing has aged, it’s always worse than that.

- Alan

December 20, 2019 at 6:34 pm

I was practically a stereotype of the Xanth fan you describe. The thing that really stuck with me was after reading a a bunch of his novels (maybe 10?), my mother read one and I was no longer allowed to check them out from the library. At the time I was completely befuddled. I saw the sex stuff, but didn’t really appreciate it. Looking back on the bits and pieces I can remember… yeah, wow. “Sowing one’s oats” was a recipe for making a sex golem. The pre-age-of-majority girl (probably in The Color of Her Panties?) who specifically enjoying flashing those panties to get a reaction from men. *sigh* It’s weird now having fond memories but becoming uncomfortable as I remember more.

- Saint Podkayne

March 8, 2020 at 2:02 am

I’m assuming that when we are busy being prepubescent to pubescent ourselves, it’s much easier to miss this kind of weirdness. After all, these are our age mates, people our age are ‘normal people’ doing all kinds of things, and everyone younger or older belongs to a different world entirely. It’s one thing as a 10-year old to read about another 10-year old flashing her panties, and another to wake up one day at 35 and think “holy hell, why was a writer of my age now thinking that hard about the panties of a 10-year old?” To me that makes it a worse betrayal. I was never a Piers Anthony fan but there are other writers I feel similarly about now.

- Oded

December 20, 2019 at 6:34 pm

Typo – one of the Chameleon had become Chamelon.

- Jimmy Maher

December 20, 2019 at 10:33 pm

Thanks!

- Oscar

December 20, 2019 at 7:04 pm

Wow! I’ve never read any of Anthony’s books, but the short excerpts alone you provide here are massive red flags. It’s criminal so many young people were exposed to this ‘literature’ during their formative years.

- Jason Dyer

December 20, 2019 at 7:17 pm

I was watching a streamer recently play a wildly obscure adventure called Lone Eagle: Colombian Encounter (from 1994) that’s real-time like Sierra/Lucasarts but has an “auto-restore” which functions just like an undo key.

- Andrew Plotkin

December 20, 2019 at 10:01 pm

The irony here is that Anthony was seriously obsessed with games, riddles, logic puzzles, and game-related mathematics. At least he was in the 1980s, which was the last time I checked.

This game stuff is all through Anthony’s early books, including Macroscope, the Phaze series, the Incarnations books, etc, etc. There are many scenes which show legitimate game-design chops. That is, when the characters are playing games or solving puzzles, the author had clearly thought through the design of what was going on.

So I always thought — at least, through the 80s — that Anthony would have made a *great* adventure game designer. He could clearly have wrangled puzzle ideas with the best. And, sex stuff aside, his brand of nerdy-cardboard characters and checklist plotting would have suited 1980s adventure games a lot better than it suited the up-and-coming high fantasy genre!

And yet, when _Companions_ came along, it just didn’t happen. I couldn’t understand why. But, at that point, I didn’t care any more.

(I hit my limit in, I think, 1989, when I bought a Xanth book in an airport bookstore and discovered that sitting bored and bookless in an airport was *better than reading it*.)

- Allan Holland

December 21, 2019 at 1:26 am

Unflinching excoriation of a shameful career. A nasty piece of work he is. You didn’t mention Split Infinity where everyone’s naked all the time while they wait to compete in everything from bobsledding to Connect Four. While naked. He’s made nearly nothing but prurient, base, worthless and worst of all artless art. Well said.

- Jacen aka Jaina

December 21, 2019 at 2:49 am

And there’s a couple of other books in that series with worse scenes. It’s hard to believe that every single book has problems, but, it’s true.

- moving sound

December 22, 2019 at 12:16 pm

I mean, I wouldn’t be surprised if it has as absolutely awful takes on women etc as A Spell for Chameleon and so on, but writing a book where the characters are nudists doesn’t seem like it’s awful just because of that?

- Dave W.

December 22, 2019 at 11:50 pm

@moving sound: The problem is that the characters aren’t voluntary nudists (except in the sense that they have the right to leave the planet permanently, if I recall correctly). Serfs are kept nude, unless they need to wear protective clothing for a given activity, while the aristocracy (which the winner of the tournament gets to become) get to wear clothes. So you have this massive underclass performing in the nude for the entertainment of a clothed aristocracy, which is problematic.

- moving sound

December 23, 2019 at 12:26 am

I mean, I suppose even with that premise, you /might/ be able to get something good out of it, but reading reviews it seems more like Anthony just produced something like a less-BDSMY and less visibly misogynistic Gor-ish type thing, or in other words, a massive hunk of tripe. …
And this somehow resulted in 7 books, which I still find hard to believe. I guess this’s an example of why Anthony had to make his other works “package deals”…

- Jacen aka Jaina

December 23, 2019 at 10:00 pm

And I believe that is the book series where a villain touches a drugged up child inappropriately, briefly, while talking about how “it can be done without leaving evidence”.

I’m not exaggerating at all.

- Anonymous

December 21, 2019 at 2:57 am

Thanks for writing this. I was obsessed with Piers Anthony’s writing as a young teen, and it’s been both informative and upsetting to look at his work in retrospect. It’s hard to think of the effect that his work work had on my thinking as a 13 year old and not eventually get to the idea of grooming. Even as I’m writing this I’m thinking of a scene in one of his non-Xanth series that describes the attempted rape of a teenage character. I remember being repulsed by it, but also willing to look past it because of all of the fun titillating stuff in other stories and the weird personality cult. That sort of gradual (and I think purposeful) habituation of a young audience to increasingly upsetting material is almost the definition of grooming. In retrospect, I’m glad I never came across anything as vile as Firefly or Tatham Mound.

- Martin

December 21, 2019 at 3:35 am

While I recognize the name Piers Anthony, I’ve never read any of his books. Guess I won’t bother now.

One thing I have to ask about the actual game. If you pick one of the “wrong” characters, how do you know it? Do you just get stuck, do you die, what exactly?

- Torbjörn Andersson

December 21, 2019 at 8:29 am

“One thing I have to ask about the actual game. If you pick one of the “wrong” characters, how do you know it? Do you just get stuck, do you die, what exactly?”

After you’ve made your choice of companion, the game-within-a-game starts with you in a room with four doors. You have to pick the correct door to get out. Three of the companions will pick the wrong door, getting your killed and forcing you to start over.

I think the reasons this “puzzle” doesn’t work for me is that the game-within-a-game makes a big deal about how you have to choose carefully, but then pretty much admits that there wasn’t really any way for you to know that you had picked the wrong one. (And it still tells you to make a better choice the next time!) All of them sound like they have useful powers and/or abilities, and to me the correct one sounds like she would actually be the least useful.

Maybe the choice was obvious if you had read any Piers Anthony books, but I haven’t.

Compare this to a similar scene at the beginning of Stationfall. You are given a choice between three robots to accompany you, but come on. Who would seriously pick another robot than Floyd, when the cover of the game even says “Floyd is back”?

- Torbjörn Andersson

December 21, 2019 at 8:55 am

I realize that you could argue that the correct choice is om the cover of the game… but that’s not what it looks like when you make the choice.

- Ross

December 21, 2019 at 10:38 pm

As I recall it, there is absolutely no indication in the game which to choose (though I think one of them is very strongly coded as a bad choice. Like, “This one is actually the villain and is plotting to murder you”), but it came off as “If you’d read the books, you’d know instantly”, which I took at the time to mean that one of them was a character from the books, though in retrospect, it could just as easily have meant “One of them is a sexy lady.”

- Not Fenimore

December 21, 2019 at 4:01 am

“He’s wants somebody” -> “he wants somebody”

Also, as someone who’s never read Anthony but whose previous impression was “basically pun-centric light fantasy like Robert Aspirin’s Myth-adventures”… um, eurgh. D:

- Jimmy Maher

December 21, 2019 at 9:18 am

Thanks!

- moving sound

December 22, 2019 at 11:35 am

So, does Aspirin’s Myth-adventures have any skeletons in its closet like this? Just asking because I’m in the mood for a humorous fantasy series, and I happen to like puns, so might as well have a look like stuff like that, just don’t want to stumble into something as awful as Xanth sounds.

- Tempest

December 22, 2019 at 6:42 pm

Being a huge Myth fan, I can happily say that no, it doesn’t. Nothing like that at all, at least through all the books he did before he died. I think some people took over his series, but I never read those.

- Jason Scott

December 28, 2019 at 12:44 am

Robert Aspirin’s problems were alcoholism and bad finances (constant issues with drinking affecting deadlines and poor choices putting him in trouble with the IRS). As someone who got way into looking up his life when the Myth books starting dragging on and on into years, nothing outside that seemed problematic or an issue, at least, nothing that has been discussed in public.

Having his main character deal with alcoholism later in the books’ arc was an obvious way to write what you know, and deal with it, and that’s in some ways rather endearing. I’m sad he never got to put them out as fast as he wanted.

- xxx

December 21, 2019 at 4:09 am

To anyone unfamiliar with the subject who reads this and thinks “Man, Jimmy is really doing a character assassination on this Anthony guy”: he’s really not. The books really are that creepy and badly written. If anything, he’s being charitable here.

Jimmy, I admire your willingness to read all that for this article. I don’t think I could have gotten halfway through that reading list without my brain starting to leak out my ears.

- TomR

December 21, 2019 at 7:09 am

I stumbled on PA and his Xanth tales in a public library as a kid. I think the only reason I read them was that they were free. The puns were amusing if you were easily amused, but I can’t think of any other merits to recommend them for any reason on, unless you enjoy forcing yourself to read dreck. That said, there was a brief moment where it seemed like the setting would’ve made for a good Leisure Suit Larry style adventure game, if it weren’t so sadly prurient (and that’s comparing it to LSL!) and banal. Speaking of Legend, their Superhero League of Hoboken had the same interface, but was a lot more fun, and perhaps will find review at filfre at some point. I came here from CRPGAddict’s sidebar, btw!

- Not Fenimore

December 21, 2019 at 12:27 pm

Also, look at that top-notch Crappy Nineties Fantasy Art(tm) cover. The weirdly over-emphasized torso! The spindly little stick-arms! The way her head is clearly not properly mounted on her neck!

- Allan Holland

December 21, 2019 at 3:37 pm

What hasn’t been fully addressed is Jimmy’s cultural crusade against these unclean works. Personally, I fully agree, endorse and adhere to the same notion. My kids wouldn’t read him if they could.
I read the comments and look at the names on post after post and whether presented anonymously or not, these mostly erudite reactions to the posts and comments lead me to an inescapable conclusion: that this blog, perhaps as a byproduct, perhaps intentionally, has assembled a body politic of cultural cognoscenti. There are many names I respect from the pantheon of IF with true insight, and the pseudonymous and anonymous remarks are generally reasoned and engaged. Props to everyone who has been part of this meta-reality, especially the proctor and author. It provides a beacon of hope to a larger sphere.

- Joe

December 21, 2019 at 4:08 pm

I have not read your comments on the game (as I will be playing it for review next year), but I did read the blurb on Piers Anthony himself and… I have comments.

Let me start by saying that as a young man, I *adored* Piers Anthony and his works. I discovered the Proton/Phase books around when I was 13 (a friend of mind *cough* lent them to me because he enjoyed one of the sex scenes and wanted me to read it as well) and that quickly developed as so many things do in my life into a bit of a “learn it all” obsession. Within a few years, I slowly amassed a near complete collection of everything Piers Anthony ever wrote. A different friend and I had this dream (after reading “Mercycle”) that we could bicycle all the way to his house– more than a thousand miles from our home in suburban Pennsylvania. His authors notes, which I would sometimes try to read in order, humanized him and made him feel like a guy that you knew that was just down the street.

Which isn’t to say that the relationship was healthy and I grew out of this phase by high school. While I didn’t notice the inappropriateness of the sex as a young teen, coming back to the books later was increasingly uncomfortable. I also agree with the declining quality of the books with “Hard Sell” being the eye-opener for me. He even admits in that authors note that the book had been rejected and only his perseverance as an author to DEMAND that it (and a few others on his reject pile) actually be published in order to win the rights to one of his more popular series. That was the beginning of the end for me.

I later found other authors and things to be obsessed about, but his work was one of the first where I felt a need to explore from end to end. I don’t regret that, but I wish in retrospect that I had seen some of these flaws a bit more clearly a bit earlier on.

- Allan Holland

December 22, 2019 at 2:58 am

Brace and candid testimonial. Impressed.

- Allan Holland

December 22, 2019 at 2:59 am

Brave

- Eric Nyman

December 21, 2019 at 5:55 pm

I was much more into IF and branching plot novels such as CYOA and Lone Wolf as a kid in the 80s and paid little attention to his work. I remember thinking highly of him after hearing the This American Life episode you referenced.
The impression I get after reading your article is that he is a perpetual teenage boy, with all the pettiness, narcissism and sex obsession that entails. He richly deserved blacklisting after publishing child porn (and thank you for not mincing words about what it is).

- Joachim

December 22, 2019 at 12:07 am

I couldn’t quite understand why you seemed so upset with the guy until that nymph-quote.

“I don’t know what is right and what is wrong” … bloody hell, man. Swearing is not my thing, but all I can think of in response to that is swearwords.

I played the game without knowing anything about the books or the author, and I remember liking it a fair bit. It was a game I played over many years, each time getting a little bit further than the last time (without using a walkthrough). I remember being a bit disappointed about how the story progressed, though, Naga’s betrayal just felt wrong.

- Anonymous

December 22, 2019 at 9:57 am

When I was thirteen years old, a friend of mine waved me into our tiny school library. He was sitting with two other classmates of mine, nervously giggling at a book he held in his hand. I recognized it as one of the Piers Anthony novels that sat in the teen fiction section – one among dozens. The spines were all wrinkled with years of constant use.

“Check THIS out…”

My friend pointed to a chapter title simply titled “Rape”. My jaw dropped. I skimmed a few words on the page and pretended to be scandalized. Maybe I was. But at the time I was reading Stephen King’s *It*, and enjoying his descriptions of adolescent masturbation. I didn’t admit that to anyone else at the time, but that’s where our minds were in the seventh grade.

I never did read a Piers Anthony novel after that. But not for a lack of interest in its sexual content. No, it was the fact that there were *dozens* of novels on that shelf and I was intimidated by the prospect of having to read all of them. Worse, I would have to consult with my friend who became a Piers Anthony devotee over the next couple of years, and admit to him that I had the same tastes in the nerdy and voyeuristic as he did.

This article had surprisingly little engagement with what made Piers Anthony so *readable* for pre-teens and adolescents. The article leaps so quickly to a moralistic zone where the safety of adult judgment precludes understanding the titillation kids got from reading novels with sexual content of any kind. A way of saying, “Here, kid. If you wanna read something dangerous and sexy, try Mr. Nabokov like real men do. Put that trash away before I catch you reading it again.”

That’s not how I perceived the world as a thirteen year old at all. I was interested in sex, and not always the glorious, romantic kind shown in PG-13 movies. I was even curious about rape in the naive way kids do, when they learn a word before they understand its context of use.

My friend sat in that blue plastic library chair for years, enjoying Piers Anthony while he ate his lunch, before his tastes for language and fantasy (and sex) developed into adult fiction. The rest of the kids played basketball and gossiped about each other.

I think I understand the fear of acknowledging teenage sexuality in a meaningful way. Better off to quickly dismiss or castigate it before anyone suggests that *you’re* going soft on a preteen porn hustler. But the understanding lost in that process leaves that kid in the library, reading alone at lunch, truly alone.

And I don’t think he was.

- Allan Holland

December 27, 2019 at 7:39 pm

Wow. No quarter asked, and none given. As it should be.

- Xauri'EL Zwaan

December 23, 2019 at 5:20 am

Not to belittle the horribleness of all the pedo stuff, but one of the most poisonous things being a Piers Anthony fanboy did to me was leave me with an intense distrust of editors and publishers. I refused to show my writing to any professional publisher for years because I was scared they were going to take it and ruin it. I read a book once that was basically a completely unedited version of a novel Anthony had once published, accompanied by detailed ‘annotations’ about every edit the publisher made to his material and why he hated it. The story itself was … not very good, but I was too immature in my taste and too sucked in to the Anthony cult of personality to care. I’m really glad I never came across some of his more problematic works before I grew out of him, although in retrospect there were quite a few.

- Alex Freeman

December 23, 2019 at 7:07 am

I do believe “I, like most boys, would have been capable of orgasm at any time in childhood, had I known how to masturbate,” and “Sometimes I’m stupid. This is annoying when I’m taking an IQ test,” shall join “That was more fun than getting flushed down a sewer!” and “Ha! Ha! That’s real Japanese style of kind” as some of my favorite random quotes.

- Steph C

December 23, 2019 at 10:53 pm

I had the same experience with Xanth novels as you describe here: I was reading them voraciously by age 8 and had drifted away by my later teens. There’s actually about a page of puns in book 19, Roc and a Hard Place, that’s taken almost verbatim from a letter I sent in – seeing it in print was both exciting (those are my words in this published book!) and a little disillusioning (those are almost EXACTLY my words, with just some lines sprinkled in about the book’s characters observing the puns—shouldn’t a big author like this be more than just reprinting my first-draft teenage prose?)

The target audience for Xanth, and at least a few of Anthony’s other series, seems to be kids who were like me – elementary and middle school students reading at an adult level. I loved reading big, thick fantasy epics with goofy humor and as often as not kids my age as the heroes (Ivy the powerful kid magician and Stanley Steamer the dragon were particular favorites.) The abysmal sexual politics went right over my head, and when you’re ten, reading about other ten-year-olds running around naked or showing off their panties is just cute and kind of naughty. Then you grow up and realize those parts were written by a guy in his forties, and YIKES.

- Allan Holland

December 23, 2019 at 11:55 pm

The abysmal sexual politics were over my head too. It is only in retrospect that I see the depravity (and unvarnished plagiarism!?!) inherent in this creep. In the early 90s in the mid-Atlantic there was a fan club open to be joined by calling 1-800 HI-PIERS. The guy himself showed up on a late night infomercial style fan club/paean to the author. I am not making this up. I actually called the number trying to join one night, but as the commercial only came on in the wee hours on third rate cable channels and we were partying at the time, I couldn’t keep from cracking up well enough to make a transaction. In the end, the poor sap on the other end of line just hang up on me. I think the fan club may well have coincided with the release of this game. The timing seems close. The club was deservedly short-lived.

- Reiko

December 24, 2019 at 11:24 pm

I have read a lot of Piers Anthony’s books over the years, mostly because I read a lot of everything. The questionable content mostly went over my head at younger ages or was easy enough to ignore to a point, but it did add up over time and eventually I got tired of it, especially once I figured out how formulaic Xanth was. I’m not a boy, so I wasn’t reading them for questionable content anyway. I think at least part of his problems were due to his impatience: if he hadn’t been trying to publish five books a year for decades on end, he would have had the time to edit and polish his ideas properly before publishing, rather than churning out crude and formulaic crap. He did have a lot of ideas, but maybe he had enough good ideas for 10 or 20 books, not 150.

I personally think his best series (which admittedly isn’t saying much, but if you’re going to read any of them…) is the Apprentice Adept series (the Phaze books). The juxtaposition (ha) of fantasy and science fiction was unusual, at least when I encountered them, and the SF world’s game was really well-designed, as Zarf already mentioned. And the nudity was less gratuitous and more plot-relevant. It’s too bad there was never a game set in that setting: I think it could have made quite a good text adventure (avoiding most of the issues of nudity in a graphical format…).

Incarnations has interesting problem-solving too in a sort of alternate-magical present, although that series is very questionable from a religious perspective quite aside from any sexual content. Both Phaze and Incarnations are very readable, without the formulaic and outsourced prose that drags down the Xanth books. Both series finished in 1990, by the way (except for the strangely-meta eighth book tacked on to Incarnations seventeen years later), which seems to have been somewhat of a tipping point for his writing.

- Tsubasanut

December 25, 2019 at 11:31 am

An excellent point here. Pierce Anthony is a better world creator, than a writer. Even I can see some awkward phrasing here and there, and I’m not native English. But his worlds were always fascinating. Phaze, Incarnations,Cluster, Geo odyssey, Chroma, Space tyrant… awesome journeys all the time. I’m a bit chagrined after reading a lot of comments here in the vein of “haven’t read, but I condemn”. Yes, he is probably most sexuallizing scifi writer out there. But he is a top class world-builder. And you will be missing a lot by not sneaking a peek at his worlds.
As for Xanth – it strangely worked for me because I’m not native English. Puns were such a delight for me to spot and discover. But if it was originally in Russian – I would probably get vexed quite quickly.

- Allan Holland

December 27, 2019 at 11:12 pm

Relevant points. I can’t say I didn’t like the Phaze/Proton books. I just feel hoodwinked, my adolescent ignorance exploited, a victim of a psychic handsiness from afar as a teenager.

- mechajuma

December 26, 2019 at 10:40 am

Still a better love story than Twi- wait no it isn’t.
Thanks for publishing this. A lot of it went over my head when I read it originally. Now I’m realizing how fucked up it is. Wow.

- Allan Holland

December 27, 2019 at 11:05 pm

Does anyone else have a sense of mutual epiphany, as though a set of discrete blog readers have, spontaneously and organically, undergone a shared regression therapy session? Weird, wild and cathartic stuff. The power of this medium has been demonstrated to its utmost here.

- Wolfeye M.

December 31, 2019 at 9:52 am

I somehow missed reading anything by Piers Anthony, which is odd because I’m a voracious reader of sci-fi and fantasy. I seem to remember as a child walking around the fantasy book section of the library, seeing a seemingly endless wall of books with all the same author, and saying “nope.” Now, I’m glad I didn’t bother reading any of them.

This isn’t the first time I’ve seen people complain about him, I’ve seen comments by people elsewhere, mostly by women. But, this was the first time I saw it all spelled out, and dang, that’s some messed up stuff. Now I know an author to avoid in the future, when I’m looking for something new to read.

- Josh T.

January 1, 2020 at 2:59 pm

The “This American Life” link gave me a 404. It should be https://www.thisamericanlife.org/470/show-me-the-way

Also I have to say I didn’t expect there to be a worse scumbag in this blog than Daryl Gates, but Piers Anthony came pretty close.

- Jimmy Maher

January 1, 2020 at 3:10 pm

Thanks!

- Ross

January 1, 2020 at 11:11 pm

Anthony is a creep to be sure, but he does not, as far as I know, have blood on his hands in the way that the people responsible for police militarization do.

- Scurra

January 2, 2020 at 1:07 am

Well I’m certainly not going to pop up here and defend Anthony’s writing (or him as a human being!) I will note that another blogger I read identified (correctly, I think) that the Xanth series was actually romance fiction disguised for teenage boys, who would never read something like that voluntarily. They certainly meet all of the tropes of that genre (admittedly plus puns!); the curiosity is that almost no-one else has tried this form much over the years, which may make his work seem particularly weird. And I do also think that his more recent Xanth entries are somewhat less overtly objectionable; they seem to be trying to overcompensate for some of the more egregious earlier work – the problem is largely that it’s much too little, much too late. And yes, I have read all of them. (My own feeling is that Anthony is misanthropic rather than overtly misogynist – outside of the unquestionable issues of prepubescent girls, he is pretty even-handed in how he treats his characters of whatever gender, and it’s usually with undisguised cynicism and even contempt at times. Which is in keeping with those autobiographical excerpts too.)

But from a purely technical point of view, I will continue to be glad that I read his work. His world-building is fun and modestly innovative, and some of his meta-work is fantastic – the Adept series shines in this department, and the Incarnations series had a lot of fun with aspects of myth and archetype. He uses up more ideas in a single book than some authors manage in an entire career, and I do think that he does have some small justification for his complaint that his subtlety in structure and design has been overlooked because he writes mostly cheesy genre rather than more literary work. If he has any lasting legacy, I think it will be for that. I am certainly willing to acknowledge that he has been an influence on what I now do, but I’m pretty sure that it’s not the borderline child pornography aspect (I’m a puzzle writer!)

Just remember that, in the end, he won’t be remembered. Just like plenty of other authors who had huge sales and seeming influence over the decades but who are now justifiably almost completely forgotten.

- genesistrine

January 8, 2020 at 9:32 pm

he was regarded as a modestly promising young writer in his own right; he even contributed a story to the second of Ellison’s landmark Dangerous Visions anthologies in 1972

You… haven’t read that story, have you? It’s called ‘In the Barn’, and it’s a story involving non-sentient women attached to milking machines. And being violently bred by bellowing non-sentient men.

No, I am not kidding. Ellison positioned it as a protest against the treatment of farm animals, but, well, I think most of us here miiight come up with a different interpretation.

- Jimmy Maher

January 9, 2020 at 5:45 am

I have read it, although it was long ago. At the time, published as it was in an anthology dedicated to transgressing boundaries, it probably seemed more defensible on the ground which Harlan Ellison stakes than it does today, when Anthony has revealed at such prolific length that his interest in in these sorts of themes is more prurient than socially engaged. It certainly wasn’t the only story published in those anthologies that… hasn’t aged well, shall we say?

- anon

January 27, 2020 at 4:58 pm

I read a bit of Piers Anthony as a kid. None of the Xanth books, but most of the Incarnations of Immortality and the first few books of the Mode series. I think it was only in the Mode series when he started publishing an Author’s Note (or when i started reading it), but that was when i started to nope out. It might just have been because i was growing up and becoming more wise to the creepiness, but something about going from a fantasy novel into this real world of an old man talking about how connected he felt to his young girl fans didn’t sit well with me at all.

In retrospect i think those Author’s Notes turned me off fandom for my subsequent teenage years and adulthood. The whole idea of young people glorifying writers or any kind of creator makes me very uncomfortable now, despite me being into plenty of areas of pop culture that cultivate fannish behavior.

I haven’t thought about this guy in a long time, but this article took me right back. Hard to read. But an important article to write. Thank you.

- Lhexa

March 2, 2020 at 8:33 pm

It warms my soul to see Anthony trashed like this. His work is vile.

That being said, I was reminded of your look at Lovecraft. It felt mean-spirited. I knew little about him, and have never read him, but from your descriptions recognized some kind of severe mental illness. Then, you spent a large portion of the entry mocking him, concluding that the power of his legacy, wherever it came from, did not come from any virtue as an author. The entry felt bad to read.

Mercedes Lackey is a hero of the LGBTQ+ movement, thanks to her very early focus on gay characters in her fantasy. An unrecognized hero, but one nonetheless. When asked to explain her success, she answered, “I stumbled upon something archetypal.” How can we get to a place where such stumbles are regarded with something other than disdain?

- Jimmy Maher

March 3, 2020 at 10:09 am

I’m very hesitant to diagnose mental illness from afar, even though I tiptoed right up to that line in this piece. And I’m even more hesitant to use it as a form of critical absolution. Doing so is a double-edged sword: if it means we no longer hold a writer responsible for the flaws in his work, it also means we no longer take it seriously at all as work worthy of study.

Glancing back over the Lovecraft article, I struggle to see where I treat his “archetypal stumble” with “disdain.” The most relevant paragraph strikes me as kinder than anything I had to say about Piers Anthony. (I certainly can’t imagine applying the word “genius” in any context to Anthony.)

When he wrote “The Call of Cthulhu,” his one stroke of unassailable genius, Lovecraft tapped into the zeitgeist of his time and our own. We should think about the massive shift in our understanding of our place in the universe that was in process during Lovecraft’s time. In the view of the populace at large, science had heretofore been a quaint, nonthreatening realm of gentlemen scholars tinkering away in their laboratories to learn more about God’s magnificent creation. Beginning with Darwin, however, all that changed. Humans, Darwin asserted, were not created by a divine higher power but rather struggled up, gasping and clawing, from the primordial muck like one of Lovecraft’s slimy tentacled monsters. Soon after the paradigm shift of evolution came Einstein with his theories about space and time, which claimed that neither were anything like common sense would have them be, that space itself could bend and time could speed up and slow down; think of the “loathsome non-Euclidean geometry” of Lovecraft’s Great Old Ones. And then came our first inklings of the quantum world, the realization that even the comforting regularity of Newtonian physics was a mere facade spread over the chaos of unpredictability that lay beneath. The world seemed to be shifting beneath humanity’s feet, bringing with it a dawning realization that’s at the heart of the embodiment of existential dread that is Cthulhu: that we’re just not that important to anyone or anything; indeed, that it’s difficult to even express how insignificant we are against the vast sweep of the unfeeling cosmos. I believe that our collective psyche still struggles with the ramifications of that realization today. Some cling ever tighter to traditional religion (it’s interesting to note that fundamentalism, in all its incarnations, is a phenomenon that postdates Darwin); some spend their lives trying to forget it via hedonism, career, social media, games (hey, I resemble that remark!); some, the lucky ones, make peace with their insignificance, whether through Nietzschian self-actualization, spirituality, or something else. But even for them, I believe, persists somewhere that dread and fear of our aloneness and insignificance, born of the knowledge that a rogue asteroid — or a band of inconceivably powerful and malevolent aliens — could wipe us all out tomorrow and no god would save us. It’s this dread and fear that Lovecraft channels.

- Lhexa

March 3, 2020 at 8:22 pm

I’m hesitant to diagnose mental illness from afar, too, which is why I didn’t. I noted its likely existence, without regard to type. The severity of a mental illness is determined by how much it renders a person unable to function in society, and “unable to function” describes a lot of what I remember.

To my embarrassment, I was unable to reread the Lovecraft post before writing my reply here. I tried to find the salient paragraphs to make sure I was not misrepresenting you, but I found the entry too distressing. So I gambled and went by memory. I apologize for completely misremembering and mischaracterizing your conclusion. Thank you for making the effort to show how I went awry.

If you wonder why a person would write a response with so little intellectual rigor, it’s just because my response had been nagging at the back of my mind ever since I first read the Lovecraft entry, and I wanted to get it out of there. I’ve got lots I’d rather do instead of lingering over “Writer I like made me feel bad.” *coughs* Hopefully I can practice respectful commentary while I’m at it, as opposed to what I’ve done before.

Finally, I certainly do not want to use mental illness as an excuse for unethical behavior. Had I done so at various points in my life, I would be a considerably worse person than I am now.

- DerKastellan

June 1, 2020 at 9:41 am

One thing I find interesting is how many people here weigh in while saying “I never read him” or “I wouldn’t read him” and then continue to espouse an opinion.

PA was actually a highly entertaining and creative author early in the Xanth series, great at suspense, world-building, and bringing you into his created world. People fell in love with Xanth and ultimately that is what enabled PA to be so lazy: He initially created Xanth so well he could comfortably live off of rehashing it. Pretty much anyone in my family who read him likes him up to a point – there’s always a novel where you just give up and don’t pick up the next one.

Since we were by nature a mixed group of ages and genders, something in Anthony’s writings must have appealed to all of us – whether it was my cousin revering Lem and Asimov, my mom who digs crime novels and thrillers, or me, who goes for Dune, Douglas Adams, and Terry Pratchett. (I don’t remember if my sister was into Anthony or what she read at the time.) It’s no small feat captivating a wide audience and have something to give to them all.

I don’t remember author’s notes in the translated versions until very late, like stuff about the girl who inspired Jenny the elf.

Buzz Aldrin’s Race into Space (and Space-Program Games in General)
January 3, 2020

“Demography is destiny,” said the French sociologist Auguste Comte apocryphally in the nineteenth century. That truism has been taken to heart by many in the time since — not least by our political classes. Yet it applies equally in the world of the arts and entertainment. For in any free market, the nature of production is dictated as much by the consumers as by the producers.

Certainly this is true of computer games. Throughout the 1980s and 1990s, they were largely the province of a rather specific demographic indeed: single white males between the ages of ten and thirty from relatively privileged socioeconomic circumstances, with a bent toward intellectual rather than active pursuits — i.e., the stereotypical “nerds” of pop culture. Computer games reflected the tastes of these boys and young men in other kinds of entertainment and leisure-time hobbies: Dungeons & Dragons, Star Wars, jet fighters, World War II, action movies, heavy-metal music, fast cars, and, when they could get a glimpse of them, fast women. Although I too have liked all of these things to a greater or lesser degree at some point in my life — I did, after all, grow up as a member of exactly the demographic in question — their extreme prevalence in the cultural ghetto about which I write has often left me searching, sometimes in vain, for games with a different set of values and antecedents.

But this article is not about one or more of those interesting cultural outliers. It’s rather about an interestingly scanty subgenre of games which seems like it ought to have been perfect for the demographic I’ve just described, but that for some reason just never quite took off. Specifically, I speak of games based on the realities of space exploration in a contemporary context, as opposed to the outer-space fantasias of Star Wars and the like. After all, just about every nerdy teenage boy goes through a race-for-the-Moon phase at some point. (And why not? Has humanity ever embarked on a grander collective adventure?) Further, games on this subject would seemingly have fit in well with the broader craze for realistic simulation, as manifested by everything from F-15 Strike Eagle to SimCity, which had taken a firm grip on the industry by the end of the 1980s.

And yet there just weren’t many simulations of this particular type, and even fewer of them that did very well. It strikes me that it’s worth asking why this is so. Was there something about this subject that just didn’t work as a game, or are we dealing with a mere historical accident here? Let’s begin with a brief survey of the field of earlier games that did venture out into this territory before we turn to the one that will be our main focus for today. To help in doing so, we’ll further divide the field into two categories: vehicular simulations of spaceflight and games of space-program management.

The earliest game of the former type actually predates the personal computer. Created on a big DEC PDP-8 by a Massachusetts high-school student named Jim Storer, inspired by the real Neil Armstrong’s nerve-wracking manual landing on the Moon in 1969, the very year it was first programmed, Lunar demanded that you set your own landing craft down gently before your fuel ran out. Implemented entirely in text — you simply entered the number of fuel units you wished to burn each turn in response to a changing textual status display — it inspired dozens of clones and variants, most going under the more accurately descriptive name of Lunar Lander. By the dawn of the personal-computing age in 1978, David Ahl was able to write in his landmark book BASIC Computer Games that Lunar Lander in all its incarnations was “far and away the most popular computer game” of them all. It was even converted into a graphical standup-arcade game by Atari in 1979, in which form its quiet, cerebral tension made it an incongruous outlier indeed in an arcade full of shoot-em-ups.

Other programmers got inevitably more expansive in their ambitions for spaceflight simulation after Lunar Lander. By 1986, with the release of Spectrum HoloByte’s Orbiter, they had graduated to offering up a complete Space Shuttle flight simulator, covering all the stages of a mission from liftoff to landing. (Sadly, it arrived just in time for the Challenger disaster…) In 1992, Virgin Software published an even more complex and complete iteration on the concept, entitled simply Shuttle.

Yet neither of these later simulations came close to matching their simplistic predecessor in popularity. Their subject matter, it seemed, just didn’t quite work as a hardcore simulation. A simulation of a jet fighter flying into a war zone — such as the popular and long-lived Falcon series which Spectrum HoloByte produced after Orbiter — offered an intriguing range of tactical possibilities which a simulation of a Space Shuttle did not. A fighter pilot flying into combat is lord of his domain, in complete control of his airplane; the outcomes of his battles are entirely up to him. An astronaut flying into space, on the other hand, is merely the tip of a long spear of cooperative hierarchy; situations like those last few minutes before the Eagle landed, when Neil Armstrong was making all of the decisions and executing them all alone, have been vanishingly rare in the history of space flight. If, as Sid Meier likes to say, a good game is “a series of interesting decisions,” this fact makes spaceflight as it has existed so far in our historical reality problematic as the subject of a compelling simulation. Too often, Orbiter and Shuttle felt like exercises in rote button-mashing — button-mashing which you were expected to do exactly when and how ground control told you. Perhaps you weren’t quite the spam in a can the test-pilot peers of the earliest astronauts had so mocked them for being, but it sure felt that way at times. “As strange as it may seem,” wrote Computer Gaming World magazine of Orbiter, “a lot of flying the Shuttle is boring — a lot of pushing buttons, running computer programs, and the like — and it shows.”

In light of this, it’s telling that arguably the most entertaining of these spaceflight simulators opted for a less hardcore, more impressionistic approach. Apollo 18, developed by the Canadian studio Artech and published by Accolade in 1987, posited an alternative history where at least one of NASA’s final trio of cancelled Moon missions actually did take place. In keeping with Artech designer and theoretician-in-chief Michael Bate’s concept of “aesthetic simulation,” Apollo 18 portrayed a mission to the Moon not as a holistic vehicular simulation but as a series of mini-games, jumping from the perspective of ground control to that of the astronauts in space whenever it felt the need. This more free-wheeling, almost cinematic approach, combined perhaps with the fact that going to the Moon is inherently more exciting than releasing yet another whatsit from the Shuttle’s cargo bay in low Earth orbit, made the game a more riveting experience than its Shuttle-centric peers. Still, even it ran out of legs fairly quickly; once you’d worked through the steps of getting to the Moon and back once or twice, there just wasn’t much motivation to do so again.

So much for simulation. In the category of strategic space-program managers, we have an equally mixed bag.

Just as with the venerable Lunar Lander, one of the very first attempts to portray the contemporary conquest of space in this way was also the most successful of its era, in both financial and artistic terms. I wrote at some length long ago about 1984’s Project: Space Station, an earnest effort, masterminded by a fellow named Lawrence Holland who would go on to become LucasArts’s flight-simulator guru, to portray the construction and operation of a commercial space station in Earth orbit. Both space stations and private enterprise in space were much in vogue at the time, thanks respectively to President Ronald Reagan’s announcement of plans to build a station called Freedom in his 1984 State of the Union address and the realities of a terminally underfunded NASA whose priorities shifted with the political winds — realities which would ensure that Freedom itself never got off the drawing board, although it would gradually morph into the joint project known as the International Space Station. As I wrote in that older article, Project: Space Station, which blended an overarching strategy game with light vehicular simulation, came heartbreakingly close to greatness. But in the end, it was somewhat undone by a lack of feedback mechanisms and poor command and control — weaknesses which, it should be said, feel more like a result of the limited 8-bit hardware on which it ran than a failure of design in the abstract. But whatever its failings, it was by all indications reasonably successful in its day, enough so that, when its original publisher HESware went bankrupt within a year of its release, it was picked up at auction by Accolade and re-released by them in the same year they published Apollo 18.

Alas, Project: Space Station’s immediate successors would prove markedly less rewarding as games to play or products to sell. Space MAX, created and self-published by a former Jet Propulsion Laboratories engineer named Tom Keller in 1986, poured on the detail at the expense of playability, until it came to resemble one of NASA’s long-range planning tools more than a computer game. And Karl Buiter’s Earth Orbit Stations of 1987 buried a very appealing premise, focusing more on the mechanical details of building a modular space station than had either of the earlier games of its type, under an atrocious presentation layer which Computer Gaming World described as “a textbook case of how not to design a [GUI] interface.” And after those two less-than-compelling efforts, the strategic space-program-management subgenre pretty much dried up.

This, then, was the underwhelming state of contemporary-spaceflight games in general in 1993, when Interplay published a new take on the subject matter bearing the name of one of the most famous astronauts of all — in fact, the one who had actually been sitting there beside Neil Armstrong when he was making that hair-raising landing on the Moon. Like Apollo 18, Buzz Aldrin’s Race into Space chose to turn back the clock to those glory days of the Moon race rather than focusing on present-day space stations engaged in the comparatively plebeian labor of developing new industrial-chemical compounds and new medical treatments, important though such things undoubtedly are. The managerial perspective it adopted, however, had more to do with Project: Space Station than Apollo 18. A noble effort in its way, as indeed were all those games I’ve just written about, its own points of failure have perhaps even more to tell us about game design than theirs do.

Fritz Bronner

The driving force behind Buzz Aldrin’s Race into Space wasn’t its astronaut mascot — no surprise there, right? — but rather one Fritz Bronner, a less famous American whose name would have fit perfectly to one of the German rocket scientists who helped Wernher von Braun build the Saturn V rocket that sent men to the Moon. In the early 1980s, as a young man with dreams of becoming an actor, Bronner spent many an evening playing a variety of tabletop wargames and RPGs with his buddies in his home state of Florida. On one of those evenings, he had just finished an RPG session when he turned on the television to see a rocket launch on the news — an event he always watched with interest, being a self-described “space fanatic.” The thought process he went through then, with his mind still addled by game systems and dice rolls, will waken immediate recognition in anyone who has ever played Race into Space. For the most fundamental mechanic in that game has its origin right here:

The game player in me suddenly wondered what the odds were for a successful launch. The next thought I had was the chance of failure. I formulated in my mind a guess on the total number of [successful] launches versus failures. I quickly concluded that out of ten previous launches, nine of them were successful. Just before liftoff, I rolled the percentile dice and rolled below the range, which indicated to me that the launch would be successful. A few minutes later, another satellite reached orbit. I was elated that I had come up with a pseudo-model for launch success.

Immediately I wondered how a manned launch would work. I started to play with some rough mathematical figures. I selected a one-stage rocket and a two-stage rocket and then realized that I would have to devise a safety factor for a capsule. I think I came up with around 85 percent for the capsule. Then I plunged into what mission steps would occur in spaceflight. I rolled the dice on a three-step suborbital flight and to my excitement it worked! Suddenly each step of the mission was monumentally important. I became tense as I rolled the dice. It reminded me of the flavor of the early spaceflights.

I called [my friend] Steve [Stipp] over and told him of my successful suborbital flight. After his own successful flight, we both gleefully started scribbling notes on possible payload weights and additional mission steps. Soon we had scraps of paper filled with my horribly drawn stick figures of capsules that were lofting astronauts into space.

At this point, it was success or total failure on a mission step. We both realized that it was too crude and unrealistic for a rocket to always blow up on the pad. There were cancelled launches and aborts that should be considered. We laughed and played and scribbled more notes and sketched drawings for several hours, and then folded it up and forgot about it for several years.

In 1985, Bronner’s acting dream took him from Florida to New York City. His wife was working as a long-haul flight attendant, leaving him with plenty of solitude for contemplation in between auditions there in the big city. A television documentary called Spaceflight refreshed his memories of playing that improvised dice-throwing game of space launches. Just as importantly, it shifted his thinking toward an historical perspective. What if he made a game about the space race of the 1950s and 1960s, with one player in the role of the Americans and the other of the Soviets, each trying to be the first to reach the Moon? Each player would have to research the technology necessary for each stage of the endeavor, then test it with a live launch. The tension that would make for interesting choices was clear: that between researching everything exhaustively to achieve the best possible safety rating and pushing the timetable to beat out your opponent. At bottom, then, it would be a “press your luck” game — an evergreen in tabletop game design, but implemented here in the service of a thoroughly unique theme. For the next couple of years, Bronner continued to develop and refine the concept, even sending samples to many board-game publishers, albeit without managing to stir up much interest.

In 1987, Bronner’s acting dream took him from New York City to Hollywood. While he would never become the movie star he might have imagined back in Florida, he would carve out a solid career for himself as one of the film industry’s unglamorous but indispensable utility players; he would take bit parts in dozens of movies and television shows alongside starring roles in hundreds of commercials, and eventually also take on small-time writing, directing, and producing gigs. A year after arriving in Hollywood, he wrangled a meeting with the Los Angeles-based Task Force Games, best known for their Star Fleet Battles tactical space-combat games which took place in the Star Trek universe. He finally got a positive response from this publisher, and soon signed a contract with them to publish the board game Liftoff!.

Liftoff! made its public bow in the summer of 1989 at the Origins International Game Expo, one of the tabletop hobby’s two biggest American events, which happened to be held that year right there in Los Angeles. The reaction to Bronner’s game at Origins was cautiously favorable, but it never translated into much in the way of sales in the months that followed. Task Force Games had been bought by the computer-game publisher New World Computing the year before they signed the contract with Bronner; it was for this reason that they were in the Los Angeles area at all, having been moved there from Amarillo, Texas, to join their new parent. Yet the relationship wasn’t living up to either partner’s expectations. Profits, which tended to be scant at the best of times in the tabletop industry, had become nonexistent, as the expected synergies between the computer and the tabletop business failed to materialize. In 1990, Task Force’s founder John Olsen scraped together enough funding to buy his company back out from under New World and moved with it back to Amarillo. Necessity forced the downsized entity to focus its resources on Star Fleet Battles, its most well-known and marketable franchise. Liftoff! died on the vine.

But Fritz Bronner wasn’t willing to let his game go so gently into that good night. Although he had never owned a computer in the past, his arrival in Hollywood had coincided with the beginnings of a buzz from the more forward-thinking members of the media elite about the future of interactive video and multimedia computing. It certainly hadn’t been lost on Bronner when signing the contract with Task Force Games that the company’s parent was a publisher of computer games. In fact, he had tried to interest New World in a digital version of Liftoff! repeatedly, but could never really get their attention. Fortunately, his attorney had assured that the contract he signed with Task Force/New World gave them just one year to develop a computerized version, if they wished to do so; afterward, those rights reverted to Bronner himself. He soon bought his first computer, a used Commodore Amiga 500, to consider the possibilities. In the summer of 1990, he started talking with a young programmer named Michael K. McCarty. At year’s end, the two of them formed a company which they named Strategic Visions, and began working on a demo to show to publishers.

It perhaps says something about the zeitgeist of gaming on the cusp of the multimedia age that Bronner and McCarty elected to make their demo a non-interactive video rather than an interactive game. From the start, Bronner’s vision for the project had been to move the mechanics of the board game onto the computer essentially intact, then spice them up with lots of video footage from the archives of NASA and the Soviet space program. His timing in this respect was perfect: the fall of the Iron Curtain helped immensely in getting access to the latter’s videos. Meanwhile the fact that all of the footage was the product of government agencies, and thus released into the public domain, helped in another way. Less positively, this overweening focus on the multimedia aspects of the project, which would continue throughout its duration, would rather distract from some worrisome flaws in the foundation of the actual rules set — an issue we’ll return to a bit later.

In the short term, though, the non-interactive demo served its purpose. In contrast to the relative lack of interest the tabletop design had garnered, the proposed digital version attracted lots of publishers when Bronner and McCarty brought their demo to the Summer Consumer Electronics Show for private screenings in June of 1991. The videos Bronner showed of rockets soaring and exploding were well-nigh irresistible to an industry all abuzz with talk of interactive movies incorporating just this type of real-world footage. Over thirty potential partners viewed the demo reel in the course of the show, and several of them came forward with serious offers.

Bronner settled on Interplay Productions for several reasons: they were also Los Angeles-based, always a nice advantage; he got on well with Interplay’s head Brian Fargo; and Fargo had immediately run with an idea Bronner had mentioned in passing, that of signing up Edwin “Buzz” Aldrin — by far the most gregarious and ambitious of the Apollo 11 astronauts in terms of media and marketing — to lend his endorsement to the game. Indeed, Fargo already had Aldrin on board when the contract was signed in August of 1991. Thus did Liftoff! become Buzz Aldrin’s Race into Space.

Aldrin’s direct participation encompassed nothing more than marketing — he regaled a long string of trade-show attendees and magazine editors with his well-worn tales of landing on the Moon, while saying next to nothing about the game itself — but it did lead to the computer game’s most significant substantive addition to the board game. Bronner added a roster of astronauts to be recruited and trained, who manifested differing strengths and weaknesses and even differing personalities which could cause them to be more or less effective when combined into crews. The idea and approach are so similar to the astronaut management found in Project: Space Station that one suspects they must have been inspired by that earlier game. That said, I have no proof that this was so.

Otherwise, though, Race into Space is a fairly straightforward re-implementation of Liftoff! rather than a major expansion upon it. In fact, some parts of the board game are actually trimmed away, such as the ability to play as the head of a fictional European or Asian space agency, which Bronner had included in order to allow up to four players to gather around the tabletop. Race into Space, on the other hand, is limited to two players, each of them controlled either by a human or the computer.

Pitched to Interplay with an absurdly optimistic six-month development timeline, Race into Space ran over that estimate by a factor of three. Indeed, it became the first game in history to get two feature-length previews in Computer Gaming World, one in January of 1992 and one in December of the same year. An early decision to switch development from the fading Amiga to MS-DOS didn’t help matters; nor did Strategic Visions’s need to rely on Interplay’s art team for most of the non-digitized graphics, work that got done only as time allowed betwixt and between other in-house projects. Most of all, though, the project began just a little bit too early, before the typical consumer computer was quite able to live up to Bronner’s multimedia ambitions. Even the version of the game that finally did ship on floppy disk in March of 1993 was heavily compromised by the limitations of its storage medium, with digitized still photographs standing in for most of the videos the original demo had promised. Players would have to wait for the CD-ROM version, which didn’t arrive until fourteen months later, to truly see the game as its designer had imagined it.

Race into Space is played in turns lasting six months each, beginning in 1957 and stretching until either 1977 arrives or someone manages to land on the Moon. Economics will play a big role in your success or lack thereof; you’re provided with a semiannual budget which increases only gradually, with the completion of major milestones according it a more substantial boost — especially if you manage them before your opponent — and catastrophic failures having the opposite effect. This approach is rather ahistorical on the face of it — in a classic example of throwing money at a problem until it bears fruit, the budget of NASA in particular was dictated more by the achievements of the Soviets than by the agency’s own accomplishments — but is probably necessary for Race into Space to work as a game.

As the game goes on, you build up your program’s facilities — adding things like additional launch pads to let you carry out more launches per turn.

Still, the core of the experience remains what it was when a young Fritz Bronner first started experimenting with the idea of a space-program-management game in the early 1980s: watching with bated breath from mission control as your rockets go up, hoping each successive step will go off without a hitch to get you your next mission milestone. Said milestones encompass everything from launching the first unmanned satellite — the game begins in the year of Sputnik — to the Moon landing itself. Yet, beyond the first few milestones at any rate, they don’t break down into a mere linear progression of steps to be mindlessly walked through. You can combine milestones into one mission; for example, you might make your first flight of eight days or more duration the same one where your astronauts first execute a space walk. And you can also skip some of them entirely, if you’re pressed for time and are willing to forgo the budget boosts with which they tempt you; the aforementioned space walk, for example, isn’t even strictly necessary for a Moon landing.

Most importantly, Race into Space lets you implement not only the historical method of getting to the Moon — that of employing a space capsule which orbits the Moon and a separate landing craft to take part of the crew down to the surface — but also a number of other approaches that were discussed at the time, such as an all-in-one-spacecraft approach (this requires developing a monster rocket that makes a Saturn V look like a kid’s toy) or even a reusable space shuttle (this requires both an enormous investment of time and money and a really slow opponent). The variety of alternate histories the game allows is not infinite — more on that momentarily — but is enough to provide for at least a few interesting and even educational playthroughs. If nothing else, you’ll walk away from your failed attempts to rewrite history with a better understanding of why NASA chose the approach they did.

Achieving firsts is extremely important because it increases your program’s prestige — which in turn leads to an increase in its budget. If things go too disastrously wrong, you can even be fired from your post as program director.

But alas, Race into Space soon begins to show those cracks in its foundation which I alluded to earlier, which are partly born from the lack of a clear sense of its own goals as a game. One can imagine at least three abstract approaches fitting into the general framework of “a managerial game about the race to the Moon.” One would be a heavily experiential game, in the spirit of Michael Bate’s aesthetic simulations, de-emphasizing the competitive aspects in favor of taking the player on a journey through those heady early days of the space age. Another would be a replayable game of hardcore strategy, in which the fiction of the Moon race functions as a mere thematic skin for the mechanical underpinnings which quickly become the player’s real focus. And still another would be an open-ended sandbox, a learning tool that lets the player experiment with many different approaches to landing on the Moon and to spaceflight in general.

Race into Space never firmly commits to any one of these approaches, but rather feints toward all of them in various places. The end result is a confusing mishmash of elements that are constantly cutting against one another. The heavy reliance on photographs, video, and sound clips from the period in question seem to push it into the experiential camp, but its board-game-derived mechanics and relatively short play time — a full game usually takes no more than two or three hours to play — pull it in the second direction I outlined. And so the cognitive dissonances start to add up. The video clips lose their appeal when you’re forced to click through the same ones over and over, every time you play, even as it remains debatable whether the mechanics are really compelling enough to make it a game you want to return to again and again under any circumstances; there are really only one or two best paths to follow to get to the Moon, and once you’ve found them there’s little reason to keep playing. Meanwhile the game’s educational sandbox potential, while by no means nonexistent, is also sharply limited. True to its board-game roots, Race into Space doesn’t simulate spaceflight at all beyond rolling dice against an arbitrary set of success-or-failure percentiles. In terms of spaceflight hardware, it lets you mix and match a set of pieces it provides for you, and pour money into each piece’s research to push its reliability percentage up, but it’s nowhere near sophisticated enough to let you develop your own components from scratch. Here too, then, it feints in a promising direction without going far enough to truly satisfy over the long term.

Yet this sense of confusion about what Race into Space actually wants to be constitutes only its second biggest problem. Its biggest problem of all doesn’t require as much design philosophy to explain: the darn thing is just too darn hard. Something is badly off with the math behind this game — something you sense more than you can know. Playing it quickly begins to feel like that memorable montage of exploding and misguided rockets from the film The Right Stuff. You can recover in fairly short order from failed launches in the early phases, when you’re mostly launching unmanned craft, but they turn devastating when they start chewing through your astronaut corps like a wolf in a chicken coop. Failed missions not only destroy the morale of your surviving astronauts, causing them to perform worse, but knock the reliability of the failed component almost all the way back to zero, forcing you to research it up again from scratch. This of course makes no sense in strictly logical terms; in the absence of any new inputs, a defective component should be defective to exactly the same extent on the next flight. Rather than conveying the rounds of investigation and soul-searching that always accompanied a real loss of life in the space program, as it was doubtless intended to do, this mechanic just furthers the impression that the game is out to get you at any cost. The fact that the computer player mysteriously seems to be able to cut more corners than you without killing astronauts by the dozens contributes strongly to the same impression.

Screens like this one appear distressingly frequently, almost regardless of how thoroughly you research and develop your components. Either the real NASA was incredibly lucky, or something is off inside this game’s numbers. Perhaps a bit of both?

Unkind though it may sound to say, I can’t help but suspect that Race into Space’s issues in this area reflect a fundamental misunderstanding of statistics on the part of a younger Fritz Bronner — a misunderstanding that somehow never got corrected through all his years of working on his game. A mission does not, as one might initially imagine, have a chance of success equal to the reliability percentage of its dodgiest hardware component. On the contrary: the various components actually undergo reliability checks at various times — often at multiple times — during a mission. Therefore even a stack of components which have all been researched up to a reliability of 95 percent still has a substantial chance of failing in some more or less disastrous way on a more complex mission. And yet you simply don’t have time to laboriously research every component up to its maximum reliability, which for many of them is substantially below 95 percent anyway. You’re in a Moon race, after all. You have to roll the dice. Small wonder that so many players over the years have advocated save-scumming — that dastardly practice of saving and reloading until the dice roll your way — as the only practical way to play. That, or play a two-human-player game, but just click through your “opponent’s” turns without doing anything. Playing that way, you might just be able to get to the Moon before 1977.

So, despite the historical verisimilitude it works so hard to inculcate via its video clips and all the other period-specific touches, Race into Space’s mechanics lead to a simple game of luck at bottom, and one where the odds are stacked against you at that. There is no opportunity to jump in and make decisions when a mission starts to go wrong — no chance, in other words, to improvise your way through a drama like the Apollo 13 mission. You’re a mere helpless bystander from the moment a mission begins until it ends.

The game’s delight in making its players’ rockets go boom provoked such howls of protests from early purchasers of the original floppy-based release that Interplay soon released a patch to tweak the numbers somewhat — although still nowhere near enough in the opinion of most. The very fact that Bronner felt able to manipulate the numbers in this way, of course, demolished any remaining belief players might have harbored that the numbers had any real historical basis at all. Clearly they were strictly arbitrary. Bronner never did achieve a balance that felt both playable and true to history. And that failure makes it difficult to consider Race into Space as a whole as anything but another interestingly failed attempt at making a game out of real-world space exploration.

Race into Space sold in reasonable numbers for Interplay, but never huge ones, especially after word of just how frustrating it could be got around on the street. Thus none of Bronner’s plans for sequels, which he had publicly discussed at some length in the run-up to release, ever got off the metaphorical launching pad. Strategic Visions soon folded up shop, and Bronner continued his career in Hollywood. He’s never designed another game.

Ironically, the sequels Bronner discussed may actually have made for better games than this one. One idea, for example, would have focused on a manned mission to Mars. Removed from the context of real history, not being surrounded by all those grainy old video clips reminding players of what once was, such a game would have been able to exist entirely on its own terms, and may have wound up feeling more satisfying because of it even if its mechanics had been left largely unchanged.

As it is, though, Race into Space displays that most telling sign of an ingenious game idea with questionable execution: players lining up with ways to fix it. Their efforts were confined to the realms of speculation and hex editors until 2005, when, the rights having reverted to Fritz Bronner, he generously released the game and all of its source code under the General Public License. In the time since, a small community of enthusiasts has continued to port and refine the game on a sporadic basis, but it’s never managed to garner a critical mass of developers or players. Ditto an attempt at a full-fledged commercial revival of the concept by the wargame publisher Slitherine, which arrived complete with the original game’s astronaut mascot in 2014 under the name Buzz Aldrin’s Space Program Manager.

While Race into Space’s most specific, practical design mistakes aren’t too hard to identify, the more generalized failings of it and its peers in the scanty tradition of contemporary-space-program games do rather prompt one to ask another question: is there something about the subject matter itself that causes it not to work as a satisfying game? I believe I’ve actually done a reasonable job of answering that question already for the case of spaceborne vehicular simulations: as I noted near the beginning of this article, an astronaut in space just doesn’t have enough independent agency in most situations to make for a reasonably realistic simulation that’s also engaging as a game. But what of the other broad category of games I’ve addressed today, the one to which Race into Space belongs: that of space-program managerial games?

For a long, long time after Race into Space, one might have been forgiven for assuming that space-program managers as well were indeed nonstarters as satisfying games. But then, in 2015, a game called Kerbal Space Program came along to prove such naysayers wrong. I don’t usually write about modern games here, but I will briefly outline the premise of this one.

The titular Kerbals are a species of furry green aliens who run a space program of their own on their planet of Kerbin. Despite their cartoony cuteness, said space program itself is simulated with meticulous attention to detail, including all of the particulars of physics and aeronautics which Race into Space so conspicuously lacks. Players with an interest in rocketry or aeronautical engineering can and do lose years of leisure time to it. It may or may not be a game for you, but it is, by any objective definition, an impressive piece of work, far more intrinsically fascinating than any other that I’ve written about today.

And how does it accomplish this feat? One obvious answer is that it knows what it wants to be first and foremost: a sandbox for exploring the practical possibilities and limitations of space travel using the technology of our own recent past, present, and near future. A dedicated modding community has helped the designers to graft on additional layers of competitive strategy and economics for those who want them. Nevertheless, the game’s central delight remains that of creation and discovery. Kerbal Space Program is, in other words, one of the preeminent sandbox games of our time. And it’s completely comfortable with itself in that role, being free of the cognitive dissonances of Race into Space.

This stronger sense of itself is certainly one of the secrets to Kerbal Space Program’s success. And here’s another: having noted earlier that the proposed non-historical sequels to Race into Space may have led to more compelling games, I’ll now submit Kerbal Space Program as Exhibit One in evidence for that argument. Freed from the weight of all that real human history, existing as it does in a world of cartoon aliens, it can just be a game.

Games can be great tools for exploring other lives and other times, but sometimes you just want to play. History, after all, doesn’t occur for our ludic amusement. Every wargamer knows that the number of unaltered historical battles that lead to good games is very small indeed; most real battles have their outcomes foreordained before they even begin. Perhaps the Apollo program and the Space Shuttle and the International Space Station and all the rest just don’t have the right stuff to make a worthy game. But that’s okay — because it means that, instead of recreating the storied past, we can imagine an exciting future. That goal is at least equally worthy — and, as Kerbal Space Program so thoroughly illustrates, it’s something that a game about space exploration can most definitely do, and do well at that.

When you play Race into Space as the Americans, each turn begins with a newscast from “Carter Walcrite” — a nod to Walter Cronkite, the television anchorman whose dulcet tones were the voice of the space race for many Americans, whom a number of surveys revealed to be the most trusted person in the United States during the turbulent 1960s. (I’ll leave the comparisons with contemporary attitudes toward journalism as an exercise for the reader…) Although the inclusion of all this loving period detail is wonderful on one level, on another it can be oddly stultifying to your attempts to write your own history.

(Sources: the books The Buzz Aldrin’s Race into Space Companion by Fritz Bronner, Designers & Dragons, Volume 2 by Shannon Appelcline, and BASIC Computer Games by David Ahl; Computer Gaming World of August 1986, March 1987, October 1987, February 1988, January 1992, May 1992, December 1992, and August 1993; Strategy & Tactics 212. Online sources include Leon Baradat’s comprehensive Race into Space site, the article “The Buzz is Gone” at The Escapist, and Steve Stipp’s homepage.

You can download the current open-source edition of Race into Space for free, or purchase its spiritual successor Buzz Aldrin’s Space Program Manager.)

Comments
32 Responses

- Tucker McKinnon

January 3, 2020 at 9:38 pm

At least in Liftoff!, the way we found to get around “failed launches force you to re-research everything” was to sell your research to an opponent for a nominal fee right before a launch, with the understanding that if the launch failed, they’d then sell you your research back again. “No, no, it can’t be the numbers, we had the Soviets check them over!”

- Jimmy Maher

January 3, 2020 at 11:15 pm

That’s great! One of the nice things about board games is that they’re so much easier to “fix” than computer games with a bit of creative house-ruling. I could imagine elaborating on the idea with an insurance fund, run by the house, which players could pay into…

- Peter Olausson

January 3, 2020 at 10:47 pm

Funny to see “No CD required” on the cover – wonder how much it did for the sales. And who got the free trip to the US Space Academy?

Spelling: Wernher von Braun.

- Jimmy Maher

January 3, 2020 at 11:14 pm

Thanks!

- Keith Palmer

January 3, 2020 at 11:02 pm

In the summer of 1993, I went to a space camp (not the Space Camp; this one was in Algonquin Provincial Park in eastern Ontario, near a large radio telescope). The camp did have a roomful of PCs, with programs I recall including SimEarth, the “Shuttle” simulator you mentioned, and Buzz Aldrin’s Race Into Space. That third title did catch my attention most of all, and I fear I lived up to the stereotype of “the teenaged computer user who will not go outside.” The game soon taught me caution, though, and I wound up playing “hotseat against myself,” taking to the “save and reload” scheme mentioned, and still not moving forward with any speed, such that I never managed to land on the Moon before returning to my family’s Macintosh household…

In the summer of 1994, I returned to the same camp only to find something had gone wrong with the Race Into Space installation; the program would crash when trying to play the American side. As it turned out, though, there was a copy of the original “Liftoff” board game in my home town’s comic shop, and I kept showing slight interest in it until the store owner took pity on me and sold me the game for a discount. I made up some replacement counters to make its Soviet hardware more resemble the computer game’s, then proposed a few rule tweaks to myself, but finished a few Moon-landing games only playing against myself, not having many close friends to invite over… Years later I did get to trying the game in Dosbox and the open-source edition, but at that point “trying” didn’t presuppose “finishing.” I can see the point of your comments throughout. (To be honest, I’ve never tried Kerbal Space Program… perhaps I think I know enough about orbital rendezvous to be fearful of having to try it unaided myself.)

- Jason Dyer

January 4, 2020 at 1:01 am

The two games you skipped mentioning I’d probably toss into the ring are Microsoft Flight Simulator (1994) and Orbiter (2000, the freeware one, as far as I know no relation to the other game).

Both are “realistic” simulators but let you set time to max and fly to Jupiter and whatnot. Their “downside” (especially with Orbiter) was that to really use them properly you had to do real math equations to plan out burns and so forth.

I know Kerbal players also trade equations on the forums but it isn’t quite as necessary to get going.

- Jason Dyer

January 4, 2020 at 1:02 am

Er, Microsoft Space Simulator. Fumblefingers.

- Lisa H.

January 4, 2020 at 2:08 am

I know Kerbal players also trade equations on the forums but it isn’t quite as necessary to get going.

Kind of intriguing how cooperative Kerbal players are vs. the real life space programs, at least in the phase discussed in this post.

- Jimmy Maher

January 4, 2020 at 9:41 am

I actually plan to write about Microsoft Space Simulator in the future. It strikes me as something of a forerunner to Kerbal, with its emphasis on realistic spaceflight without any strong historical or fictional context to muddy the waters.

- Steffen

January 4, 2020 at 10:31 am

I wouldn’t argue that the statistics in the game are correct, but I’d note that it’s very, very easy to get high probability of failure even when done approximately correctly: if the failure in one part causes catastrophe (which would be the case without redundancies) and you have ten critical parts each with 95% reliability, then the chance of at least one critical part failing is about 40% (0.95^10, the product of all individual part reliabilities). If you have more parts or lower individual reliability, then that number goes down quickly.

This is why the actual part reliabilities that one would be aiming for in space flight are much higher than 95% and there’s redundant parts for some (many? nearly all?).

So maybe the fact that you research things up to a reliability ceiling of a percentile in the 90s is the actual crux of the high rate of failure?

- Jimmy Maher

January 4, 2020 at 6:19 pm

Yeah, I didn’t mean to say that the statistics are *calculated* incorrectly in the code, but rather that their full implications — meaning pretty much just what you outlined here — may have eluded the designer. Race into Space frequently betrays the reality that it was the first and only game Fritz Bronner ever designed.

It is *possible* to push the reliability of components above 95 percent, but doing so requires actually using them in space. Sometimes you can accomplish this with unmanned missions, but not always. And it’s impossible to conduct as many test launches, unmanned or otherwise, as NASA did in the real world; you just don’t have enough time or launching pads in the game’s operational model. This is yet another place where it kind of has you over a barrel.

- Veronica Power

January 5, 2020 at 4:57 pm

It also sounds like (forgive me, I have not played the game) it is assuming all failures are catastrophic? This is the opposite of how real disasters work. If you look into the details of any major disaster (plane crashes, bridge collapses, shuttle explosions) it’s always a long series of things that ALL had to go wrong for the catastrophe to occur. Real space missions had minor failures all the time and proceeded anyway. Coolant pumps would fail, part of an electrical bus would go down, etc. It’s not that all these components had redundancies, it’s just that in real life most failures can be worked around. All complex human machinery works this way. We can’t build things so perfectly that no little part ever fails. It’s just that a complex system can absorb a lot of minor failure before catastrophe happens.

- Jimmy Maher

January 5, 2020 at 7:30 pm

Not all failures are equally catastrophic. After the game rolls the (virtual) dice and determines a failure has occurred, it roles again against a table to see what actually happened. Sometimes — not all *that* often, but sometimes — your astronauts actually make it home safely after a failure. Sometimes, on the other hand, they wind up stranded on the Moon to wait for their life support to run out — truly a terrible way to go…

- Wolfeye M.

January 4, 2020 at 11:24 am

I’m surprised you mentioned Kerbal, since that’s a relatively recent game. But, I’m glad you did, since that’s what Buzz Aldrin’s Race into Space reminded me of. I haven’t had the pleasure of playing Kerbal, but I have watched YouTube videos. Seems like a good way to kill some time… and accidentally kill some Kerbals.

As for BARS, I probably would have found it very frustrating, because of its reliance on RNG. Games like that, you’re fighting the “dice”, more than you’re ever playing against your opponent.

- Eric Nyman

January 5, 2020 at 3:00 am

Are there any significant differences in playing the game as the Soviets instead of the Americans? Is the difficulty level the same?
I feel it could be more interesting to learn information about the Soviet space program and individual cosmonauts, “news” from Pravda instead of Walcrite, etc.

- Jimmy Maher

January 5, 2020 at 10:01 am

The Soviet side isn’t as well-developed as the American. The hardware portfolio leans more heavily on speculation — and in some case, one suspects, on outright fabrication in the name of game balance — and the photographs, videos, and sound are less copious. (In some cases, the game actually substitutes footage of American launches.) And aspects like the Pravda newscast verge more on caricature than an earnest attempt to capture historical truth. (Which isn’t to say that the real Pravda didn’t often read like caricature…)

So, while you can learn *something* about the Soviet space program here, it’s perhaps less than you might hope for. Partially this is down to the date of the game’s release, *right* after the Iron Curtain fell, partially perhaps to the attitude of the designer. (It was, after all, Buzz Aldrin’s Race into Space, not Yuri Gagarin’s…)

All that said, I’m not sure there’s any practical difference in difficulty. History has been manipulated, mostly on the Soviet side, to provide matchy-matchy technologies.

- Leon Baradat

January 10, 2020 at 9:54 pm

Apart from the things that Jimmy mentions, there are gameplay differences when playing as the Soviets vs. the Americans. Overall it’s a little harder to play the Soviets.

Soviet hardware is often cheaper but less reliable, especially early in the game. They tend to hold an advantage early on, but a bit of a drawback in the later stages, somewhat like in real life. Don’t try to take Voskhod (the Gemini equivalent) to the Moon, for instance: it’s likely to fail you at an inconvenient time and set you back for years.

The Americans tend to have a slightly higher budget and better Capsule piloting skill on the side of their astronauts. The Soviets, on the other hand, have an advantage in rocketry–in the early stages of the game, it’s generally easier for them to lift their advanced systems. For instance a Soyuz can go up on an R-7 (their Atlas equivalent), whereas Apollo requires a Titan rocket, which is hard to research early in the game.

The Soviets also have a really cool special lunar landing approach. The Kicker-C is a sort of base that docks with a Soyuz capsule. It lands the whole capsule on the Moon and lifts it back off, giving you some of the advantages of direct ascent without the price tag.

- Adam Thornton

January 5, 2020 at 4:39 am

If you like KSP, give Outer Wilds a try. It’s also got surprisingly good orbital mechanics, cute cartoonish aliens, and a fun discovery plot.

- Ignacio

January 6, 2020 at 1:35 am

Great article! Minor typo: Mr. Holland’s name is Lawrence instead of Laurence.

- Jimmy Maher

January 6, 2020 at 5:16 am

Thanks!

- Eric Rosenfield

January 9, 2020 at 12:30 pm

Comte never said “demography is destiny”. See: https://weekspopulation.blogspot.com/2013/11/the-origins-of-demography-is-destiny.html?m=1

- Jimmy Maher

January 9, 2020 at 12:47 pm

Interesting. I’ve so often heard it ascribed to Comte that I never looked for the primary source. It seems I wasn’t alone; it certainly seems like the sort of thing he *would* have written. Thanks!

- whomever

January 9, 2020 at 9:58 pm

I can’t recommend Kerbal Space Program. I have stopped playing it. For the same reason one would give up heroin (seriously, I found myself staying up to 2AM constantly). The other thing I would mention about it that Jimmy sort of hints at is that it very deliberately makes a bunch of things significantly easier than real life in order to improve game play (the Solar System is about 1/4 size, re-entry is easier, etc). They document all this in meticulous detail and are very upfront about it (as well as the various other physics shortcuts they make, as they say they aren’t really set up to solve the n body problem). I did learn more about Orbital Mechanics from it than I did from my many many undergrad Physics classes.

Minor correction: Technically it released in 2011, it was just an eternal beta and the first non beta was 2015.

That said a 2030 era Jimmy would actually find KSP a worthy topic to write about: It was written by a Brazilian space enthusiast working for a Mexico City advertising agency who basically said “well, ok, go ahead I guess” and ended up to the point where people from JPL are modding it. Like an amazing but unlikely success story.

Lisa H mentioned the community and equations, you don’t need it, it’s more that the community are…hard core and love that sort of stuff (and I decided a few years ago to only play games with a positive online community, and this is it. Yes, I don’t play first person shooters).

BTW the other game 2030 Jimmy would probably write about is Cities: Skylines, developed out of disgust of the failure of Simcity 4 by completely non-traditional developers and also with a truly positive community.

- Jimmy Maher

January 10, 2020 at 5:51 am

I actually was aware of the earlier release date, but it seemed to me that the first non-beta release was the one to go with, in the sense that it was the completed, polished game. The question of how to date these early-release games is a difficult one. Thankfully, though, it’s not one I’ll have to worry about for quite some years if ever, apart from minor excursions out of the chronology like this one.

I have had Cities: Skylines recommended to me before; I don’t dare go there. (I played some of Kerbal over the holidays, but now I’ve put it on the shelf just like you. My time for playing games is sharply limited, and I usually have to stick to the Digital Antiquarian syllabus. Ah, well… makes me feel less guilty if I can call it research. And anyway, going to bed at 2 AM leads to an unhappy wife and a bad chunk of writing the next day.)

- Leon Baradat

January 10, 2020 at 9:43 pm

Hi Jimmy, it’s good to see this old title still getting some attention!

Your criticisms of the game are well thought out; what you mention about it having somewhat of an identity crisis is something that hadn’t occurred to me, yet it doesn’t bother me. I always thought of it as an overarching managerial simulation that abstracts out a lot of detail to keep from bogging you down (BASPM, I thought, got down too deep in some of the details, which I found a turn-off). Then again, it might be that that lack of a solid identity is part of why there’s so little interest in the game. What I think of as a feature might look like a bug to most.

Some other of the game’s shortcomings might be due to limitations of computers of the time, and others are almost certainly artifacts of its origins as a board game–in particular, the R&D model. There was a spinoff called “Blast Off!” years ago that worked out a much more elegant R&D model, but unfortunately was never finished.

Thanks for the shout-out to my site and the (very tiny) RIS community! After a long delay (2013-18), development of the game has picked up again on GitHub, and we’re hoping to release version 1.2 before too long. It includes some bugfixes and small enhancements, such as allowing more downgrade options.

Incidentally, judging by the screenshots it looks like you were playing an old version of Race Into Space, specifically .4.8. Later versions of the game (1.0 and 1.1) made it a bit easier to play. In particular, crews seem to avoid catastrophic failures much less often than they did back in the old BARIS days.

- Jimmy Maher

January 10, 2020 at 9:51 pm

Good luck with it! I don’t think it’s quite a game for me, for the reasons I already stated at some length, but there obviously are people for whom it works better.

And yeah, I was playing the original CD-ROM release. While I appreciate the value of projects like yours, I feel like getting the historical context right kind of requires playing the game as people knew it back in the day.

- Peter Orvetti

January 11, 2020 at 2:55 am

I played this game often in college — my friend with the good computer was also an Apollo program fanatic. I do remember losing a lot but don’t recall the game as unfair; I guess I just thought I wasn’t doing it right.

If I recall, a Soviet victory resulted in some minor Cold War shifts like a few previously non-aligned states allying with Moscow, with the USSR seeming ascendant.

- Steven Glenn

February 6, 2020 at 4:08 am

This game is probably my biggest love/hate game of all time. I bought both the disk and cd versions of the game on release, and still proudly have them sitting on my shelf. As well as the huge Companion hint book. But man, the game has provided so many rage inducing moments over the years.

The problem with the math behind the game is the core design decision to make success dependent on a series of steps. It starts out fine, launching a satellite is 3 steps, rocket launch, release satellite, power it on. It makes sense.

The problem is that each mission step has a dice roll. Basic probability calculation is that you multiply the percentages together to arrive at the percentage of the whole. So, a 3 step mission where each step has a 95% chance of success means 0.95 * 0.95 * 0.95 = 0.857. The actual odds of success of that satellite launch is 85.7%, not the 95% it appears to be when you research each part to 95%.

And it only gets worse of course. Later missions like a lunar landing have something like 26 steps in it. 0.95 multiplied out 26 times is 0.264, 26.4%, so a lunar landing will literally fail 75% of the time. And that’s assuming everything is researched to 95%, of course there are parts that are much lower than that. We had 6 out of 7 successful lunar landings in real life, but the game model simply makes it impossible to ever achieve those levels.

I used to have discussions with Fritz online back then on GEnie, trying to make him understand this was the problem. Either he was just too attached to his baby, or just couldn’t see it. The difficulty level just simply drove customers away. You should be able to play the game super safe, research everything, don’t rush anything, and almost never have anything catastrophic happen to you. You shouldn’t win of course, because it’s a race, but that should be the base state. But instead, even if you play totally safe the entire time, you’ll have disasters 9 times out of 10.

My suggestion at the time was that a constant should be added to the dice rolls varying with the difficulty level. Something like add 30 to each dice roll on easy, 15 on normal, 0 on hard. That way, instead of any number from 1-30 causing failure, it’s rolling a 1-10, and so on. Really easy to tweak the constants through testing, and doesn’t require a whole new system to be implemented.

BTW, love the site. As an old timer, it’s fun reminiscing about the glory days of gaming. I really miss so many aspects of the scene back then.

- Leon Baradat

February 7, 2020 at 7:29 pm

Steven, I really think you should try RIS (Race Into Space). It’s much more forgiving than BARIS was (including fewer steps on the lunar missions), plus a number of bugs have been fixed and there are a lot of visual cues that make it easier to administer your space program. You also now get to choose who is the first to walk on the Moon.

You can download the latest release on the Sourceforge site, or if you’re up to compiling software, you can download the latest source for version 1.2 from the GitHub site.

- Brian Bagnall

April 25, 2020 at 1:22 pm

Out of curiosity, did you end up using Steven’s suggestion of difficulty levels by multiplying the dice roll by a constant?

- Leon Baradat

April 28, 2020 at 6:04 pm

I don’t think we changed the mechanics of the dice rolling (I’m not a programmer myself), but the game somehow does seem to wipe you out a lot less often than BARIS did. It may be something the old crew did, but the game mechanics seem to be unchanged – so I don’t know just what’s behind the difference. Still, BARIS was frustrating all the time, it seemed, while RIS is only so occasionally. And just this past Sunday I added a warning that pops up if you hit the Flagpole to end your turn, but you have no missions planned for next turn.

- Brian Bagnall

April 25, 2020 at 1:27 pm

Speaking of the space race, is anyone here interested in the current race to the Moon / Mars? It seems like the contenders to deliver the payload are SpaceX, Blue Origin, SLS, and China’s Long March rockets for their space program. Probably Blue Origin has a much bigger shot than most people realize at the moment. They might even be my favourite.

Master of Orion
January 24, 2020

Given the shadow which the original Master of Orion still casts over the gaming landscape of today, one might be forgiven for assuming, as many younger gamers doubtless do, that it was the very first conquer-the-galaxy grand-strategy game ever made. The reality, however, is quite different. For all that its position of influence is hardly misbegotten for other very good reasons, it was already the heir to a long tradition of such games at the time of its release in 1993. In fact, the tradition dates back to well before computer games as we know them today even existed.

The roots of the strategic space opera can be traced back to the tabletop game known as Diplomacy, designed by Allan B. Calhamer and first published in 1959 by Avalon Hill. Taking place in the years just prior to World War I, it put seven players in the roles of leaders of the various “great powers” of Europe. Although it included a playing board, tokens, and most of the other accoutrements of a typical board game, the real action, at least if you were playing it properly, was entirely social, in the alliances that were forged and broken and the shady deals that were struck. In this respect, it presaged many of the ideas that would later go into Dungeons & Dragons and other role-playing games. It thus represents an instant in gaming history as seminal in its own way as the 1954 publication of Avalon Hill’s Tactics, the canonical first tabletop wargame and the one which touched off the hobby of experiential gaming in general. But just as importantly for our purposes, Diplomacy’s shifting alliances and the back-stabbings they led to would become an essential part of countless strategic space operas, including Master of Orion 34 years later.

Because getting seven friends together in the same room for the all-day affair that was a complete game of Diplomacy was almost as hard in the 1960s as it is today, inventive gamers developed systems for playing it via post; the first example of this breed would seem to date from 1963. And once players had started modifying the rules of Diplomacy to make it work under this new paradigm, it was a relatively short leap to begin making entirely new play-by-post games with new themes which shared some commonalities of approach with Calhamer’s magnum opus.

Thus in December of 1966, Dan Brannon announced a play-by-post game called Xeno, whose concept sounds very familiar indeed in the broad strokes. Each player started with a cluster of five planets — a tiny toehold in a sprawling, unknown galaxy waiting to be colonized. “The vastness of the playing space, the secrecy of the identity of the other players, the secrecy of the locations of ships and planets, the total lack of information without efforts of investigation, all these factors are meant to create the real problems of a race trying to expand to other planets,” wrote Brannon. Although the new game would be like Diplomacy in that it would presumably still culminate in negotiations, betrayals, and the inevitable final war to determine the ultimate victor, these stages would now be preceded by those of exploration and colonization, until a galaxy that had seemed so unfathomably big at the start proved not to be big enough to accommodate all of its would-be space empires. Certainly all of this too will be familiar to any player of Master of Orion or one of its heirs. Brannon’s game even included a tech tree of sorts, with players able to acquire better engines, weapons, and shields for their ships every eight turns they managed to survive.

In practice, Xeno played out at a pace to which the word “glacial” hardly does justice. The game didn’t really get started until September of 1967, and by a year after that just three turns had been completed. I don’t know whether a single full game of it was ever finished. Nevertheless, it proved hugely influential within the small community of experiential-gaming fanzines and play-by-post enthusiasts. The first similar game, called Galaxy and run by H. David Montgomery, had already appeared before Xeno had processed its third turn.

But the idea was, literally and figuratively speaking, too big for the medium for which it had been devised; it was just too compelling to remain confined to those few stalwart souls with the patience for play-by-post gaming. It soon branched out into two new mediums, each of which offered a more immediate sort of satisfaction.

In 1975, following rejections from Avalon Hill and others, one Howard Thompson formed his own company to publish the face-to-face board game Stellar Conquest, the first strategic space opera to appear in an actual box on store shelves. When Stellar Conquest became a success, it spawned a string of similar board games with titles like Godsfire, Outreach, Second Empire, and Starfall during this, the heyday of experiential gaming on the tabletop. But the big problem with such games was their sheer scope and math-heavy nature, which were enough to test the limits of many a salty old grognard who usually reveled in complexity. They all took at least three or four hours to play in their simplest variants, and a single game of at least one of them — SPI’s Outreach — could absorb weeks of gaming Saturdays. Meanwhile they were all dependent on pages and pages of fiddly manual calculations, in the time before spreadsheet macros or even handheld calculators were commonplace. (One hates to contemplate the plight of the Outreach group who have just spent the last two months resolving who shall become master of the galaxy, only to discover that the victor made a mistake on her production worksheet back on the second turn which invalidated all of the numbers that followed…) These games were, in other words, crying out for computerization.

Luckily, then, that too had already started to happen by the end of the 1970s. One of the reasons that play-by-post games of this type tended to run so sluggishly — beyond, that is, the inherent sluggishness of the medium itself — came down to the same problem as that faced by their tabletop progeny: the burden their size and complexity placed on their administrators. Therefore in 1976, Rick Loomis, the founder of a little company called Flying Buffalo, started running the commercial play-by-post game Starweb on what gaming historian Shannon Appelcline has called “probably the first computer ever purchased exclusively to play games” (or, at least, to administrate them): a $14,000 Raytheon 704 minicomputer. He would continue to run Starweb for more than thirty years — albeit presumably not on the same computer throughout that time.

But the first full-fledged incarnation of the computerized strategic space opera — in the sense of a self-contained game meant to be played locally on a single computer — arrived only in 1983. Called Reach for the Stars, it was the first fruit of what would turn into a long-running and prolific partnership between the Aussies Roger Keating and Ian Trout, who in that rather grandiose fashion that was so typical of grognard culture had named themselves the Strategic Studies Group. Reach for the Stars was based so heavily upon Stellar Conquest that it’s been called an outright unlicensed clone. Nevertheless, it’s a remarkable achievement for the way that it manages to capture that sense of size and scope that is such a huge part of these games’ appeal on 8-bit Apple IIs and Commodore 64s with just 64 K of memory. Although the whole is necessarily rather bare-bones compared to what would come later, the computer players’ artificial intelligence, always a point of pride with Keating and Trout, is surprisingly effective; on the harder difficulty level, the computer can truly give you a run for your money, and seems to do so without relying solely on egregious cheating.

It doesn’t look like much, but the basic hallmarks of the strategic space opera are all there in Reach for the Stars.

Reach for the Stars did very well, prompting updated ports to more powerful machines like the Apple Macintosh and IIGS and the Commodore Amiga as the decade wore on. A modest trickle of other boxed computer games of a similar stripe also appeared, albeit none which did much to comprehensively improve on SSG’s effort: Imperium Galactum, Spaceward Ho!, Armada 2525, Pax Imperia. Meanwhile the commercial online service CompuServe offered up MegaWars III, in which up to 100 players vied for control of the galaxy; it played a bit like one of those years-long play-by-post campaigns of yore compressed into four to six weeks of constant — and expensive, given CompuServe’s hourly dial-up rates — action and intrigue. Even the shareware scene got in on the act, via titles like Anacreon: Reconstruction 4021 and the earliest versions of the cult classic VGA Planets, a game which is still actively maintained and played to this day. And then, finally, along came Master of Orion in 1993 to truly take this style of game to the next level.

Had things gone just a little bit differently, Master of Orion too might have been a shareware release. It was designed in the spare time of Steve Barcia, an electrical engineer living in Austin, Texas, and programmed by Steve himself, his wife Marcia Barcia, and their friend Ken Burd. Steve claims not ever to have played any of the computer games I’ve just mentioned, but, as an avid and longtime tabletop gamer, he was very familiar with Stellar Conquest and a number of its successors. (No surprise there: Howard Thompson and his game were in fact also products of Austin’s vibrant board-gaming scene.)

After working on their computer game, which they called Star Lords, on and off for years, the little band of hobbyist programmers submitted it to MicroProse, whose grand-strategy game of Civilization, a creation of their leading in-house designer Sid Meier, had just taken the world by storm. A MicroProse producer named Jeff Johannigman — himself another member of the Austin gaming fraternity, as it happened, one who had just left Origin Systems in Austin to join MicroProse up in Baltimore — took a shine to the unpolished gem and signed its creators to develop it further. Seeing their hobby about to become a real business, the trio quit their jobs, took the name of SimTex, and leased a cramped office above a gyro joint to finish their game under Johannigman’s remote supervision, with a little additional help from MicroProse’s art department.

A fellow named Alan Emrich was one of most prominent voices in strategy-game criticism at the time; he was the foremost scribe on the subject at Computer Gaming World magazine, the industry’s accepted journal of record, and had just published a book-length strategy guide on Civilization in tandem with Johnny Wilson, the same magazine’s senior editor. Thanks to that project, Emrich was well-connected with MicroProse, and was happy to serve as a sounding board for them. And so, one fateful day very early in 1993, Johannigman asked if he’d like to have a look at a new submission called Star Lords.

As Emrich himself puts it, his initial impressions “were not that great.” He remembers thinking the game looked like “something from the late 1980s” — an eternity in the fast-changing computing scene of the early 1990s. Yet there was just something about it; the more he played, the more he wanted to keep playing. So, he shared Star Lords with his friend Tom Hughes, with whom he’d been playing tabletop and computerized strategy games for twenty years. Hughes had the same experience. Emrich:

After intense, repeated playing of the game, Tom and I were soon making numerous suggestions to [Johannigman], who, in turn, got tired of passing them on to the designer and lead programmer, Steve Barcia. Soon, we were talking to Steve directly. The telephone lines were burning regularly and a lot of ideas went back and forth. All the while, Steve was cooking up a better and better game. It was during this time that the title changed to Master of Orion and the game’s theme and focus crystallized.

I wrote a sneak preview for Computer Gaming World magazine where I indicated that Master of Orion was shaping up to be a good game. It had a lot of promise, but I didn’t think it was up there with Sid Meier’s Civilization, the hobby’s hallmark of strategy gaming at that time. But by the time that story hit the newsstands, I had changed my mind. I found myself still playing the game constantly and was reflecting on that fact when Tom called me. We talked about Master of Orion, of course, and Tom said, “You know, I think this game might become more addicting even than Civilization.” I replied, “You know, I think it already is.”

I was hard on Emrich in earlier articles for his silly assertion that Civilization’s inclusion of global warming as a threat to progress and women’s suffrage as a Wonder of the World constituted some form of surrender to left-wing political correctness, as I was for his even sillier assertion that the game’s simplistic and highly artificial economic model could somehow be held up as proof for the pseudo-scientific theory of trickle-down economics. Therefore let me be very clear in praising him here: Emrich and Hughes played an absolutely massive role in making Master of Orion one of the greatest strategy games of all time. Their contribution was such that SimTex took the unusual step of adding to the credits listing a “Special Thanks to Alan Emrich and Tom Hughes for their invaluable design critiquing and suggestions.” If anything, that credit would seem to be more ungenerous than the opposite. By all indications, a pair of full-fledged co-designer credits wouldn’t have been out of proportion to the reality of their contribution. The two would go on to write the exhaustive official strategy guide for the game, a tome numbering more than 400 pages. No one could have been more qualified to tackle that project.

As if all that wasn’t enough, Emrich did one more great service for Master of Orion and, one might even say, for gaming in general. In a “revealing sneak preview” of the game, published in the September 1993 issue of Computer Gaming World, he pronounced it to be “rated XXXX.” After the requisite measure of back-patting for such edgy turns of phrase as these, Emrich settled down to explain what he really meant by the label: “XXXX” in this context stood for “EXplore, EXpand, EXploit, and EXterminate.” And thus was a new sub-genre label born. The formulation from the article was quickly shortened to “4X” by enterprising gamers uninterested in making strained allusions to pornographic films. In that form, it would be applied to countless titles going forward, right up to the present day, and retroactively applied to countless titles of the past, including all of the earlier space operas I’ve just described as well as the original Civilization — a game to which the “EXterminate” part of the label fits perhaps less well, but such is life.

Emrich’s article also creates an amusing distinction for the more pedantic ludic taxonomists and linguists among us. Although Master of Orion definitely was not, as we’ve now seen at some length, the first 4X game in the abstract, it was the very first 4X game to be called a 4X game. Maybe this accounts for some of the pride of place it holds in modern gaming culture?

However that may be, though, the lion’s share of the credit for Master of Orion’s enduring influence must surely be ascribed to what a superb game it is in its own right. If it didn’t invent the 4X space opera, it did in some sense perfect it, at least in its digital form. It doesn’t do anything conceptually new on the face of it — you’re still leading an alien race as it expands through a randomly created galaxy, competing with other races in the fields of economics, technology, diplomacy, and warfare to become the dominant civilization — but it just does it all so well.

A new game of Master of Orion begins with you choosing a galaxy size (from small to huge), a difficulty level (from simple to impossible), and a quantity of opposing aliens to compete against (from one to five). Then you choose which specific race you would like to play; you have ten possibilities in all, drawing from a well-worn book of science-fiction tropes, from angry cats in space to hive-mind-powered insects, from living rocks to pacifistic brainiacs, alongside the inevitable humans. Once you’ve made your choice, you’re cast into the deep end — or rather into deep space — with a single half-developed planet, a colony ship for settling a second planet as soon as you find a likely candidate, two unarmed scout ships for exploring for just such a candidate, and a minimal set of starting technologies.

You must parlay these underwhelming tools into galactic domination hundreds of turns later. You can take the last part of the 4X tag literally and win out by utterly exterminating all of your rivals, but a slightly less genocidal approach is a victory in the “Galactic Council” which meets every quarter-century (i.e., every 25 turns). Here everyone can vote on which of the two most currently populous empires’ leaders they prefer to appoint as ruler of the galaxy, with “everyone” in this context including the two leading emperors themselves. Each empire gets a number of votes determined by its population, and the first to collect two-thirds of the total vote wins outright. (Well, almost… it is possible for you to refuse to respect the outcome of a vote that goes against you, but doing so will cause all of your rivals to declare immediate and perpetual war against you, whilst effectively pooling all of their own resources and technology. Good luck with that!)

A typical game of Master of Orion plays out over three broad stages. The first stage is the land grab, the wide-open exploration and colonization phase that happens before you meet your rival aliens. Here your challenge is to balance the economic development of your existing planets against your need to settle as many new ones as possible to put yourself in a good position for the mid-game. (When exactly do I stop spending my home planet’s resources on improving its own infrastructure and start using them to build more colony ships?) The mid-game begins when you start to bump into your rivals, and comes to entail much jockeying for influence, as the various races begin to sort themselves into rival factions. (The Alkaris, bird-like creatures, loathe the Mrrshans, the aforementioned race of frenzied pussycats, and their loathing is returned in kind. I don’t have strong feelings about either one — but whose side would it most behoove me to choose from a purely strategic perspective?) The endgame is nigh when there is no more room for anyone to expand, apart from taking planets from a rival by force, and the once-expansive galaxy suddenly seems claustrophobic. It often, although by no means always, is marked by a massive war that finally secures somebody that elusive two-thirds majority in the Galactic Council. (I’m so close now! Do I attack those stubbornly intractable Bulrathi to try to knock down their population and get myself over the two-thirds threshold that way, or do I keep trying to sweet-talk and bribe them into voting for me?) The length and character of all of these stages will of course greatly depend on the initial setup you chose; the first stage might be all but nonexistent in a small galaxy with five rivals, while it will go on for a long, long time indeed in a huge galaxy with just one or two opponents. (The former scenario is, for the record, far more challenging.)

And that’s how it goes, generally speaking. Yet the core genius of Master of Orion actually lies in how resistant it is to generalization. It’s no exaggeration to say that there really is no “typical” game; I’ve enjoyed plenty which played out in nothing like the pattern I’ve just described for you. I’ve played games in which I never fired a single shot in anger, even ones where I’ve never built a single armed ship of war, just as I’ve played others where I was in a constant war for survival from beginning to end. Master of Orion is gaming’s best box of chocolates; you never know what you’re going to get when you jump into a new galaxy. Everything about the design is engineered to keep you from falling back on patterns universally applicable to the “typical” game. It’s this quality, more so than any other, that makes Master of Orion so consistently rewarding. If I was to be stranded on the proverbial desert island, I have a pretty good idea of at least one of the games I’d choose to take with me.

I’ll return momentarily to the question of just how Master of Orion manages to build so much variation into a fairly simple set of core rules. I think it might be instructive to do so, however, in comparison with another game, one I’ve already had occasion to mention several times in this article: Civilization.

As I’m so often at pains to point out, game design is, like any creative pursuit, a form of public dialog. Certainly Civilization itself comes with a long list of antecedents, including most notably Walter Bright’s mainframe game Empire, Dani Bunten Berry’s PC game Seven Cities of Gold, and the Avalon Hill board game with which Civilization shares its name. Likewise, Civilization has its progeny, among them Master of Orion. By no means was it the sole influence on the latter; as we’ve seen, Master of Orion was also greatly influenced by the 4X space-opera tradition in board games, especially during its early phases of development.

Still, the mark of Civilization as well can be seen all over its finished design. (After all, Alan Emrich had just literally written the book on Civilization when he started bombarding Barcia with design suggestions…) For example, Master of Orion, unlike all of its space-opera predecessors, on the computer or otherwise, doesn’t bother at all with multiplayer options, preferring to optimize the single-player experience in their stead. One can’t help but feel that it was Civilization, which was likewise bereft of the multiplayer options that earlier grand-strategy games had always included as a matter of course, that empowered Steve Barcia and company to go this way.

At the same time, though, we cannot say that Jeff Johannigman was being particularly accurate when he took to calling Master of Orion “Civilization in space” for the benefit of journalists. For all that it’s easy enough to understand what made such shorthand so tempting — this new project too was a grand-strategy game played on a huge scale, incorporating technology, economics, diplomacy, and military conflict — it wasn’t ultimately fair to either game. Master of Orion is very much its own thing. Its interface, for example, is completely different. (Ironically, Barcia’s follow-up to Master of Orion, the fantasy 4X Master of Magic, hews much closer to Civilization in that respect.) In Master of Orion, Civilization’s influence often runs as much in a negative as a positive direction; that is to say, there are places where the later design is lifting ideas from the earlier one, but also taking it upon itself to correct perceived weaknesses in their implementation.

I have to use the qualifier “perceived” there because the two games have such different personalities. Simply put, Civilization prioritizes its fictional context over its actual mechanics, while Master of Orion does just the opposite. Together they illustrate the flexibility of the interactive digital medium, showing how great games can be great in such markedly different ways, even when they’re as closely linked in terms of genre as these two are.

Civilization explicitly bills itself as a grand journey through human history, from the time in our distant past when the first hunter-gatherers settled down in villages to an optimistic near-future in space. The rules underpinning the journey are loose-goosey, full of potential exploits. The most infamous of these is undoubtedly the barbarian-horde strategy, in which you research only a few minimal technologies necessary for war-making and never attempt to evolve your society or participate in any meaningful diplomacy thereafter, but merely flood the world with miserable hardscrabble cities supporting primitive armies, attacking everything that moves until every other civilization is extinct. At the lower and moderate difficulty levels at least, this strategy works every single time, albeit whilst bypassing most of what the game was meant to be about. As put by Ralph Betza, a contributor to an early Civilization strategy guide posted to Usenet: “You can always play Despotic Conquest, regardless of the world you find yourself starting with, and you can always win without using any of the many ways to cheat. When you choose any other strategy, you are deliberately risking a loss in order to make the game more interesting.”

So very much in Civilization is of limited utility at best in purely mechanical terms. Many or most of the much-vaunted Wonders of the World, for example, really aren’t worth the cost you have to pay for them. But that’s okay; you pay for them anyway because you like the idea of having built the Pyramids of Giza or the Globe Theatre or Project Apollo, just as you choose not to go all Genghis Khan on the world because you’d rather build a civilization you can feel proud of. Perhaps the clearest statement of Civilization’s guiding design philosophy can be found in the manual. It says that, even if you make it all the way to the end of the game only to see one of your rivals achieve the ultimate goal of mounting an expedition to Alpha Centauri before you do, “the successful direction of your civilization through the centuries is an achievement. You have survived countless wars, the pollution of the industrial age, and the risks of nuclear weapons.” Or, as Sid Meier himself puts it, “a game of Civilization is an epic story.”

We’re happy to preach peace and cooperation, as long as we’re the top dogs… er, birds.

Such sentiments are deeply foreign to Master of Orion; this is a zero-sum game if ever there was one. If you lose the final Galactic Council vote, there’s no attaboy for getting this far, much less any consolation delivered that the galaxy has entered a new era of peaceful cooperation with some other race in the leadership role. Instead the closing cinematic tells you that you’ve left the known galaxy and “set forth to conquer new worlds, vowing to return and claim the renowned title of Master of Orion.” (Better to rule in Hell, right?) There are no Wonders of the World in Master of Orion, and, while there is a tech tree to work through, you won’t find on it any of Civilization’s more humanistic advances, such as Chivalry or Mysticism, or even Communism or The Corporation. What you get instead are technologies — it’s telling that Master of Orion talks about a “tech tree,” while Civilization prefers the word “advances” — with a direct practical application to settling worlds and making war, divided into the STEM-centric categories of Computers, Construction, Force Fields, Planetology, Propulsion, and Weapons.

So, Civilization is the more idealistic, more educational, perhaps even the nobler of the two games. And yet it often plays a little awkwardly — which awkwardness we forgive because of its aspirational qualities. Master of Orion’s fictional context is a much thinner veneer to stretch over its mechanics, while words like “idealistic” simply don’t exist in its vocabulary. And yet, being without any high-flown themes to fall back on, it makes sure that its mechanics are absolutely tight. These dichotomies can create a dilemma for a critic like yours truly. If you asked me which game presents a better argument for gaming writ large as a potentially uplifting, ennobling pursuit, I know which of the two I’d have to point to. But then, when I’m just looking for a fun, challenging, intriguing game to play… well, let’s just say that I’ve played a lot more Master of Orion than Civilization over the last quarter-century. Indeed, Master of Orion can easily be read as the work of a designer who looked at Civilization and was unimpressed with its touchy-feely side, then set out to make a game that fixed all the other failings which that side obscured.

By way of a first example, let’s consider the two games’ implementation of an advances chart — or a tech tree, whichever you prefer. Arguably the most transformative single advance in Civilization is Railroads; they let you move your military units between your cities almost instantaneously, which makes attacks much easier and quicker to mount for warlike players and enables the more peaceful types to protect their holdings with a much smaller (and thus less expensive) standing army. The Railroads advance is so pivotal that some players build their entire strategy around acquiring it as soon as possible, by finding it on the advances chart as soon as the game begins in 4000 BC and working their way backward to find the absolute shortest path for reaching it. This is obviously problematic from a storytelling standpoint; it’s not as if the earliest villagers set about learning the craft of Pottery with an eye toward getting their hands on Railroads 6000 years later. More importantly, though, it’s damaging to the longevity of the game itself, in that it means that players can and will always employ that same Railroads strategy just as soon as they figure out what a winner it is. Here we stumble over one of the subtler but nonetheless significant axioms of game design: if you give players a hammer that works on every nail, many or most of them will use it — and only it — over and over again, even if it winds up decreasing their overall enjoyment. It’s for this reason that some players continue to use even the barbarian-horde strategy in Civilization, boring though it is. Or, to take an outside example: how many designers of CRPGs have lovingly crafted dozens of spells with their own unique advantages and disadvantages, only to watch players burn up everything they encounter with a trusty Fireball?

Master of Orion, on the other hand, works hard at every turn to make such one-size-fits-all strategies impossible — and nowhere more so than in its tech tree. When a new game begins, each race is given a randomized selection of technologies that are possible for it to research, constituting only about half of the total number of technologies in the game. Thus, while a technology roughly equivalent to Civilization’s Railroads does exist in Master of Orion — Star Gates — you don’t know if this or any other technology is actually available to you until you advance far enough up the tree to reach the spot where it ought to be. You can’t base your entire strategy around a predictable technology progression. While you can acquire technologies that didn’t make it into your tree by trading with other empires, bullying them into giving them to you, or attacking their planets and taking them, that’s a much more fraught, uncertain path to go down than doing the research yourself, one that requires a fair amount of seat-of-your-pants strategy in its own right. Any way you slice it, in other words, you have to improvise.

We’ve been lucky here in that Hydrogen Fuel Cells, the first range-extending technology and a fairly cheap one, is available in our tree. If it wasn’t, and if we didn’t have a lot of stars conveniently close by, we’d have to dedicate our entire empire to attaining a more advanced and thus more expensive range-extending technology, lest we be left behind in the initial land grab. But this would of course mean neglecting other aspects of our empire’s development. Trade-offs like this are a constant fact of life in Master of Orion.

This one clever design choice has repercussions for every other aspect of the game. Take, for instance, the endlessly fascinating game-within-a-game of designing your fleet of starships. If the tech tree was static, players would inevitably settle upon a small set of go-to designs that worked for their style of play. As it is, though, every new ship is a fresh balancing act, its equipment calibrated to maximize your side’s technological strengths and mitigate its weaknesses, while also taking into careful account the strengths and weaknesses of the foe you expect to use it against, about which you’ve hopefully been compiling information through your espionage network. Do you build a huge number of tiny, fast, maneuverable fighters, or do you build just a few lumbering galactic dreadnoughts? Or do you build something in between? There are no universally correct answers, just sets of changing circumstances.

Another source of dynamism are the alien races you play and those you play against. The cultures in Civilization have no intrinsic strengths and weaknesses, just sets of leader tendencies when played by the computer; for your part, you’re free to play the Mongols as pacifists, or for that matter the Russians as paragons of liberal democracy and global cooperation. But in Master of Orion, each race’s unique affordances force you to play it differently. Likewise, each opposing race’s affordances in combination with those of your own force you to respond differently to that race when you encounter it, whether on the other side of a diplomats’ table or on a battlefield in space. Further, most races have one technology they’re unusually good at researching and one they’re unusually bad at. Throw in varying degrees of affinity and prejudice toward the other races, and, again, you’ve got an enormous amount of variation which defies cookie-cutter strategizing. (It’s worth noting that there’s a great deal of asymmetry here; Steve Barcia and his helpers didn’t share so many modern designers’ obsession with symmetrical play balance above all else. Some races are clearly more powerful than others: the brainiac Psilons get a huge research bonus, the insectoid Klackons get a huge bonus in worker productivity, and the Humans get huge bonuses in trade and diplomacy. Meanwhile the avian Alkaris, the feline Mrrshan, and the ursine Bulrathis have bonuses which only apply during combat, and can be overcome fairly easily by races with other, more all-encompassing advantages.)

There are yet more touches to bring yet more dynamism. Random events occur from time to time in the galaxy, some of which can change everything at a stroke: a gigantic space amoeba might show up and start eating stars, forcing everyone to forget their petty squabbles for a while and band together against this apocalyptic threat. And then there’s the mysterious star Orion, from which the game takes it name, which houses the wonders of a long-dead alien culture from the mythical past. Taking possession of it might just win the game for you — but first you’ll have to defeat its almost inconceivably powerful Guardian.

One of the perennial problems of 4X games, Civilization among them, is the long anticlimax, which begins at that point when you know you’re going to conquer the world or be the first to blast off for Alpha Centauri, but well before you actually do so. (What Civilization player isn’t familiar with the delights of scouring the map for that one remaining rival city tucked away on some forgotten island in some forgotten corner?) Here too Master of Orion comes with a mitigating idea, in the form of the Galactic Council whose workings I’ve already described. It means that, as soon as you can collect two-thirds of the vote — whether through wily diplomacy or the simpler expedient of conquering until two-thirds of the galaxy’s population is your own — the game ends and you get your victory screen.

Indeed, one of the overarching design themes of Master of Orion is its determination to minimize the boring stuff. It must be admitted, of course, that boredom is in the eye of the beholder. Non-fans have occasionally dismissed the whole 4X space-opera sub-genre as “Microsoft Excel in space,” and Master of Orion too requires a level of comfort with — or, better yet, a degree of fascination with — numbers and ratios; you’ll spend at least as much time tinkering with your economy as you will engaging in space battles. Yet the game does everything it can to minimize the pain here as well. While hardly a simple game in absolute terms, it is quite a streamlined example of its type; certainly it’s much less fiddly than Civilization. Planet management is abstracted into a set of five sliding ratio bars, allowing you decide what percentage of that planet’s total output should be devoted to building ships, building defensive installations, building industrial infrastructure, cleaning up pollution, and researching new technologies. Unlike in Civilization, there is no list of specialized structures to build one at a time, much less a need to laboriously develop the land square by square with a specialized unit. Some degree of micro-management is always going to be in the nature of this type of game, but managing dozens of planets in Master of Orion is far less painful than managing dozens of cities in Civilization.

The research screen as well operates through sliding ratio bars which let you decide how much effort to devote to each of six categories of technology. In other words, you’re almost always researching multiple advances at once in Master of Orion, whereas in Civilization you only research one at a time. Further, you can never predict for sure when a technology will arrive; while each has a base cost in research points, “paying” it leads only to a slowly increasing randomized chance of acquiring the technology on any given turn. (That’s the meaning of the “17%” next to Force Fields in the screenshot above.) You also receive bonuses for maintaining steady research over a long run of turns, rather than throwing all of your research points into one technology, then into something else, etc. All of this as well serves to make the game more unpredictable and dynamic.

In short, Master of Orion tries really, really hard to work with you rather than against you, and succeeds to such a degree that it can sometimes feel like the game is reading your mind. A reductionist critic of the sort I can be on occasion might say that there are just two types of games: those that actually got played before their release and those that didn’t. With only rare exceptions, this distinction, more so than the intrinsic brilliance of the design team or any other factor, is the best predictor of the quality of the end result. Master of Orion is clearly a game that got played, and played extensively, with all of the feedback thus gathered being incorporated into the final design. The interface is about as perfect as the technical limitations of 1993 allow it to be; nothing you can possibly want to do is more than two clicks away. And the game is replete with subtle little conveniences that you only come to appreciate with time — like, just to take one example, the way it asks if you want to automatically adjust the ecology spending on every one of your planets when you acquire a more efficient environmental-cleanup technology. This lived-in quality can only be acquired the honest, old-fashioned way: by giving your game to actual players and then listening to what they tell you about it, whether the points they bring up are big or small, game-breaking or trivial.

This thoroughgoing commitment to quality is made all the more remarkable by our knowledge of circumstances inside MicroProse while Master of Orion was going through these critical final phases of its development. When the contract to publish the game was signed, MicroProse was in desperate financial straits, having lost bundles on an ill-advised standup-arcade game along with expensive forays into adventure games and CRPGs, genres far from their traditional bread and butter of military simulations and grand-strategy games. Although other projects suffered badly from the chaos, Master of Orion, perhaps because it was a rather low-priority project entrusted largely to an outside team located over a thousand miles away, was given the time and space to become its best self. It was still a work in progress on June 21, 1993, when MicroProse’s mercurial, ofttimes erratic founder and CEO “Wild Bill” Stealey sold the company to Spectrum Holobyte, a publisher with a relatively small portfolio of extant games but a big roll of venture capital behind them.

Master of Orion thus became one of the first releases from the newly conjoined entity on October 1, 1993. Helped along by the evangelism of Alan Emrich and his pals at Computer Gaming World, it did about as well as such a cerebral title, almost completely bereft of audiovisual bells and whistles, could possibly do in the new age of multimedia computing; it became the biggest strategy hit since Civilization, and the biggest 4X space opera to that point, in any medium. Later computerized iterations on the concept, including its own sequels, doubtless sold more copies in absolute numbers, but the original Master of Orion has gone on to become one of the truly seminal titles in gaming history, almost as much so as the original Civilization. It remains the game to which every new 4X space opera — and there have been many of them, far more than have tried to capture the more elusively idealistic appeal of Civilization — must be compared.

Sometimes a status such as that enjoyed by Master of Orion arrives thanks to an historical accident or a mere flashy technical innovation, but that is definitively not the case here. Master of Orion remains as rewarding as ever in all its near-infinite variation. Personally, I like to embrace its dynamic spirit for everything it’s worth by throwing a (virtual) die to set up a new game, letting the Universe decide what size galaxy I play in, how many rivals I play with, and which race I play myself. The end result never fails to be enjoyable, whether it winds up a desperate free-for-all between six alien civilizations compressed into a tiny galaxy with just 24 stars, or a wide-open, stately game of peaceful exploration in a galaxy with over 100 of them. In short, Master of Orion is the most inexhaustible well of entertainment I’ve ever found in the form of a single computer game — a timeless classic that never fails to punish you for playing lazy, but never fails to reward you for playing well. I’ve been pulling it out to try to conquer another random galaxy at least once every year or two for half my life already. I suspect I’ll still be doing so until the day I die.

(Sources: the books Gamers at Work: Stories Behind the Games People Play by Morgan Ramsay, Designers & Dragons, Volume 1: The 1970s by Shannon Appelcline, and Master of Orion: The Official Strategy Guide by Alan Emrich and Tom E. Hughes, Jr.; Computer Gaming World of December 1983, June/July 1985, October 1991, June 1993, August 1993, September 1993, December 1993, and October 1995; Commodore Disk User of May 1988; Softline of March 1983. Online sources include “Per Aspera Ad Astra” by Jon Peterson from ROMchip, Alan Emrich’s historical notes from the old Master of Orion III site, a Steve Barcia video interview which originally appeared in the CD-ROM magazine Interactive Entertainment., and the Civilization Usenet FAQ, lasted updated by “Dave” in 1994.

Master of Orion I and II are available for purchase together from GOG.com. I highly recommend a tutorial, compiled many years ago by Sirian and now available only via archive.org, as an excellent way for new players to learn the ropes.)

Comments
56 Responses

- Andrew Pam

January 24, 2020 at 5:53 pm

“Xenon” is a noble gas, and it looks like a typo for the game “Xeno”.

- Mark

January 24, 2020 at 6:30 pm

(And also another game… Xenon Megablast) … a vertical arcade shooter for pc and amiga)

- Onno

March 22, 2020 at 11:05 am

And the Atari ST

- Jimmy Maher

January 24, 2020 at 8:54 pm

Thanks!

- Aula

January 24, 2020 at 6:09 pm

“you’re almost always research multiple advances”

should be “researching”

- Jimmy Maher

January 24, 2020 at 8:55 pm

Thanks!

- Seumas

January 24, 2020 at 6:36 pm

“constituted” should be “constituted”

Sorry that all your comments are corrections! Article was a fun read.

- Original

January 24, 2020 at 7:08 pm

George Moromosaito, who developed Anacreon mentioned near the start of the article, is also working on a new and updated version for modern machines. Different than MoO, but enjoyable.

https://anacreon.kronosaur.com/

- Ken Brubaker

January 24, 2020 at 7:44 pm

Wonder of the World “contituted” should be constituted.

- Jimmy Maher

January 24, 2020 at 8:57 pm

No worries! Always appreciated.

- dsparil

January 24, 2020 at 7:56 pm

I used to play so much Master of Orion! I got a remaindered copy for something like $5 shortly after release because the box was a little dinged up. The sequel does have a slightly nicer UI, but it also falls prey to some of the issues that the original avoided. MoO isn’t literally a perfect game, but it does so much right that making any changes is inevitably going to make something worse.

The custom race creator in the sequel was a good idea, but the possible races you can create are significantly better than any of the preset ones. My favorite combination (Feudal/Warlord/Creative/Cybernetic/Omniscient/-10 Ground Combat/-10 Spying) is completely broken in so many ways.

- Jimmy Maher

January 24, 2020 at 9:01 pm

Yeah, it’s been years and years since I’ve played it, so I didn’t want to say anything about it in the article. But my recollection is that it adds complexity without really adding a lot of, as Sid Meier would say, interesting decisions. I know that some people really enjoy complexity for its own sake, and that’s fair enough — but I’ve never been one of those people. Anyway, I’ll have to see if my judgment holds up when the time comes.

- Duncan

January 24, 2020 at 9:17 pm

A Java clone of MOO1 is currently in alpha and very fun to play: https://www.reddit.com/r/rotp/comments/eew3hs/guide_to_the_remnants_of_the_precursors_alpha_test/

- Patrick M

January 24, 2020 at 10:22 pm

Fantastic article!

Glad I’m not the only one still addicted to this classic.

- Jonathan Badger

January 24, 2020 at 11:10 pm

I’m glad you brought up Reach for the Stars. As someone nearing 50, I well remember playing that for hours on the Apple ][. It was probably my favorite game on the platform. Certainly, when I played Master of Orion a decade later, I considered it “Reach for the Stars” but better.

- Kirinn

January 25, 2020 at 12:26 am

There’s also an open source engine remake of MoO1, called 1oom. Faithful gameplay, with a handful of interface enhancements available; you just need the original game’s data files to run it. I’ve been playing it for a while, and it’s solid, and warmly recommended.

There are a few forks, this is the one I can vouch for: https://gitlab.com/Tapani_/1oom

- Michael

January 25, 2020 at 12:36 am

” He would continue to run Starweb for more than thirty years — albeit presumably not on the same computer throughout that time.”

This is certainly true; I can attest that I was in a game of Starweb (still being run through FB using all the old computer commands) as recently as two years ago. When Loomis died, I received a number of invitations from old players – presumably they are still at it.

- Martin

January 25, 2020 at 12:53 am

How does the difficulty setting work? As in how does the game play different at the different levels. Is it that you are given a worse hand at the beginning; the other races have better tactics; they play with some cheats or what exactly?

- Jimmy Maher

January 25, 2020 at 8:49 am

It’s a combination of things. The AI is more aggressive and also more defensive under higher difficulty levels: building more and better ships and attacking you with them much more readily, and also building more missile bases and shields to protect its own planets. (It still can’t mount a concentrated, overwhelming assault on your empire to save its life, but then, I’m not sure you’d want it to. There’s a whole side discussion to be had here about how we want out AIs to be good, but not *too* good..) In addition, it costs more to achieve each research breakthrough with higher difficulty levels, enemies like the Guardian of Orion and the space amoeba become more potent, etc. Your rivals do get definite material advantages over you at Hard and Impossible, but in general Master of Orion is less reliant on scaling difficulty through outright cheating than Civilization is. (I’m not sure that there’s any difference at all in the AI itself at differing difficulty levels in Civilization; just differences in how egregiously the computer cheats.)

- FilfreFan

January 26, 2020 at 4:30 pm

I routinely notice one particularly egregious cheat on the impossible setting: if there are empty planets available near the end of the initial expansion phase, computer forces are able to send colony ships and escorts to planets that are far beyond their range limits.

- Christopher Chang

January 25, 2020 at 2:04 am

Nitpick regarding Railroad in Civ 1: it wasn’t just the military value that made it so pivotal. It was also the most impactful economic tech: building a railroad improvement on a square increased that square’s food, shield, and trade-arrow production by 50% (rounded down, but still)!

- Jacen aka Jaina

January 25, 2020 at 2:38 am

You have Dani Bunten Berry, which I believe is a change from your usual/previous policy of using the designer’s old name, then mentioning the name they chose during their transition.

Personally, I don’t have a strong preference either way.

- Jimmy Maher

January 25, 2020 at 8:35 am

We’re past the point where she made her transition now. She was living as Dani Bunten Berry, and a new version of Seven Cities of Gold had just been released crediting her under that name. It’s more appropriate now to use her new name, even from an historical perspective; this is how her contemporaries now knew her.

- Pingback: Pixel Scroll 1/24/20 I Pass The Test. I Will Comment, And Go Into The Thread, And Remain Galadriel | File 770

- Jason Dyer

January 25, 2020 at 5:51 am

You link to part 1 of your Civ rundown when you mention Emrich’s criticism for including women’s rights as a wonder of the world, and I can’t find any mention of that there; did you mean a different part?

- Jimmy Maher

January 25, 2020 at 8:56 am

Ah, should have been Part 3 of that series. Thanks!

- Wolfeye M.

January 25, 2020 at 10:17 am

I have a vague memory of playing a Master of Orion game when I was a wee lad, but I’m pretty sure it was the second one. I got it from the library, oddly enough. Unfortunately, I don’t think I liked it very much, I remember disliking having to take turns in a strategy game. Still don’t, to this day, unless it involves small squads and fast enemy turns.

But, I appreciate the place the original MoO has in history, especially since it led to games like Sins of a Solar Empire, which is a sci-fi RTS with 4X elements.

- Allan Holland

January 25, 2020 at 4:12 pm

Just as I lament the blog has moved past my favorite era of gaming, Jimmy writes us a masterpiece about one of my favorite games of all time. A programmer friend of mine and I still refer to being “ready to take Orion” as being fully prepared for something. What platforms supported this game? I remember playing it on an IBM PC 486, I believe, maybe it was the generation after? Did it play on the Amiga?

- Jimmy Maher

January 25, 2020 at 5:05 pm

There was a Mac version which came out a couple of years after the MS-DOS original, but no Amiga port.

- Lisa H.

January 25, 2020 at 5:27 pm

I’d never even heard of this game or the “4X” genre before this post. The look reminds me a bit of Star Control 2.

I’m amused that the human emperor’s name is Alexander, but… of course he’s an old white guy *sigh*

- Allan Holland

February 5, 2020 at 2:39 pm

When the humans show up to wreck your beautiful Psilon empire borne of logic and Vulcan-style discipline, they are especially villainous. The old white guy can be someone you absolutely hate in this game.

- Jimmy Maher

February 6, 2020 at 5:19 am

In my experience, the Humans are either your best friends or your worst enemies. Their diplomacy bonus makes them wonderful allies if you get to them early and they don’t grow too fast. But the same diplomacy bonus can make them really, really dangerous in the Galactic Council if they become one of the two most populous races. I’ve seen them win games with a near-unanimous vote that to my mind had barely gotten started.

- matt w

January 26, 2020 at 6:12 am

Because getting seven friends together in the same room for the all-day affair that was a complete game of Diplomacy was almost as hard in the 1960s as it is today

It was particularly hard because at the end of the day you don’t have seven friends anymore.

- Jimmy Maher

January 26, 2020 at 9:13 am

:) I’ve actually never played Diplomacy, but I can relate. We used to play Fantasy Flight’s Civilization board game (designed by G. Kevin Wilson, founder of the IF Comp, as it happened). But we stopped because it always left bad vibes in its wake. It’s just not much fun to painstakingly build up your civilization over the course of hours, only to see someone you thought was your friend raze it with armies or sabotage, or nuke it into dust. On at least one occasion, my wife wouldn’t talk to me for the rest of the day. So, we decided it just wasn’t worth it. Real life leaves you feeling bad more than often enough.

- filfrefan

January 26, 2020 at 4:39 pm

I recall a completely unfair, but very fun, Risk game where my sister and I ultimately agreed to team, then ended the game with a two-way victory. That chapped a few hides… and taught us all, that sometimes blood IS thicker than water.

- BoardGameNut

January 28, 2020 at 6:44 pm

So, I see you’ve played Kevin Wilson’s Civilization game, maybe you should check out FFG’s latest Civ game – Sid Meier’s Civilization: A New Dawn. It’s done a decent job of distilling the new Civ video games into a 1.5 to 2 hour game that might be less brutal. I find the action queue mechanism of this game highly fascinating, and I wish more games used it. There is still a lot of abstraction involved overall so it’s not a direct one-to-one connection with the videogame, but I think it holds up fairly well.

- Guillermo Lella

January 27, 2020 at 1:02 am

You finally got to review my favorite strategy game of all time!

I still play MOO at least once a year. I have played and endless string of 4X games since then including the good sequel MOO 2 but almost all of them fall prey in coming up with overly complex stuff along the way.

A great example of that is MOO 3 which was a disaster. But even current great ones such as Endless Space 2 or Stellaris are not as crisp, clean, fun and easy to quickly get the basics of the game and start playing as MOO. Not even the 2017 “remake” comes close which is fun but bland.

I reinforce everything that you covered in the post and add 2 things:

1 – tactical combat – not only you need to design well your ships vs your planned opponent, but also fleet composition plays a role, and how you play during the battle which is another game in the game. The more technically advanced ships can loose to a smarter fleet composition / disposition.

2 – diplomacy – it is actually good and very well implemented, and also adds a layer of swinging moods of the AI opponents tied to your actions and their needs. Most of current games lack in that department. Only Galactic Civilizations 3 and a few others are materially better in that department.

- Jeff Thomas

January 27, 2020 at 10:47 pm

Ah, Masters of Orion. Not long after it came out a co-worker lent me his copy on a weekend my wife was away on business. I installed it Friday night and finally finished a single game as the sun rose on Monday morning, having not really slept or eaten the entire weekend. It was an epic space opera of almost getting obliterated, winning back, rejecting the council and almost getting obliterated again only to fight my way back and eventually conquer the galaxy.

I then uninstalled the game and return the disks to my friend swearing to never play it again, because I could tell it could be a consuming passion I could ill afford.

There are very few games that can “one-more-turn” me into ill-health and suffering job performance, and this is one of them.

Great writeup, I’m really enjoying your journey through ludic game history.

- BoardGameNut

January 28, 2020 at 6:19 pm

I so don’t need to hear this (see my comment below). :)

- BoardGameNut

January 28, 2020 at 6:18 pm

Thanks for the history lesson connecting this classic back to some tabletop games I didn’t know existed. I’m a super avid boardgamer these days, since modern boardgames have improved so much over the classics of old. So, I appreciate the connection to my current favorite hobby.

Speaking of classic space opera games, the one that is king these days is Twilight Imperium (now 4th Edition denoted as TI4) which is a standard six hour game for up to six players first published in 1997. So players can now get their space opera fix done in a day instead of taking weeks. It was the first product released by the very successful boardgame company, Fantasy Flight Games (FFG) and designed by Christian Petersen (then CEO and now retired). It sees a lot of play at boardgaming conferences across the world. A lot designers are still trying to capture the essence of TI4 in a one to two hour boardgame with the likes of Exodus: Proxima Centauri and Eclipse. There is even a Master of Orion boardgame these days, but I don’t think any of these hold up to the gold standard of boardgaming space opera goodness that is TI4.

The first edition is listed as having some influence on Master of Orion III videogame based on the designer’s diary. It’s possible that the original Master of Orion may have influenced TI, but I couldn’t find a source yet. I’m sure the early space opera tabletop designs had some influence on TI. Each edition was always an improvement upon the previous by streamlining the gameplay and incorporating more modern design concepts. Many TI gamers believe the latest edition is the best overall.

Also you mentioned Civilization the board game in your blog, the boardgame industry still feels the affects of both this classic boardgame and Sid Meier’s videogame. Designers also are still trying to capture the essence of these very long games to distill it into a one to two hour boardgame. The latest entries are a game called Tapestry by Stonemaier Games and another called Sid Meier’s Civilization: A New Dawn by FFG. FFG also did a straight up Sid Meier’s Civilization in the 3 to 4 hour range about back in 2010. I could list many more.

As a personal aside, Master of Orion is one of the classics that I have yet to get around to playing. I played the mess out of Civ, Civ 2, and FreeCiv back in the day when I solely into videogames. I had to put them down because they all sucked me in so bad I would lose nights of sleep. I’m such a huge sci-fi fan, that I still don’t know why I haven’t tried this game. It might be because I’m afraid of getting sucked into the “one more turn” black hole again. I do own it, and I believe my son played it for a while. I may just have to plan to get this one out this year and see if I can strike a balance of playing a bit then getting back to my responsibilities :)

- Jeff Graw

January 28, 2020 at 11:58 pm

Total self promotion here (sorry!) but I’m working on a game, Dominus Galaxia, which is a MoO 1 spiritual successor:

https://store.steampowered.com/app/1173590/Dominus_Galaxia_KS_Edition

Between it, 1oom, and RoTP, it’s a great time to be a MoO 1 fan.

(Now we just need a proper SoTS sequel/remake/remaster!)

- Seji

February 1, 2020 at 2:10 pm

“He would continue to run Starweb for more than thirty years — albeit presumably not on the same computer throughout that time.”

I’m unable to find the source now (I stumbled upon it a year or two ago) and I’ll probably mix up the details but if I recall correctly while the hardware was not the same, the code was pretty much unchanged. The code was portable and virtually platform-independent (written in Pascal-P if I recall or something similar in concept and could be launched as a self-booting application without the OS present) and at some point it was moved to a modern machine. However, the programmer (Steve MacGregor I think, but I’m not sure if that was him) died around 2000 or so and there was no one else since then who could develop patches etc., but the software was (is?) still running.

- jsn

February 18, 2020 at 3:54 am

Rick Loomis elaborated on this to me a couple years ago at the Flying Buffalo convention. He explained that the programmer was the only one in possession of the source code, and it got lost in the muddle of his estate when he died. So all Flying Buffalo had were compiled binaries. Doing any development on the software would require it to be entirely re-implemented from “first principles”, and therefore too expensive.

- CdrJameson

February 3, 2020 at 3:56 pm

Curious that you call them ‘play-by-post’ games, presumably in the US.

In the UK they were ‘play-by-mail’ (commonly abbreviated to PBM) in a country where the postman delivers the post from the post office.

- Jimmy Maher

February 3, 2020 at 4:08 pm

They were at least as commonly known as play-by-mail games in the United States as well, but that phrase now introduces some potential confusion with play-by-email games. So, I chose to use “play-by-post” very consciously. Also, the mail is called the post here in Denmark as well, so it came naturally enough. ;)

- Max

February 5, 2020 at 11:41 am

All of the screenshots look blurry because when upscaling them you chose to use filtering. I’d rather see them in their pixellated glory :)

- Jimmy Maher

February 5, 2020 at 12:00 pm

A big problem here is that Master of Orion runs at 320×200 resolution — i.e., it has non-square pixels. To scale only on pixel boundaries, without filtering — or even to simply present the screenshots in their original resolution — would screw up the aspect ratio on our square-pixel devices. And to scale across pixel boundaries without filtering would look all sorts of terrible. This problem should go away when we reach the SVGA era, which we’re just on the cusp of now. Square pixels finally became the norm then. Believe me, I’ll be as happy as you when they arrive. ;)

- jsn

February 18, 2020 at 4:24 am

1600×1200 lets you have your cake and eat it too. It’s exactly 5x 320 and 6x 200, and so you can do simple “copy the pixel” upscaling while simultaneously canceling out the non-squareness and producing the desired 4:3 aspect ratio.

- Jimmy Maher

February 18, 2020 at 8:51 am

Hmm… I hadn’t taken the math that far out. I’m not sure how practical it is, however, because a resolution that high will exceed the limits of many or most people’s screens/browser windows.

- Doug Orleans

February 22, 2020 at 10:36 am

Your description of the infinite replayability of MoO reminds me a lot of Nethack. Have you ever written about that game (and its family of roguelikes)? Do you plan to?

- Jimmy Maher

February 22, 2020 at 10:43 am

No, I haven’t. I’ve dabbled with it from time to time, but always found it… intimidating. But it certainly deserves a look. Maybe with Diablo?

- matt w

February 23, 2020 at 1:26 am

Oh do it do it!

…nethack is pretty difficult to play without spoilers. (One thing that’s really critical, and is kind of in the spirit to spoil yourself on, is weapon damage–when I started playing I just had no idea when I should switch to some new weapon I found, but base weapons use AD&D damage, so if you look up a damage table that’ll be helpful.) And its interface is pretty hard to deal with anyway, to the extent that I can’t really play it anymore. If you don’t mind breaking chronological sequence, the relatively recent Brogue is a roguelike that’s much more accessible in various ways–fewer commands to remember, generally tries to explain things to you–while still being a recognizable capital-R Roguelike.

- Timo

March 14, 2020 at 11:08 am

Thanks for this great article, it inspired me to finally try the first MoO for the first time a while back. I like the research system and the simple planet management, but otherwise I still prefer MoO II, as flawed in its own way as it is. In my mind it’s still the space 4X game of all time.

- Nate

April 1, 2020 at 7:39 am

Sounds like a great game. 1993 was when I went away to school and was deep into Unix and the Internet so I stopped games. I hope to catch up on some of these classics some day.

Typo:

The end-game is nigh when the there is no more room

- Jimmy Maher

April 1, 2020 at 7:46 am

Thanks!

- PJ

May 4, 2020 at 12:54 pm

Thanks for that. A great article.

One other feature of MOO that is really good, which you don’t really mention, is the space ship design aspect. In Civ, you’re basically forced to use standard units, while in MOO you design your own spaceships. And because the design process is so:

– intricate, with so many competing tradeoffs
– ever-changing, as you advance up the tech tree,
– competitive, because you have to design ships with an eye to what your neighbours are doing

it is virtually a game in itself, and makes MOO much more fun to play.

I absolutely agree about there being just about the right amount of colony micromanagement – MOO2 had much more, and so is almost unplayable on the very large gallery sizes.

Despite all that, there are a couple of irritating flaws with MOO, though they are pretty small. For example, when you get a new planetary shield tech, you can’t build more missile bases until you’ve built the planetary shield, even if there’s an alien armada arriving the next turn. The same is true with terraforming and adding population points. But things like that are pretty minor complaints. It’s a wonderful game.

The Deal of the Century (or, The Alliance of Losers)
February 7, 2020

+

= ?

I think [the] Macintosh accomplished everything we set out to do and more, even though it reaches most people these days as Windows.

— Andy Hertzfeld (original Apple Macintosh systems programmer), 1994

When rumors first began to circulate early in 1991 that IBM and Apple were involved in high-level talks about a major joint initiative, most people dismissed them outright. It was, after all, hard to imagine two companies in the same industry with more diametrically opposed corporate cultures. IBM was Big Blue, a bedrock of American business since the 1920s. Conservative and pragamatic to a fault, it was a Brylcreemed bastion of tradition where casual days meant that employees might remove their jackets to reveal the starched white shirts they wore underneath. Apple, on the other hand, had been founded just fifteen years before by two long-haired children of the counterculture, and its campus still looked more like Woodstock than Wall Street. IBM placed great stock in the character of its workforce; Apple, as journalist Michael S. Malone would later put it in his delightfully arch book Infinite Loop, “seemed to have no character, but only an attitude, a style, a collection of mannerisms.” IBM talked about enterprise integration and system interoperability; Apple prattled on endlessly about changing the world. IBM played Lawrence Welk at corporate get-togethers; Apple preferred the Beatles. (It was an open secret that the name the company shared with the Beatles’ old record label wasn’t coincidental.)

Unsurprisingly, the two companies didn’t like each other very much. Apple in particular had been self-consciously defining itself for years as the sworn enemy of IBM and everything it represented. When Apple had greeted the belated arrival of the IBM PC in 1981 with a full-page magazine advertisement bidding Big Blue “welcome, seriously,” it had been hard to read as anything other than snarky sarcasm. And then, and most famously, had come the “1984” television advertisement to mark the debut of the Macintosh, in which Apple was personified as a hammer-throwing freedom fighter toppling a totalitarian corporate titan — Big Blue recast as Big Brother. What would the rumor-mongers be saying next? That cats would lie down with dogs? That the Russians would tell the Americans they’d given up on the whole communism thing and would like to be friends… oh, wait. It was a strange moment in history. Why not this too, then?

Indeed, when one looked a little harder, a partnership began to make at least a certain degree of sense. Apple’s rhetoric had actually softened considerably since those heady early days of the Macintosh and the acrimonious departure of Steve Jobs which had marked their ending. In the time since, more sober minds at the company had come to realize that insulting conservative corporate customers with money to spend on Apple’s pricey hardware might be counter-productive. Most of all, though, both companies found themselves in strikingly similar binds as the 1990s got underway. After soaring to rarefied heights during the early and middle years of the previous decade, they were now being judged by an increasing number of pundits as the two biggest losers of the last few years of computing history. In the face of the juggernaut that was Microsoft Windows, that irresistible force which nothing in the world of computing could seem to defy for long, it didn’t seem totally out of line to ask whether there even was a future for IBM or Apple. Seen in this light, the pithy clichés practically wrote themselves: “the enemy of my enemy is my friend”; “any port in a storm”; etc. Other, somewhat less generous commentators just talked about an alliance of losers.

Each of the two losers had gotten to this juncture by a uniquely circuitous route.

When IBM released the IBM PC, their first mass-market microcomputer, in August of 1981, they were as surprised as anyone by the way it took off. Even as hackers dismissed it as boring and unimaginative, corporate America couldn’t get enough of the thing; a boring and unimaginative personal computer — i.e., a safe one — was exactly what they had been waiting for. IBM’s profits skyrocketed during the next several years, and the pundits lined up to praise the management of this old, enormous company for having the flexibility and wherewithal to capitalize on an emerging new market; a tap-dancing elephant became the metaphor of choice.

And yet, like so many great successes, the IBM PC bore the seeds of its downfall within it from the start. It was a simple, robust machine, easy to duplicate by plugging together readily available commodity components — a process made even easier by IBM’s commitment to scrupulously documenting every last detail of its design for all and sundry. Further, IBM had made the mistake of licensing its operating system from a small company known as Microsoft rather than buying it outright or writing one of their own, and Bill Gates, Microsoft’s Machiavellian CEO, proved more than happy to license MS-DOS to anyone else who wanted it as well. The danger signs could already be seen in 1982, when an upstart company called Compaq released a “portable” version of IBM’s computer — in those days, this meant a computer which could be packed into a single suitcase — before IBM themselves could get around to it. A more dramatic tipping point arrived in 1986, when the same company made a PC clone built around Intel’s hot new 80386 CPU before IBM managed to do so.

In 1987, IBM responded to the multiplying ranks of the clone makers by introducing the PS/2 line, which came complete with a new, proprietary bus architecture, locked up tight this time inside a cage of patents and legalese. A cynical move on the face of it, it backfired spectacularly in practice. Smelling the overweening corporate arrogance positively billowing out of the PS/2 lineup, many began to ask themselves for the first time whether the industry still needed IBM at all. And the answer they often came to was not the one IBM would have preferred. IBM’s new bus architecture slowly died on the vine, while the erstwhile clone makers put together committees to define new standards of their own which evolved the design IBM had originated in more open, commonsense ways. In short, IBM lost control of the very platform they had created. By 1990, the words “PC clone” were falling out of common usage, to be replaced by talk of the “Wintel Standard.” The new standard bearer, the closest equivalent to IBM in this new world order, was Microsoft, who continued to license MS-DOS and Windows, the software that allowed all of these machines from all of these diverse manufacturers to run the same applications, to anyone willing to pay for it. Meanwhile OS/2, IBM’s mostly-compatible alternative operating system, was struggling mightily; it would never manage to cross the hump into true mass-market acceptance.

Apple’s fall from grace had been less dizzying in some ways, but the position it had left them in was almost as frustrating.

After Steve Jobs walked away from Apple in September of 1985, leaving behind the Macintosh, his twenty-month-old dream machine, the more sober-minded caretakers who succeeded him did many of the reasonable, sober-minded things which their dogmatic predecessor had refused to allow: opening the Mac up for expansion, adding much-requested arrow keys to its keyboard, toning down the revolutionary rhetoric that spooked corporate America so badly. These things, combined with the Apple LaserWriter laser printer, Aldus PageMaker software, and the desktop-publishing niche they spawned between them, saved the odd little machine from oblivion. Yet something did seem to get lost in the process. Although the Mac remained a paragon of vision in computing in many ways — HyperCard alone proved that! — Apple’s management could sometimes seem more interested in competing head-to-head with PC clones for space on the desks of secretaries than nurturing the original dream of the Macintosh as the creative, friendly, fun personal computer for the rest of us.

In fact, this period of Apple’s history must strike anyone familiar with the company of today — or, for that matter, with the company that existed before Steve Jobs’s departure — as just plain weird. Quibbles about character versus attitude aside, Apple’s most notable strength down through the years has been a peerless sense of self, which they have used to carve out their own uniquely stylish image in the ofttimes bland world of computing. How odd, then, to see the Apple of this period almost willfully trying to become the one thing neither the zealots nor the detractors have ever seen them as: just another maker of computer hardware. They flooded the market with more models than even the most dutiful fans could keep up with, none of them evincing the flair for design that marks the Macs of earlier or later eras. Their computers’ bland cases were matched with bland names like “Performa” or “Quadra” — names which all too easily could have come out of Compaq or (gasp!) IBM rather than Apple. Even the tight coupling of hardware and software into a single integrated user experience, another staple of Apple computing before and after, threatened to disappear, as CEO John Sculley took to calling Apple a “software company” and intimated that he might be willing to license MacOS to other manufacturers in the way that Microsoft did MS-DOS and Windows. At the same time, in a bid to protect the software crown jewels, he launched a prohibitively expensive and ethically and practically ill-advised lawsuit against Microsoft for copying MacOS’s “look and feel” in Windows.

Apple’s attempts to woo corporate America by acting just as bland and conventional as everyone else bore little fruit; the Macintosh itself remained too incompatible, too expensive, and too indelibly strange to lure cautious purchasing managers into the fold. Meanwhile Apple’s prices remained too high for any but the most well-heeled private users. And so the Mac soldiered on with a 5 to 10 percent market share, buoyed by a fanatically loyal user base who still saw revolutionary potential in it, even as they complained about how many of its ideas Microsoft and others had stolen. Admittedly, their numbers were not insignificant: there were about 3 and a half million members of the Macintosh family by 1990. They were enough to keep Apple afloat and basically profitable, at least for now, but already by the early 1990s most new Macs were being sold “within the family,” as it were. The Mac became known as the platform where the visionaries tried things out; if said things proved promising, they then reached the masses in the form of Windows implementations. CD-ROM, the most exciting new technology of the early 1990s, was typical. The Mac pioneered this space; Mediagenic’s The Manhole, the very first CD-ROM entertainment product, shipped first on that platform. Yet most of the people who heard the hype and went out to buy a “multimedia PC” in the years that followed brought home a Wintel machine. The Mac was a sort of aspirational showpiece platform; in defiance of the Mac’s old “computer for the rest of us” tagline, Windows was the place where the majority of ordinary people did ordinary things.

The state of MacOS added weight to these showhorse-versus-workhorse stereotypes. Its latest incarnation, known as System 6, had fallen alarmingly behind the state of the art in computing by 1990. Once one looked beyond its famously intuitive and elegant user interface, one found that it lacked robust support for multitasking; lacked for ways to address memory beyond 8 MB; lacked the virtual memory that would allow users to open more and larger applications than the physical memory allowed; lacked the memory protection that could prevent errant applications from taking down the whole system. Having been baked into many of the operating system’s core assumptions from the start — MacOS had originally been designed to run on a machine with no hard drive and just 128 K of memory — these limitations were infuriatingly difficult to remedy after the fact. Thus Apple struggled mightily with the creation of a System 7, their attempt to do just that. When System 7 finally shipped in May of 1991, two years after Apple had initially promised it would, it still lagged behind Windows under the hood in some ways: for example, it still lacked comprehensive memory protection.

The problems which dogged the Macintosh were typical of any computing platform that attempts to survive beyond the technological era which spawned it. Keeping up with the times means hacking and kludging the original vision, as efficiency and technical elegance give way to the need just to make it work, by hook or by crook. The original Mac design team had been given the rare privilege of forgetting about backward compatibility — given permission to build something truly new and “insanely great,” as Steve Jobs had so memorably put it. That, needless to say, was no longer an option. Every decision at Apple must now be made with an eye toward all of the software that had been written for the Mac in the past seven years or so. People depended on it now, which sharply limited the ways in which it could be changed; any new idea that wasn’t compatible with what had come before was an ipso-facto nonstarter. Apple’s clever programmers doubtless could have made a faster, more stable, all-around better operating system than System 7 if they had only had free rein to do so. But that was pie-in-the-sky talk.

Yet the most pressing of all the technical problems confronting the Macintosh as it aged involved its hardware rather than its software. Back in 1984, the design team had hitched their wagon to the slickest, sexiest new CPU in the industry at the time: the Motorola 68000. And for several years, they had no cause to regret that decision. The 68000 and its successor models in the same family were wonderful little chips — elegant enough to live up to even the Macintosh ideal of elegance, an absolute joy to program. Even today, many an old-timer will happily wax rhapsodic about them if given half a chance. (Few, for the record, have similarly fond memories of Intel’s chips.)

But Motorola was both a smaller and a more diversified company than Intel, the international titan of chip-making. As time went on, they found it more and more difficult to keep up with the pace set by their rival. Lacking the same cutting-edge fabrication facilities, it was hard for them to pack as many circuits into the same amount of space. Matters began to come to a head in 1989, when Intel released the 80486, a chip for which Motorola had nothing remotely comparable. Motorola’s response finally arrived in the form of the roughly-equivalent-in-horsepower 68040 — but not until more than a year later, and even then their chip was plagued by poor heat dissipation and heavy power consumption in many scenarios. Worse, word had it that Motorola was getting ready to give up on the whole 68000 line; they simply didn’t believe they could continue to compete head-to-head with Intel in this arena. One can hardly overstate how terrifying this prospect was for Apple. An end to the 68000 line must seemingly mean the end of the Macintosh, at least as everyone knew it; MacOS, along with every application ever written for the platform, were inextricably bound to the 68000. Small wonder that John Sculley started talking about Apple as a “software company.” It looked like their hardware might be going away, whether they liked it or not.

Motorola was, however, peddling an alternative to the 68000 line, embodying one of the biggest buzzwords in computer-science circles at the time: “RISC,” short for “Reduced Instruction Set Chip.” Both the Intel x86 line and the Motorola 68000 line were what had been retroactively named “CISC,” or “Complex Instruction Set Chips”: CPUs whose set of core opcodes — i.e., the set of low-level commands by which they could be directly programmed — grew constantly bigger and more baroque over time. RISC chips, on the other hand, pared their opcodes down to the bone, to only those commands which they absolutely, positively could not exist without. This made them less pleasant for a human programmer to code for — but then, the vast majority of programmers were working by now in high-level languages rather than directly controlling the CPU in assembly language anyway. And it made programs written to run on them by any method bigger, generally speaking — but then, most people by 1990 were willing to trade a bit more memory usage for extra speed. To compensate for these disadvantages, RISC chips could be simpler in terms of circuitry than CISC chips of equivalent power, making them cheaper and easier to manufacture. They also demanded less energy and produced less heat — the computer engineer’s greatest enemy — at equivalent clock speeds. As of yet, only one RISC chip was serving as the CPU in mass-market personal computers: the ARM chip, used in the machines of the British PC maker Acorn, which weren’t even sold in the United States. Nevertheless, Motorola believed RISC’s time had come. By switching to RISC, they wouldn’t need to match Intel in terms of transistors per square millimeter to produce chips of equal or greater speed. Indeed, they’d already made a RISC CPU of their own, called the 88000, in which they were eager to interest Apple.

They found a receptive audience among Apple’s programmers and engineers, who loved Motorola’s general design aesthetic. Already by the spring of 1990, Apple had launched two separate internal projects to study the possibilities for RISC in general and the 88000 in particular. One, known as Project Jaguar, envisioned a clean break with the past, in the form of a brand new computer that would be so amazing that people would be willing to accept that none of their existing software would run on it. The other, known as Project Cognac, studied whether it might be possible to port the existing MacOS to the new architecture, and then — and this was the really tricky part — find a way to make existing applications which had been compiled for a 68000-based Mac run unchanged on the new machine.

At first, the only viable option for doing so seemed to be a sort of Frankenstein’s monster of a computer, containing both an 88000- and a 68000-series CPU. The operating system would boot and run on the 88000, but when the user started an application written for an older, 68000-based Mac, it would be automatically kicked over to the secondary CPU. Within a few years, so the thinking went, all existing users would upgrade to the newer models, all current software would get recompiled to run natively on the RISC chip, and the 68000 could go away. Still, no one was all that excited by this approach; it seemed the worst Macintosh kludge yet, the very antithesis of what the machine was supposed to be.

A eureka moment came in late 1990, with the discovery of what Cognac project leader Jack McHenry came to call the “90/10 Rule.” Running profilers on typical applications, his team found that in the case of many or most of them it was the operating system, not the application itself, that consumed 90 percent or more of the CPU cycles. This was an artifact — for once, a positive one! — of the original MacOS design, which offered programmers an unprecedentedly rich interface toolbox meant to make coding as quick and easy as possible and, just as importantly, to give all applications a uniform look and feel. Thus an application simply asked for a menu containing a list of entries; it was then the operating system that did all the work of setting it up, monitoring it, and reporting back to the application when the user chose something from it. Ditto buttons, dialog boxes, etc. Even something as CPU-intensive as video playback generally happened through the operating system’s QuickTime library rather than the application actually employing it.

All of this meant that it ought to be feasible to emulate the 68000 entirely in software. The 68000 code would necessarily run slowly and inefficiently through emulation, wiping out all of the speed advantages of the new chip and then some. Yet for many or most applications the emulator would only need to be used about 10 percent of the time. The other 90 percent of the time, when the operating system itself was doing things at native speed, would more than make up for it. In due course, applications would get recompiled and the need for 68000 emulation would largely go away. But in the meanwhile, it could provide a vital bridge between the past and the future — a next-generation Mac that wouldn’t break continuity with the old one, all with a minimum of complication, for Apple’s users and for their hardware engineers alike. By mid-1991, Project Cognac had an 88000-powered prototype that could run a RISC-based MacOS and legacy Mac applications together.

And yet this wasn’t to be the final form of the RISC-based Macintosh. For, just a few months later, Apple and IBM made an announcement that the technology press billed — sometimes sarcastically, sometimes earnestly — as the “Deal of the Century.”

Apple had first begun to talk with IBM in early 1990, when Michael Spindler, the former’s president, had first reached out to Jack Kuehler, his opposite number at IBM. It seemed that, while Apple’s technical rank and file were still greatly enamored with Motorola, upper management was less sanguine. Having been burned once with the 68000, they were uncertain about Motorola’s commitment and ability to keep evolving the 88000 over the long term.

It made a lot of sense in the abstract for any company interested in RISC technology, as Apple certainly was, to contact IBM; it was actually IBM who had invented the RISC concept back in the mid-1970s. Not all that atypically for such a huge company with so many ongoing research projects, they had employed the idea for years only in limited, mostly subsidiary usage scenarios, such as mainframe channel controllers. Now, though, they were just introducing a new line of “workstation computers” — meaning extremely high-powered desktop computers, too expensive for the consumer market — which used a RISC chip called the POWER CPU that was the heir to their many years of research in the field. Like the workstations it lay at the heart of, the chip was much too expensive and complex to become the brain of Apple’s next generation of consumer computers, but it might, thought Spindler, be something to build upon. And he knew that, with IBM’s old partnership with Microsoft slowly collapsing into bickering acrimony, Big Blue might just be looking for a new partner.

The back-channel talks were intermittent and hyper-cautious at first, but, as the year wore on and the problems both of the companies faced became more and more obvious, the discussions heated up. The first formal meeting took place in February of 1991 or shortly thereafter, at an IBM facility in Austin, Texas. The Apple people, knowing IBM’s ultra-conservative reputation and wishing to make a good impression, arrived neatly groomed and dressed in three-piece suits, only to find their opposite numbers, having acted on the same motivation, sitting there in jeans and denim shirts.

That anecdote illustrates how very much both sides wanted to make this work. And indeed, the two parties found it much easier to work together than anyone might have imagined. John Sculley, the man who really called the shots at Apple, found that he got along smashingly with Jack Kuehler, to the extent that the two were soon talking almost every day. After beginning as a fairly straightforward discussion of whether IBM might be able and willing to make a RISC chip suitable for the Macintosh, the negotiations just kept growing in scale and ambition, spurred on by both companies’ deep-seated desire to stick it to Microsoft and the Wintel hegemony in any and all possible ways. They agreed to found a joint subsidiary called Taligent, staffed initially with the people from Apple’s Project Jaguar, which would continue to develop a brand new operating system that could be licensed by any hardware maker, just like MS-DOS and Windows (and for that matter IBM’s already extant OS/2). And they would found another subsidiary called Kaleida Labs, to make a cross-platform multimedia scripting engine called ScriptX.

Still, the core of the discussions remained IBM’s POWER architecture — or rather the PowerPC, as the partners agreed to call the cost-reduced, consumer-friendly version of the chip. Apple soon pulled Motorola into these parts of the talks, thus turning a bilateral into a trilateral negotiation, and providing the name for their so-called “AIM alliance” — “AIM” for Apple, IBM, and Motorola. IBM had never made a mass-market microprocessor of their own before, noted Apple, and Motorola’s experience could serve them well, as could their chip-fabrication facilities once actual production began. The two non-Apple parties were perhaps less excited at the prospect of working together — Motorola in particular must have been smarting at the rejection of their own 88000 processor which this new plan would entail — but made nice and got along.

Jack Kuehler and John Sculley brandish what they call their “marriage certificate,” looking rather disturbingly like Neville Chamberlain declaring peace in our time. The marriage would not prove an overly long or happy one.

On October 2, 1991 — just six weeks after the first 68040-based Macintosh models had shipped — Apple and IBM made official the rumors that had been swirling around for months. At a joint press briefing held inside the Fairmont Hotel in downtown San Francisco, they trumpeted all of the initiatives I’ve just described. The Deal of the Century, they said, would usher in the next phase of personal computing. Wintel must soon give way to the superiority of a PowerPC-based computer running a Taligent operating system with ScriptX onboard. New Apple Macintosh models would also use the PowerPC, but the relationship between them and these other, Taligent-powered machines remained vague.

Indeed, it was all horribly confusing. “What Taligent is doing is not designed to replace the Macintosh,” said Sculley. “Instead we think it complements and enhances its usefulness.” But what on earth did that empty corporate speak even mean? When Apple said out of the blue that they were “not going to do to the Macintosh what we did to the Apple II” — i.e., orphan it — it rather made you suspect that that was exactly what they meant to do. And what did it all mean for IBM’s OS/2, which Big Blue had been telling a decidedly unconvinced public was also the future of personal computing for several years now? “I think the message in those agreements for the future of OS/2 is that it no longer has a future,” said one analyst. And then, what was Kaleida and this ScriptX thing supposed to actually do?

So much of the agreement seemed so hopelessly vague. Compaq’s vice president declared that Apple and IBM must be “smoking dope. There’s no way it’s going to work.” One pundit called the whole thing “a con job. There’s no software, there’s no operating system. It’s just a last gasp of extinction by the giants that can’t keep up with Intel.” Apple’s own users were baffled and consternated by this sudden alliance with the company which they had been schooled to believe was technological evil incarnate. A grim joke made the rounds: what do you get when you cross Apple and IBM? The answer: IBM.

While the journalists reported and the pundits pontificated, it was up to the technical staff at Apple, IBM, and Motorola to make PowerPC computers a reality. Like their colleagues who had negotiated the deal, they all got along surprisingly well; once one pushed past the surface stereotypes, they were all just engineers trying to do the best work possible. Apple’s management wanted the first PowerPC-based Macintosh models to ship in January of 1994, to commemorate the platform’s tenth anniversary by heralding a new technological era. The old Project Cognac team, now with the new code name of “Piltdown Man” after the famous (albeit fraudulent) “missing link” in the evolution of humanity, was responsible for making this happen. For almost a year, they worked on porting MacOS to the PowerPC, as they’d previously done to the 88000. This time, though, they had no real hardware with which to work, only specifications and software emulators. The first prototype chips finally arrived on September 3, 1992, and they redoubled their efforts, pulling many an all-nighter. Thus MacOS booted up to the desktop for the first time on a real PowerPC-based machine just in time to greet the rising sun on the morning of October 3, 1992. A new era had indeed dawned.

Their goal now was to make a PowerPC-based Macintosh work exactly like any other, only faster. MacOS wouldn’t even get a new primary version number for the first PowerPC release; this major milestone in Mac history would go under the name of System 7.1.2, a name more appropriate to a minor maintenance release. It looked so identical to what had come before that its own creators couldn’t spot the difference; they wound up lighting up a single extra pixel in the PowerPC version just so they could know which was which.

Their guiding rule of an absolutely seamless transition applied in spades to the 68000 emulation layer, duly ported from the 88000 to the PowerPC. An ordinary user should never have to think about — should not even have to know about — the emulation that was happening beneath the surface. Another watershed moment came in June of 1993, when the team brought a PowerPC prototype machine to the MacHack, a coding conference and competition. Without telling any of the attendees what was inside the machine, the team let them use it to demonstrate their boundary-pushing programs. The emulation layer performed beyond their most hopeful prognostications. It looked like the Mac’s new lease on life was all but a done deal from the engineering side of things.

But alas, the bonhomie exhibited by the partner companies’ engineers and programmers down in the trenches wasn’t so marked in their executive suites after the deal was signed. The very vagueness of so many aspects of the agreement had papered over what were in reality hugely different visions of the future. IBM, a company not usually given to revolutionary rhetoric, had taken at face value the high-flown words spoken at the announcement. They truly believed that the agreement would mark a new era for personal computing in general, with a new, better hardware architecture in the form of PowerPC and an ultra-modern operating system to run on it in the form of Taligent’s work. Meanwhile it was becoming increasingly clear that Apple’s management, who claimed to be changing the world five times before breakfast on most days, had in reality seen Taligent largely as a hedge in case their people should prove unable to create a PowerPC Macintosh that looked like a Mac, felt like a Mac, and ran vintage Mac software. As Project Piltdown Man’s work proceeded apace, Apple grew less and less enamored with those other, open-architecture ideas IBM was pushing. The Taligent people didn’t help their cause by falling headfirst into a pit of airy computer-science abstractions and staying mired there for years, all while Project Piltdown Man just kept plugging away, getting things done.

The first two and a half years of the 1990s were marred by a mild but stubborn recession in the United States, during which the PC industry had a particularly hard time of it. After the summer of 1992, however, the economy picked up steam and consumer computing eased into what would prove its longest and most sustained boom of all time, borne along on a wave of hype about CD-ROM and multimedia, along with the simple fact that personal computers in general had finally evolved to a place where they could do useful things for ordinary people in a reasonably painless way. (A bit later in the boom, of course, the World Wide Web would come along to provide the greatest impetus of all.)

And yet the position of both Apple and IBM in the PC marketplace continued to get steadily worse while the rest of their industry soared. At least 90 percent of the computers that were now being sold in such impressive numbers ran Microsoft Windows, leaving OS/2, MacOS, and a few other oddballs to divide the iconoclasts, the hackers, and the non-conformists of the world among themselves. While IBM continued to flog OS/2, more out of stubbornness than hope, Apple tried a little bit of everything to stop the slide in market share and remain relevant. Still not entirely certain whether their future lay with open architectures or their own closed, proprietary one, they started porting selected software to Windows, including most notably QuickTime, their much-admired tool for encoding and playing video. They even shipped a Mac model that could also run MS-DOS and Windows, thanks to an 80486 housed in its case alongside its 68040. And they entered into a partnership with the networking giant Novell to port MacOS itself to Intel hardware — a partnership that, like many Apple initiatives of these years, petered out without ultimately producing much of anything. Perhaps most tellingly of all, this became the only period in Apple’s history when the company felt compelled to compete solely on price. They started selling Macs in department stores for the first time, where a stream of very un-Apple-like discounts and rebates greeted prospective buyers.

While Apple thus toddled along without making much headway, IBM began to annihilate all previous conceptions of how much money a single company could possibly lose, posting oceans of red that looked more like the numbers found in macroeconomic research papers than entries in an accountant’s books. The PC marketplace was in a way one of their smaller problems. Their mainframe business, their real bread and butter since the 1950s, was cratering as customers fled to the smaller, cheaper computers that could often now do the jobs of those hulking giants just as well. In 1991, when IBM first turned the corner into loss, they did so in disconcertingly convincing fashion: they lost $2.82 billion that year. And that was only the beginning. Losses totaled $4.96 billion in 1992, followed by $8.1 billion in 1993. IBM lost more money during those three years alone than any other company in the history of the world to that point; their losses exceeded the gross domestic product of Ecuador.

The employees at both Apple and IBM paid the toll for the confusions and prevarications of these years: both companies endured rounds of major layoffs. Those at IBM marked the very first such in the long history of the company. Big Blue had for decades fostered a culture of employment for life; their motto had always been, “If you do your job, you will always have your job.” This, it was now patently obvious, was no longer the case.

The bloodletting at both companies reached their executive suites as well within a few months of one another. On April 1, 1993, John Akers, the CEO of IBM, was ousted after a seven-year tenure which one business writer called “the worst record of any chief executive in the history of IBM.” Three months later, following a terrible quarterly earnings report and a drop in share price of 58 percent in the span of six months, Michael Spindler replaced John Sculley as the CEO of Apple.

These, then, were the storm clouds under which the PowerPC architecture became a physical reality.

The first PowerPC computers to be given a public display bore an IBM rather than an Apple logo on their cases. They arrived at the Comdex trade show in November of 1993, running a port of OS/2. IBM also promised a port of AIX — their version of the Unix operating system — while Sun Microsystems announced plans to port their Unix-based Solaris operating system and, most surprisingly of all, Microsoft talked about porting over Windows NT, the more advanced, server-oriented version of their world-conquering operating environment. But, noted the journalists present, “it remains unclear whether users will be able to run Macintosh applications on IBM’s PowerPC” — a fine example of the confusing messaging the two alleged allies constantly trailed in their wake. Further, there was no word at all about the status of the Taligent operating system that was supposed to become the real PowerPC standard.

Meanwhile over at Apple, Project Piltdown Man was becoming that rarest of unicorns in tech circles: a major software-engineering project that is actually completed on schedule. The release of the first PowerPC Macs was pushed back a bit, but only to allow the factories time to build up enough inventory to meet what everyone hoped would be serious consumer demand. Thus the “Power Macs” made their public bow on March 14, 1994, at New York City’s Lincoln Center, in three different configurations clocked at speeds between 60 and 80 MHz. Unlike IBM’s machines, which were shown six months before they shipped, the Power Macs were available for anyone to buy the very next day.

The initial trio of Power Macs.

This speed test, published in MacWorld magazine, shows how all three of the Power Mac machines dramatically outperform top-of-the-line Pentium machines when running native code.

They were greeted with enormous excitement and enthusiasm by the Mac faithful, who had been waiting anxiously for a machine that could go head-to-head with computers built around Intel’s new Pentium chip, the successor to the 80486. This the Power Macs could certainly do; by some benchmarks at least, the PowerPC doubled the overall throughput of a Pentium. World domination must surely be just around the corner, right?

Predictably enough, the non-Mac-centric technology press greeted the machines’ arrival more skeptically than the hardcore Mac-heads. “I think Apple will sell [a] million units, but it’s all going to be to existing Mac users,” said one market researcher. “DOS and Windows running on Intel platforms is still going to be 85 percent of the market. [The Power Mac] doesn’t give users enough of a reason to change.” Another noted that “the Mac users that I know are not interested in using Windows, and the Windows users are not interested in using the Mac. There has to be a compelling reason [to switch].”

In the end, these more guarded predictions proved the most accurate. Apple did indeed sell an impressive spurt of Power Macs in the months that followed, but almost entirely to the faithful. One might almost say that they became a victim of Project Piltdown Man’s success: the Power Mac really did seem exactly like any other Macintosh, except that it ran faster. And even this fact could be obscured when running legacy applications under emulation, as most people were doing in the early months: despite Project Piltdown Man’s heroic efforts, applications like Excel, Word, and Photoshop actually ran slightly slower on a Power Mac than on a top-of-the-line 68040-based machine. So, while the transition to PowerPC allowed the Macintosh to persist as a viable computing platform, it ultimately did nothing to improve upon its small market share. And because the PowerPC MacOS was such a direct and literal port, it still retained all of the shortcomings of MacOS in general. It remained a pretty interface stretched over some almost laughably archaic plumbing. The new generation of Mac hardware wouldn’t receive an operating system truly, comprehensively worthy of it until OS X arrived seven long years later.

Still, these harsh realities shouldn’t be allowed to detract from how deftly Apple — and particularly the unsung coders of Project Piltdown Man — executed the transition. No one before had ever picked up a consumer-computing platform bodily and moved it to an entirely new hardware architecture at all, much less done it so transparently that many or most users never really had to think about what was happening at all. (There would be only one comparable example in computing’s future. And, incredibly, the Mac would once again be the platform in question: in 2006, Apple would move from the fading PowerPC line to Intel’s chips — if you can’t beat ’em, join ’em, right? — relying once again on a cleverly coded software emulator to see them through the period of transition. The Macintosh, it seems, has more lives than Lazarus.)

Although the briefly vaunted AIM alliance did manage to give the Macintosh a new lease on life, it succeeded in very little else. The PowerPC architecture, which had cost the alliance more than $1 billion to develop, went nowhere in its non-Mac incarnations. IBM’s own machines sold in such tiny numbers that the question of whether Apple would ever allow them to run MacOS was all but rendered moot. (For the record, though: they never did.) Sun Solaris and Microsoft Windows NT did come out in PowerPC versions, but their sales couldn’t justify their existence, and within a year or two they went away again. The bold dream of creating a new reference platform for general-purpose computing to rival Wintel never got off the ground, as it became painfully clear that said dream had been taken more to heart by IBM than by Apple. Only after the millennium would the PowerPC architecture find a measure of mass-market success outside the Mac, when it was adopted by Nintendo, Microsoft, and Sony for use in videogame consoles. In this form, then, it finally paid off for IBM; far more PowerPC-powered consoles than even Macs were sold over the lifetime of the architecture. PowerPC also eventually saw use in other specialized applications, such as satellites and planetary rovers employed by NASA.

Success, then, is always relative. But not so the complete lack thereof, as Kaleida and Taligent proved. Kaleida burned through $200 million before finally shipping its ScriptX multimedia-presentation engine years after other products, most notably Macromedia’s Director, had already sewn up that space; it was disbanded and harvested for scraps by Apple in November of 1995. Taligent burned through a staggering $400 million over the same period of time, producing only some tepid programming frameworks in lieu of the revolutionary operating system that had been promised, before being absorbed back into IBM.

There is one final fascinating footnote to this story of a Deal of the Century that turned out to be little more than a strange anecdote in computing history. In the summer of 1994, IBM, having by now stopped the worst of the bleeding, settling by now into their new life as a smaller, far less dominant company, offered to buy Apple outright for a premium of $5 over their current share price. In IBM’s view, the synergies made sense: the Power Macs were selling extremely well, which was more than could be said for IBM’s PowerPC models. Why not go all in?

Ironically, it was those same healthy sales numbers that scuppered the deal in the end. If the offer had come a year earlier, when a money-losing Apple was just firing John Sculley, they surely would have jumped at it. But now Apple was feeling their oats again, and by no means entirely without reason; sales were up more than 20 percent over the previous year, and the company was once more comfortably in the black. So, they told IBM thanks, but no thanks. The same renewed taste of success also caused them to reject serious inquiries from Philips, Sun Microsystems, and Oracle. Word had it that new CEO Michael Spindler was convinced not only that the Power Mac had saved Apple, but that it had fundamentally altered their position in the marketplace.

The following year revealed how misguided that thinking really was; the Power Mac had fixed none of Apple’s fundamental problems. That year it was Microsoft who cemented their world domination instead, with the release of Windows 95, while Apple grappled with the reality that almost all of those Power Mac sales of the previous year had been to existing members of the Macintosh family, not to the new customers they so desperately needed to attract. What happened now that everyone in the family had dutifully upgraded? The answer to that question wasn’t pretty: Apple plunged off a financial cliff as precipitous in its own way as the one which had nearly destroyed IBM a few years earlier. Now, nobody was interested in acquiring them anymore. The pundits smelled the stink of death; it’s difficult to find an article on Apple written between 1995 and 1998 which doesn’t include the adjective “beleaguered.” Why buy now when you can sift through the scraps at the bankruptcy auction in just a little while?

Apple didn’t wind up dying, of course. Instead a series of improbable events, beginning with the return of prodigal-son Steve Jobs in 1997, turned them into the richest single company in the world — yes, richer even than Microsoft. These are stories for other articles. But for now, it’s perhaps worth pausing for a moment to think about an alternate timeline where the Macintosh became an IBM product, and the Deal of the Century that got that ball rolling thus came much closer to living up to its name. Bizarre, you say? Perhaps. But no more bizarre than what really happened.

(Sources: the books Insanely Great: The Life and Times of Macintosh by Steven Levy, Apple Confidential 2.0: The Definitive History of the World’s Most Colorful Company by Owen W. Linzmayer, Infinite Loop: How the World’s Most Insanely Great Computer Company Went Insane by Michael S. Malone, Big Blues: The Unmaking of IBM by Paul Carroll, and The PowerPC Macintosh Book by Stephan Somogyi; InfoWorld of September 24 1990, October 15 1990, December 3 1990, April 8 1991, May 13 1991, May 27 1991, July 1 1991, July 8 1991, July 15 1991, July 22 1991, August 5 1991, August 19 1991, September 23 1991, September 30 1991, October 7 1991, October 21 1991, November 4 1991, December 30 1991, January 13 1992, January 20 1992, February 3 1992, March 9 1992, March 16 1992, March 23 1992, April 27 1992, May 11 1992, May 18 1992, June 15 1992, June 29 1992, July 27 1992, August 3 1992, August 10 1992, August 17 1992, September 7 1992, September 21 1992, October 5 1992, October 12 1992, October 19 1992, December 14 1992, December 21 1992, December 28 1992, January 11 1993, February 1 1993, February 22 1993, March 8 1993, March 15 1993, April 5 1993, April 12 1993, May 17 1993, May 24 1993, May 31 1993, June 21 1993, June 28 1993, July 5 1993, July 12 1993, July 19 1993, August 2 1993, August 9 1993, August 30 1993, September 6 1993, September 27 1993, October 4 1993, October 11 1993, October 18 1993, November 1 1993, November 15 1993, November 22 1993, December 6 1993, December 13 1993, December 20 1993, January 10 1994, January 31 1994, March 7 1994, March 14 1994, March 28 1994, April 25 1994, May 2 1994, May 16 1994, June 6 1994, June 27 1994; MacWorld of September 1992, February 1993, July 1993, September 1993, October 1993, November 1993, February 1994, and May 1994; Byte of November 1984. Online sources include IBM’s own corporate-history timeline and a vintage IBM lecture on the PowerPC architecture.)

Comments
34 Responses

- Andrew Plotkin

February 7, 2020 at 6:45 pm

You’re describing the era when I first had a real job and could buy my own computers. Switching from a 68k Mac to a PowerMac was an exciting upgrade!

“The Macintosh, it seems, has more lives than Lazarus.”

Indeed, the smart money is on Apple undertaking *another* transition in the next few years, shifting from Intel to that obscure British “Acorn Risc Machine” architecture.

Not really relevant to the 90s, except to say that Apple now regards this sort of platform shift as a solved problem. Not easy, but manageable.

- JP

February 7, 2020 at 9:32 pm

They also seem to have shed their preference to ease their customers’ transitions via backward compatibility; they’re now among the most ruthless deprecators in all of computing. 64 bit, gone! OpenGL support, gone! So if they do switch to ARM I’m sure it will be swift and brutal, yet the faithful will roll with it as they always do.

- Andrew Plotkin

February 8, 2020 at 3:41 pm

Nope, that’s a serious misreading of history.

Apple has always worked hard to make the transition period as seamless as possible for users — for a fixed interval. After six or seven years, the transition is over and the support layer is axed. The burden is entirely on developers (not consumers) to keep up.

– PPC: Introduced in 1994 with 68k emulation; 68k emulator killed in 2001 (native OSX apps had to be PPC-native).
– OSX: Introduced in 2001 with Classic emulation; emulator killed in 2007.
– Intel: Introduced in 2006 with PPC emulation; emulator killed in 2011.
– 64-bit Intel: Introduced in 2012 alongside 32-bit support; 32-bit killed in 2019.
– Metal API: introduced in 2014 alongside OpenGL; OpenGL is now deprecated but still works.

The timelines are startlingly consistent if you map them out this way. If you take it as a guide, OpenGL will be dropped entirely in the next couple of years. (But it may not be. If you looked at Apple’s deprecation history of APIs, as opposed to application platforms, I think you’d see more variability.)

Anyway, my point is, an ARM transition will certainly be run the same way. They’ll roll it out with a “Rosetta” layer for Intel support; then about five years later, they’ll announce end-of-life for that. Active developers will shrug. People using out-of-date apps will write angry blog posts, just like they do every cycle.

- Jimmy Maher

February 7, 2020 at 9:44 pm

Interesting. I assume the ultimate goal is to unify iOS and MacOS into one operating system…

- JP

February 7, 2020 at 9:54 pm

Longer term, perhaps. In the nearer term they might try to move the Mac + macOS to their own ARM chips. “Vertical integration” is their strategy these days; as your article reminds us Apple only collaborates with others when they’re in a position of weakness. Tight control of their platforms have given them their success in this era.
Then you’d have appliances (iPhones, iPads) running the same ARM chips as the general purpose computers (Macs), and the main differences iOS vs macOS serve are to consume and produce, respectively.

- dsparil

February 8, 2020 at 5:59 pm

If Apple switches to ARM for Macs, it’s because they’re tired of having to deal with Intel being unable to supply new processors in a timely fashion like they did with IBM. It should be noted that Apple switched to Intel because IBM was never able to produce a G5 with a low enough power draw to be usable in a laptop despite assurances, and that was the direction the market was moving. Those cracks are forming now though since every computer line has run into issues with processor updates because of Intel in recent years. I honestly would not be surprised if the groundwork for a switch isn’t already in place considering the gains their ARM processors have made in recent years.

iOS and macOS are already basically the same operating system but running different UIs and with different security restrictions. Pretty much the entire stack excluding the base UI libraries and interface itself is the same. A new library was released in the last major version for creating unified iPad/macOS UIs, but it is feature incomplete and the results have been middling and unnatural at best. It might get some simpler iPad apps to have Mac versions, but I can’t see much else coming from it.

- Joshua Buergel

February 7, 2020 at 9:13 pm

Starting with my first serious job in the computer industry, my first development machine was a PowerPC-based Windows NT machine, with my test machine being an Alpha-based NT box. This is what passed for “test coverage” at the two-person shop I started at, writing device driver toolkits in 1996. Both machines were egregiously bad, of course, but I did learn more than I wanted to about the vagaries of the Alpha compiler that I had to work with.

- Alex Smith

February 7, 2020 at 9:28 pm

“The PowerPC architecture, which had cost the alliance more than $1 billion to develop, went nowhere in its non-Mac incarnations.”

This is actually not strictly true, as PowerPCs powered a couple hundred million game consoles. This trend started when Nintendo contracted with IBM in 1999 to create a CPU for what became the Gamecube. The Gekko that forms the heart of the system uses a PowerPC architecture.

In the next console generation, all three major console companies, Microsoft, Sony, and Nintendo, contracted with IBM to create processors based on the PowerPC architecture for the XBox 360, PS3, and Wii. An engineer at the company even wrote a book about the difficulties of working with Sony and Microsoft at the same time. Nintendo went PowerPC one more time with the Wii U. This is the last console as of now to use the architecture.

- Jimmy Maher

February 7, 2020 at 9:43 pm

I didn’t realize that. That’s what comes of relying on books written in the 1990s. Thanks!

- Lt. Nitpicker

February 8, 2020 at 12:03 am

Also, PowerPC has had a lot of embedded use outside of game consoles, like NASA rovers and satellites, networking gear (under the name PowerQUICC and QorIQ from the [ex]Motorola side of things), etc. Since you’re reading, worth noting that Windows NT and Solaris never got ported to a Power Mac of any kind, running only on IBM’s oddball PowerPC machines, as shown in this comment from the OS/2 museum: https://www.os2museum.com/wp/os2-history/os2-warp-powerpc-edition/#comment-362778

- Jimmy Maher

February 8, 2020 at 8:32 am

Although they weren’t officially supported, I *thought* it was possible to get them running on Mac hardware, in a sort of reversal of the Hackintosh scene of today. But I can’t find a definite reference, so I cut it. Thanks on all points!

- Kaitain

February 8, 2020 at 2:17 am

Yep. Spent five years of my life developing for PowerPC consoles. In a masochistic way I enjoyed designing for the PS3’s PowerPC-based PPE units; it was a totally different approach to problem-solving, designing everything around the deferred execution of key calculations, and working out what jobs you could start now and then collect the results later.

- Lt. Nitpicker

February 8, 2020 at 2:41 am

Cell’s weird but powerful parallel processing units were called SPEs, not PPE (which referred to the main processor), and they weren’t really PowerPC based, being a custom architecture created by Sony, Toshiba, and IBM for PS3 and other stuff. Still, considering how long it’s been by now since you developed for it, and the fact the main processor in the SPEs were called SPUs, I’m not faulting you forgot it over time.

- Andrew Pam

February 7, 2020 at 11:36 pm

“executive suits” looks like a typo for “executive suites”, but it kind of works as written!

- Jimmy Maher

February 8, 2020 at 8:47 am

Sometimes my wit surprises even me. ;) Thanks!

- Keith Palmer

February 7, 2020 at 11:46 pm

I’d known from your “1993 preview” you’d be discussing “setting the PC standard in an era ignoring IBM,” and had wondered if “Apple in the early 1990s” might lead into your look at Myst, but this piece was a surprise for me. It took a close look to turn up you mentioning “the only period in Apple’s history when the company felt compelled to compete solely on price”; before then, I’d been thinking of Apple beginning to introduce “low-end Macs” in 1990 with the Classic and LC… although when my family moved up from our Tandy Color Computer 3 to an LC II, that was several years after my father had managed to get an SE/30 with the company he worked for paying for it, so we probably amounted to one more example of “selling to the fixed base.” I have to admit to not noticing too many criticisms in the early 1990s about “the limitations of System 7”; the needling then seemed more the immemorial divide between “command lines as your underpinning” and “graphical user interface or bust.”

Other than that, I’d had the impression from Owen Linzmayer’s Apple Confidential “Piltdown Man” was just the codename for one of the first three “Power Macs,” the other two being codenamed “Cold Fusion” and “Carl Sagan” (at least until Sagan took umbrage at being lumped in with two dodgy bits of science, only for the codename saga to get yet more controversial…)

- Jimmy Maher

February 8, 2020 at 8:44 am

According to Steven Levy’s Insanely Great, Piltdown Man was the initial project where all of the hard work of getting MacOS running under PowerPC, with emulation for legacy apps, was done. Only in the latter stages was it split three ways, as you say. The direct (and amusing) quote:

With a new deadline of March 1994, McHenry’s team began transforming the humble Piltdown into three models. The first was the original PDM. The high-end version, maintaining the theme of scientific fraud, was dubbed Cold Fusion. Then a mid-range version was added, and code-named Carl Sagan, perhaps in honor of the billions and billions of dollars Apple might reap from it. (The eminent astronomer felt that this tribute somehow exploited him, and he sicced his lawyers on Apple. McHenry and crew then changed the code name— to BHA. Was it coincidence that the letters formed an abbreviation for Butt Head Astronomer?

Levy, Steven. Insanely Great: The Life and Times of Macintosh, the Computer that changed Everything . . Kindle Edition.

I preferred not to get too far down in the weeds on this in the article.

Apple did lower their prices with the introduction of the low-end Macs; the Mac Classic line in particular proved unexpectedly successful. But price still wasn’t the major selling point; you still got more bang for your buck with Wintel. By a few years later, however, Apple was making direct price/performance claims — a really odd thing to see for anyone who knows anything about the company. This was actually what did in John Sculley. They really couldn’t compete with Wintel in this way in the long term; their R&D costs were too high and their more specialized hardware was just too expensive to make. (Apple’s R&D budget alone generally ran at around 10 percent of gross sales, whereas that figure was more like 1 or 2 percent for a maker of Wintel machines. Maintaining your own operating system is expensive…) They were selling at break-even prices or worse, which put their bottom line in the red even as sales did increase somewhat.

- Sean Barrett

February 8, 2020 at 1:42 pm

“No one before had ever picked up a computing platform bodily and moved it to an entirely new hardware architecture at all, much less done it so transparently that many or most users never really had to think about what was happening at all.”

Within the consumer space, no, but in fact in 1992 DEC began transitioning from VAX to RISC with relase of CPUs implementing their Alpha architecture, as well as binary translators that could convert VAX programs to Alpha programs. I don’t know how transparent the process was for VAX/VMS users, though.

- Jimmy Maher

February 8, 2020 at 2:41 pm

I was wondering if someone would come up with another example. Blanket statements are always good for that. ;) Will add a “consumer” to cover myself. Thanks!

- Casey Muratori

February 9, 2020 at 8:03 pm

Not really relevant because it didn’t become popular, but it’s also interesting to note that the DEC Alpha’s binary translation software (called “FX” if I remember correctly?) could actually run x86 code natively on Alpha by doing translation on the machine code. This worked surprisingly well considering x86 uses variable-length encoding. Thus, a person who had an Alpha running Windows NT could fire up an application never compiled for Alpha, and it would run alongside their Alpha-native programs.

Sadly, as with most things DEC, they had the best technology but couldn’t figure out how to actually capitalize on it, and DEC Alpha didn’t become a popular Windows NT platform. But if somehow that had actually happened, they would have outdone Apple twice over by your metric: picked up and moved _someone else’s_ ecosystem onto their platform, _and_ done it by direct translation rather than emulation, so the speed was mostly as good as native.

They succeeded in doing it, but not in convincing anyone to but it :(

– Casey

- David Boddie

February 9, 2020 at 10:08 pm

You jogged my memory there. You’re thinking of FX!32. I remembered that HP did something similar with their Dynamo project. Other examples can be found on Wikipedia’s Binary translation page.

- calvin*

February 13, 2020 at 1:43 am

Another example: IBM’s own AS/400s to their own PowerPC processors – but it’s also easy when you intentionally designed the platform to be CPU-neutral as possible…

Other examples: Pretty much all the other vendors (SGI and numerous others did 68k->MIPS, Sun did 68k->SPARC, HP did 68k and custom HP3000 processors to PA-RISC, even POWER existed to transition over AIX from its older, more primitive ROMP (also a RISC!) roots…)

- whomever

February 13, 2020 at 2:42 pm

calvin: This is really getting in the weeds, but I’m not sure most of those examples are the same as they aren’t binary compatible; for example you can’t run a Sun 3 app on a Sun 4, or an HP9000 3x (68k based) on a PA-RISC (And having dealt with both these transitions, trust me, they aren’t totally code compatible either). The AS400 example is probably valid.

- Mike

February 8, 2020 at 2:28 pm

For the most part, System 7’s multitasking didn’t lag behind Windows. Microsoft introduced full preemptive multitasking with Windows NT (released 1993). Earlier versions of Windows, starting with Windows/386 (released 1988), only used it to run MS-DOS applications, with native Windows software still using cooperative multitasking.

- Jimmy Maher

February 8, 2020 at 2:38 pm

Ah, I’d forgotten that, despite writing a ten-part series on such things. Thanks!

- Andrew Plotkin

February 8, 2020 at 4:38 pm

Not sure what you’re saying. System 7 didn’t have preemptive multitasking; Macs didn’t have it until OSX in 2001.

- Jimmy Maher

February 8, 2020 at 4:46 pm

In the time frame of the article, Windows 3.x was current. It didn’t have preemptive multitasking either, except for MS-DOS applications. (Basically, the Windows GUI and all applications running under it ran as one task, each MS-DOS application — if any were running — as another task.) That changed with Windows NT in 1993, and then (and more significantly for our purposes) Windows 95 in 1995. From that point, Windows was clearly more advanced than MacOS in this respect, but not quite so much before, as I originally implied. That’s what he’s saying. ;)

- sylvestrus

February 15, 2020 at 4:24 am

One of the things I find most confusing about Mac history is that a small number of Macs did have preemptive multitasking well before 2001: those running A/UX, a GUI nearly identical to System 6 and later System 7 running atop a kernel based on System V UNIX. It could run standard Mac applications (albeit without memory protection or preemptive multitasking), standard UNIX applications, or “hybrid” applications that presented a Mac interface but made use of memory protection and preemptive multitasking. The first version of A/UX shipped in 1988!

I often wonder why Apple did not end up using A/UX as the foundation of its new consumer operating system rather than embarking on the Copland project. Perhaps the licensing fees to AT&T were too high for a consumer operating system?

- Thorsten

March 26, 2020 at 10:45 pm

Sorry, but I feel _very_ differently about this. My first encounter with Macs were System 7-era PowerMacs, and the thing that literally shocked me about them was the complete lack of multitasking when it came to I/O. When you were copying files off those SyQuest cartridges to the Netware file server, you were bound to look at the copy progress meter for minutes and couldn’t do anything else with the machine. We had dedicated “Copying Macs” because of that – we had work to do and couldn’t block our working machines with single-task copying. At the same time, the Windows 95 machines attached to our inkjet poster printers were happily copying away multiple folders to multiple locations at a multiple of the speed while not missing a beat RIPping PostScript data and printing it at the same time.

I remember this so un-fondly because it drove me mad that a machine that cost a fraction of the Mac and was supposedly so much less advanced than it, as my coworkers kept telling me, was so obviously outperforming said Macs.

It was that cognitive dissonance on display that started me becoming platform agnostic, actually.

- tedder

February 8, 2020 at 7:41 pm

This is getting into the era I remember, but not the storylines I was familiar with then; I didn’t start considering Apple seriously until OSX and it was much later I finally came on board. The 1981 ad wasn’t something I’d ever seen.

Now with the benefit of hindsight the story is much more compelling, not just because of Apple but the variation in processors and declining importance of consumer OSes generally.

I still want to put a SPARC on my homelab rack.

- PJN

February 10, 2020 at 12:25 am

“if can’t beat ’em, join ’em, right?”. Should be “if you can’t” ?

- Jimmy Maher

February 10, 2020 at 8:13 am

Yes. Thanks!

- Brendan

February 21, 2020 at 7:27 am

For more info about the Mac’s RISC transition, the Computer History Museum’s oral history with Gary Davidian is fascinating. He worked at Apple on the Mac ROM and low-level OS, and was instrumental in writing the 68k emulator (first for the 88K, evaluated other chips, and then the executives came up with PPC). Fun tidbit: after the Loma Prieta earthquake (Oct. 1989), he couldn’t go to work for a week because of roads and the office building being damaged. He had just finished up other projects (IIci, Portable, IIfx), so spent that week reading the 88K docs and thinking about how to emulate the 68K.

The very end of part 1 is when the RISC work starts. There’s also transcripts online, the only real reason to watch the video is that he does show off the “RLC” prototype, a Mac LC with an 88K logic board.

https://www.youtube.com/watch?v=l_Go9D1kLNU

- James

February 23, 2020 at 6:53 am

Looking back, Apple’s desperation in the mid to late 90s spawned a curious initiative into licensing the MacOS. I know because I spent 1997-1998 working for a Mac clone company called UMAX Computer Corp. UMAX, along with Motorola, and a company called Power Computing all had their own line of Mac clones. The licensing program sounded interesting but was still highly restrictive. The CPU boards were all pretty much identical to Apple’s own hardware but there was minor freedom allowed with using more off the shelf PC parts like the power supply. UMAX at least tried to design some uniqueness into the exterior bezel design while Motorola and Power Computing’s bezels were more generic PC looking. I have a lot of fond memories working at UCC with a lot of great people.
Of course it all came to a screeching halt when Steve Jobs returned to Apple and decided that the MacOS licensing program was a horrible idea.

Myst (or, The Drawbacks to Success)
February 21, 2020

Robyn Miller, one half of the pair of brothers who created the adventure game known as Myst with their small studio Cyan, tells a story about its development that’s irresistible to a writer like me. When the game was nearly finished, he says, its publisher Brøderbund insisted that it be put through “focus-group testing” at their offices. Robyn and his brother Rand reluctantly agreed, and soon the first group of guinea pigs shuffled into Brøderbund’s conference room. Much to its creators’ dismay, they hated the game. But then, just as the Miller brothers were wondering whether they had wasted the past two years of their lives making it, the second group came in. Their reaction was the exact opposite: they loved the game.

So would it be forevermore. Myst would prove to be one of the most polarizing games in history, loved and hated in equal measure. Even today, everyone seems to have a strong opinion about it, whether they’ve actually played it or not.

Myst’s admirers are numerous enough to have made it the best-selling single adventure game in history, as well as the best-selling 1990s computer game of any type in terms of physical units shifted at retail: over 6 million boxed copies sold between its release in 1993 and the dawn of the new millennium. In the years immediately after its release, it was trumpeted at every level of the mainstream press as the herald of a new, dawning age of maturity and aesthetic sophistication in games. Then, by the end of the decade, it was lamented as a symbol of what games might have become, if only the culture of gaming had chosen it rather than the near-simultaneously-released Doom as its model for the future. Whatever the merits of that argument, the hardcore Myst lovers remained numerous enough in later years to support five sequels, a series of novels, a tabletop role-playing game, and multiple remakes and remasters of the work which began it all. Their passion was such that, when Cyan gave up on an attempt to turn Myst into a massively-multiplayer game, the fans stepped in to set up their own servers and keep it alive themselves.

And yet, for all the love it’s inspired, the game’s detractors are if anything even more committed than its proponents. For a huge swath of gamers, Myst has become the poster child for a certain species of boring, minimally interactive snooze-fest created by people who have no business making games — and, runs the spoken or unspoken corollary, played by people who have no business playing them. Much of this vitriol comes from the crowd who hate any game that isn’t violent and visceral on principle.

But the more interesting and perhaps telling brand of hatred comes from self-acknowledged fans of the adventure-game genre. These folks were usually raised on the Sierra and LucasArts traditions of third-person adventures — games that were filled with other characters to interact with, objects to pick up and carry around and use to solve puzzles, and complicated plot arcs unfolding chapter by chapter. They have a decided aversion to the first-person, minimalist, deserted, austere Myst, sometimes going so far as to say that it isn’t really an adventure game at all. But, however they categorize it, they’re happy to credit it with all but killing the adventure genre dead by the end of the 1990s. Myst, so this narrative goes, prompted dozens of studios to abandon storytelling and characters in favor of yet more sterile, hermetically sealed worlds just like its. And when the people understandably rejected this airless vision, that was that for the adventure game writ large. Some of the hatred directed toward Myst by stalwart adventure fans — not only fans of third-person graphic adventures, but, going even further back, fans of text adventures — reaches an almost poetic fever pitch. A personal favorite of mine is the description deployed by Michael Bywater, who in previous lives was himself an author of textual interactive fiction. Myst, he says, is just “a post-hippie HyperCard stack with a rather good music loop.”

After listening to the cultural dialog — or shouting match! — which has so long surrounded Myst, one’s first encounter with the actual artifact that spurred it all can be more than a little anticlimactic. Seen strictly as a computer game, Myst is… okay. Maybe even pretty good. It strikes this critic at least as far from the best or worst game of its year, much less of its decade, still less of all gaming history. Its imagery is well-composited and occasionally striking, its sound and music design equally apt. The sense of desolate, immersive beauty it all conveys can be strangely affecting, and it’s married to puzzle-design instincts that are reasonable and fair. Myst’s reputation in some quarters as impossible, illogical, or essentially unplayable is unearned; apart from some pixel hunts and perhaps the one extended maze, there’s little to really complain about on that front. On the contrary: there’s a definite logic to its mechanical puzzles, and figuring out how its machinery works through trial and error and careful note-taking, then putting your deductions into practice, is genuinely rewarding, assuming you enjoy that sort of thing.

At same time, though, there’s just not a whole lot of there there. Certainly there’s no deeper meaning to be found; Myst never tries to be about more than exploring a striking environment and solving intricate puzzles. “When we started, we wanted to make a [thematic] statement, but the project was so big and took so much effort that we didn’t have the energy or time to put much into that part of it,” admits Robyn Miller. “So, we decided to just make a neat world, a neat adventure, and say important things another time.” And indeed, a “neat world” and “neat adventure” are fine ways of describing Myst.

Depending on your preconceptions going in, actually playing Myst for the first time is like going to meet your savior or the antichrist, only to find a pleasant middle-aged fellow who offers to pour you a cup of tea. It’s at this point that the questions begin. Why does such an inoffensive game offend so many people? Why did such a quietly non-controversial game become such a magnet for controversy? And the biggest question of all: why did such a simple little game, made by five people using only off-the-shelf consumer software, become one of the most (in)famous money spinners in the history of the computer-games industry?

We may not be able to answers all of these whys to our complete satisfaction; much of the story of Myst surely comes down to sheer happenstance, to the proverbial butterfly flapping its wings somewhere on the other side of the world. But we can at least do a reasonably good job with the whats and hows of Myst. So, let’s consider now what brought Myst about and how it became the unlikely success it did. After that, we can return once again to its proponents and its detractors, and try to split the difference between Myst as gaming’s savior and Myst as gaming’s antichrist.

Rand Miller

Robyn Miller

If nothing else, the origin story of Myst is enough to make one believe in karma. As I wrote in an earlier article, the Miller brothers and their company Cyan came out of the creative explosion which followed Apple’s 1987 release of HyperCard, a unique Macintosh authoring system which let countless people just like them experiment for the first time with interactive multimedia and hypertext. Cyan’s first finished project was The Manhole. Published in November of 1988 by Mediagenic, it was a goal-less software toy aimed at children, a virtual fairy-tale world to explore. Six months later, Mediagenic added music and sound effects and released it on CD-ROM, marking the first entertainment product ever to appear on that medium. The next couple of years brought two more interactive explorations for children from Cyan, published on floppy disk and CD-ROM.

Even as these were being published, however, the wheels were gradually coming off of Mediagenic, thanks to a massive patent-infringement lawsuit they lost to the Dutch electronics giant Philips and a whole string of other poor decisions and unfortunate events. In February of 1991, a young bright spark named Bobby Kotick seized Mediagenic in a hostile takeover, reverting the company to its older name of Activision. By this point, the Miller brothers were getting tired of making whimsical children’s toys; they were itching to make a real game, with a goal and puzzles. But when they asked Activision’s new management for permission to do so, they were ordered to “keep doing what you’ve been doing.” Shortly thereafter, Kotick announced that he was taking Activision into Chapter 11 bankruptcy. After he did so, Activision simply stopped paying Cyan the royalties on which they depended. The Miller brothers were lost at sea, with no income stream and no relationships with any other publishers.

But at the last minute, they were thrown an unexpected lifeline. Lo and behold, the Japanese publisher Sunsoft came along offering to pay Cyan $265,000 to make a CD-ROM-based adult adventure game in the same general style as their children’s creations — i.e., exactly what the Miller brothers had recently asked Activision for permission to do. Sunsoft was convinced that there would be major potential for such a game on the upcoming generation of CD-ROM-based videogame consoles and multimedia set-top boxes for the living room — so convinced, in fact, that they were willing to fund the development of the game on the Macintosh and take on the job of porting it to these non-computer platforms themselves, all whilst signing over the rights to the computer version(s) to Cyan for free. The Miller brothers, reduced by this point to a diet of “rice and beans and government cheese,” as Robyn puts it, knew deliverance when they saw it. They couldn’t sign the contract fast enough. Meanwhile Activision had just lost out on the chance to release what would turn out to be one of the games of the decade.

But of course the folks at Cyan were as blissfully unaware of that future as those at Activision. They simply breathed sighs of relief and started making their game. In time, Cyan signed a contract with Brøderbund to release the computer versions of their game, starting with the Macintosh original.

Myst certainly didn’t begin as any conscious attempt to re-imagine the adventure-game form. Those who later insisted on seeing it in almost ideological terms, as a sort of artistic manifesto, were often shocked when they first met the Miller brothers in person. This pair of plain-spoken, baseball-cap-wearing country boys were anything but ideologues, much less stereotypical artistes. Instead they seemed a perfect match for the environs in which they worked: an unassuming two-story garage in Spokane, Washington, far from any centers of culture or technology. Their game’s unique personality actually stemmed from two random happenstances rather than any messianic fervor.

One of these was — to put it bluntly — their sheer ignorance. Working on the minority platform that was the Macintosh, specializing up to this point in idiosyncratic children’s software, the Miller brothers were oddly disengaged from the computer-games industry whose story I’ve been telling in so many other articles here. By their own account, they had literally never even seen any of the contemporary adventure games from companies like LucasArts and Sierra before making Myst. In fact, Robyn Miller says today that he had only played one computer game in his life to that point: Infocom’s ten-year-old Zork II. Rand Miller, being the older brother, the first mover behind their endeavors, and the more technically adept of the pair, was perhaps a bit more plugged-in, but only a bit.

The other circumstance which shaped Myst was the technology employed to create it. This statement is true of any game, but it becomes even more salient here because the technology in question was so different from that employed by other adventure creators. Myst is indeed simply a HyperCard stack — the “hippie-dippy” is in the eye of the beholder — gluing together pictures generated by the 3D modeler StrataVision. During the second half of its development, a third everyday Macintosh software package made its mark: Apple’s QuickTime video system, which allowed Myst’s creators to insert snippets of themselves playing the roles of the people who previously visited the semi-ruined worlds you spend the game exploring. All of these tools are presentation-level tools, not conventional game-building ones. Seen in this light, it’s little surprise that so much of Myst is surface. At bottom, it’s a giant hypertext done in pictures, with very little in the way of systems of any sort behind it, much less any pretense of world simulation. You wander through its nodes, in some of which you can click on something, which causes some arbitrary event to happen. The one place where the production does interest itself in a state which exists behind its visuals is in the handful of mechanical devices found scattered over each of its landscapes, whose repair and/or manipulation form the basis of the puzzles that turn Myst into a game rather than an unusually immersive slideshow.

In making Myst, each brother fell into the role he was used to from Cyan’s children’s projects. The brothers together came up with the story and world design, then Robyn went off to do the art and music while Rand did the technical plumbing in HyperCard. One Chuck Carter helped Robyn on the art side and Rich Watson helped Rand on the programming side, while Chris Brandkamp produced the intriguing, evocative environmental soundscape by all sorts of improvised means: banging a wrench against the wall or blowing bubbles in a toilet bowl, then manipulating the samples to yield something appropriately other-worldly. And that was the entire team. It was a shoestring operation, amateurish in the best sense. The only thing that distinguished the boys at Cyan from a hundred thousand other hobbyists playing with the latest creative tools on their own Macs was the fact that Cyan had a contract to do so — and a commensurate quantity of real, raw talent, of course.

Ironically given that Myst was treated as such a cutting-edge product at the time of its release, in terms of design it’s something of a throwback — a fact that does become less surprising when one considers that its creators’ experience with adventure games stopped in the early 1980s. A raging debate had once taken place in adventure circles over whether the ideal protagonist should be a blank slate, imprintable by the player herself, or a fully-fleshed-out role for the player to inhabit. The verdict had largely come down on the side of the latter as games’ plots had grown more ambitious, but the whole discussion had passed the Miller brothers by.

So, with Myst we were back to the old “nameless, faceless adventurer” paradigm which Sierra and LucasArts had long since abandoned. Myst actively encourages you to think of it as yourself there in its world. The story begins when you open a mysterious book here on our world, whereupon you get sucked into an alternate dimension and find yourself standing on the dock of a deserted island. You soon learn that you’re following a trail first blazed by a father and his two sons, all of whom had the ability to hop about between dimensions — or “ages,” as the game calls them — and alter them to their will. Unfortunately, the father is now said to be dead, while the two brothers have each been trapped in a separate interdimensional limbo, each blaming the other for their father’s death. (These themes of sibling rivalry have caused much comment over the years, especially in light of the fact that each brother in the game is played by one of the real Miller brothers. But said real brothers have always insisted that there are no deeper meanings to be gleaned here…)

You can access four more worlds from the central island just as soon as you solve the requisite puzzles. In each of them, you must find a page of a magical book. Putting the pages together, along with a fifth page found on the central island, allows you to free the brother of your choice, or to do… something else, which actually leads to the best ending. This last-minute branch to an otherwise unmalleable story is a technique we see in a fair number of other adventure games wishing to make a claim to the status of genuinely interactive fictions. (In practice, of course, players of those games and Myst alike simply save before the final choice and check out all of the endings.)

For all its emphasis on visuals, Myst is designed much like a vintage text adventure in many ways. Even setting aside its explicit maze, its network of discrete, mostly empty locations resembles the map from an old-school text adventure, where navigation is half the challenge. Similarly, its complex environmental puzzles, where something done in one location may have an effect on the other side of the map, smacks of one of Infocom’s more cerebral, austere games, such as Zork III or Spellbreaker.

This is not to say that Myst is a conscious throwback; the nature of the puzzles, like so much else about the game, is as much determined by the Miller brothers’ ignorance of contemporary trends in adventure design as by the technical constraints under which they labored. Among the latter was the impossibility of even letting the player pick things up and carry them around to use elsewhere. Utterly unfazed, Rand Miller coined an aphorism: “Turn your problems into features.” Thus Myst’s many vaguely steam-punky mechanical puzzles, all switches to throw and ponderous wheels to set in motion, are dictated as much by its designers’ inability to implement a player inventory as by their acknowledged love for Jules Verne.

And yet, whatever the technological determinism that spawned it, this style of puzzle design truly was a breath of fresh air for gamers who had grown tired of the “use this object on that hotspot” puzzles of Sierra and LucasArts. To their eternal credit, the Miller brothers took this aspect of the design very seriously, giving their puzzles far more thought than Sierra at least tended to do. They went into Myst with no experience designing puzzles, and their insecurity  about this aspect of their craft was perhaps their ironic saving grace. Before they even had a computer game to show people, they spent hours walking outsiders through their scenario Dungeons & Dragons-style, telling them what they saw and listening to how they tried to progress. And once they did have a working world on the computer, they spent more hours sitting behind players, watching what they did. Robyn Miller, asked in an interview shortly after the game’s release whether there was anything he “hated,” summed up thusly their commitment to consistent, logical puzzle design and world-building (in Myst, the two are largely one and the same):

Seriously, we hate stuff without integrity. Supposed “art” that lacks attention to detail. That bothers me a lot. Done by people who are forced into doing it or who are doing it for formula reasons and monetary reasons. It’s great to see something that has integrity. It makes you feel good. The opposite of that is something I dislike.

We tried to create something — a fantastic world — in a very realistic way. Creating a fantasy world in an unrealistic way is the worst type of fantasy. In Jurassic Park, the idea of dinosaurs coming to life in the twentieth century is great. But it works in that movie because they also made it believable. That’s how the idea and the execution of that idea mix to create a truly great experience.

Taken as a whole, Myst is a master class in designing around constraints. Plenty of games have been ruined by designers whose reach exceeded their core technology’s grasp. We can see this phenomenon as far back as the time of Scott Adams: his earliest text adventures were compact marvels, but quickly spiraled into insoluble incoherence when he started pushing beyond what his simplistic parsers and world models could realistically present. Myst, then, is an artwork of the possible. Managing inventory, with the need for a separate inventory screen and all the complexities of coding this portable object interacting on that other thing in the world, would have stretched HyperCard past the breaking point. So, it’s gone. Interactive conversations would have been similarly prohibitive with the technology at the Millers’ fingertips. So, they devised a clever dodge, showing the few characters that exist only as recordings, or through one-way screens where you can see them, but they can’t see (or hear) you; that way, a single QuickTime video clip is enough to do the trick. In paring things back so dramatically, the Millers wound up with an adventure game unlike any that had been seen before. Their problems really did become their game’s features.

For the most part, anyway. The networks of nodes and pre-rendered static views that constitute the worlds of Myst can be needlessly frustrating to navigate, thanks to the way that the views prioritize aesthetics over consistency; rotating your view in place sometimes turns you 90 degrees, sometimes 180 degrees, sometimes somewhere in between, according to what the designers believed would provide the most striking image. Orienting yourself and moving about the landscape can thus be a confusing process. One might complain as well that it’s a slow one, what with all the empty nodes which you must move through to get pretty much anywhere — often just to see if something you’ve done on one side of the map has had any effect on something on its other side. Again, a comparison with the twisty little passages of an old-school text adventure, filled with mostly empty rooms, does strike me as thoroughly apt.

On the other hand, a certain glaciality of pacing seems part and parcel of what Myst fundamentally is. This is not a game for the impatient. It’s rather targeted at two broad types of player: the aesthete, who will be content just to wander the landscape taking in the views, perhaps turning to a walkthrough to be able to see all of the worlds; and the dedicated puzzle solver, willing to pull out paper and pencil and really dig into the task of understanding how all this strange machinery hangs together. Both groups have expressed their love for Myst over the years, albeit in terms which could almost convince you they’re talking about two entirely separate games.

So much for Myst the artifact. What of Myst the cultural phenomenon?

The origins of the latter can be traced to the Miller brothers’ wise decision to take their game to Brøderbund. Brøderbund tended to publish fewer products per year than their peers at Electronic Arts, Sierra, or the lost and unlamented Mediagenic, but they were masterful curators, with a talent for spotting software which ordinary Americans might want to buy and then packaging and marketing it perfectly to reach them. (Their insistence on focus testing, so confusing to the Millers, is proof of their competence; it’s hard to imagine any other publisher of the time even thinking of such a thing.) Brøderbund published a string of products over the course of a decade or more which became more than just hits; they became cultural icons of their time, getting significant attention in the mainstream press in addition to the computer magazines: The Print Shop, Carmen Sandiego, Lode Runner, Prince of Persia, SimCity. And now Myst was about to become the capstone to a rather extraordinary decade, their most successful and iconic release of all.

Brøderbund first published the game on the Macintosh in September of 1993, where it was greeted with rave reviews. Not a lot of games originated on the Mac at all, so a new and compelling one was always a big event. Mac users tended to conceive of themselves as the sophisticates of the computer world, wearing their minority status as a badge of pride. Myst hit the mark beautifully here; it was the Mac-iest of Mac games. MacWorld magazine’s review is a rather hilarious example of a homer call. “It’s been polished until it shines,” wrote the magazine. Then, in the next paragraph: “We did encounter a couple of glitches and frozen screens.” Oh, well.

Helped along by press like this, Myst came out of the gates strong. By one report, it sold 200,000 copies on the Macintosh alone in its first six months. If correct or even close to correct, those numbers are extraordinary; they’re the numbers of a hit even on the gaming Mecca that was the Wintel world, much less on the Mac, with its vastly smaller user base.

Still, Brøderbund knew that Myst’s real opportunity lay with those selfsame plebeian Wintel machines which most Mac users, the Miller brothers included, disdained. Just as soon as Cyan delivered the Mac version, Brøderbund set up an internal team — larger than the Cyan team which had made the game in the first place — to do the port as quickly as possible. Importantly, Myst was ported not to bare MS-DOS, where almost all “hardcore” games still resided, but to Windows, where the new demographics which Brøderbund hoped to attract spent all of their time. Luckily, the game’s slideshow visuals were possible even under Windows’s sluggish graphics libraries, and Apple had recently ported their QuickTime video system to Microsoft’s platform. The Windows version of Myst shipped in March of 1994.

And now Brøderbund’s marketing got going in earnest, pushing the game as the one showcase product which every purchaser of a new multimedia PC simply had to have. At the time, most CD-ROM based games also shipped in a less impressive floppy-disk-based version, with the latter often still outselling the former. But Brøderbund and Cyan made the brave choice not to attempt a floppy-disk version at all. The gamble paid off beautifully, furthering the carefully cultivated aspirational quality which already clung to Myst, now billed as the game which simply couldn’t be done on floppy disk. Brøderbund’s lush advertisements had a refined, adult air about them which made them stand out from the dragons, spaceships, and scantily-clad babes that constituted the usual motifs of game advertising. As the crowning touch, Brøderbund devised a slick tagline: Myst was “the surrealistic adventure that will become your world.” The Miller brothers scoffed at this piece of marketing-speak — until they saw how Myst was flying off the shelves in the wake of it.

So, through a combination of lucky timing and precision marketing, Myst blew up huge. I say this not to diminish its merits as a puzzle-solving adventure game, which are substantial, but simply because I don’t believe those merits were terribly relevant to the vast majority of people who purchased it. A parallel can be drawn with Infocom’s game of Zork, which similarly surfed a techno-cultural wave a decade before Myst. It was on the scene just as home computers were first being promoted in the American media as the logical, more permanent successors to the videogame-console fad. For a time, Zork, with its ability to parse pseudo-natural-English sentences, was seen by computer salespeople as the best overall demonstration of what a computer could do; they therefore showed it to their customers as a matter of course. And so, when countless new computer systems went home with their new owners, there was also a copy of Zork in the bag. The result was Infocom’s best-selling game of all time, to the tune of almost 400,000 copies sold.

Myst now played the same role in a new home-computer boom. The difference was that, while the first boom had fizzled rather quickly when people realized of what limited practical utility those early machines actually were, this second boom would be a far more sustained affair. In fact, it would become the most sustained boom in the history of the consumer PC, stretching from approximately 1993 right through the balance of the decade, with every year breaking the sales records set by the previous one. The implications for Myst, which arrived just as the boom was beginning, were titanic. Even long after it ceased to be particularly cutting-edge, it continued to be regarded as an essential accessory for every PC, to be tossed into the bags carried home from computer stores by people who would never buy another game.

Myst had already established its status by the time the hype over the World Wide Web and Windows 95 really lit a fire under computer sales in 1995. It passed the 1 million copy mark in the spring of that year. By the same point, a quickie “strategy guide” published by Prima, ideal for the many players who just wanted to take in its sights without worrying about its puzzles, had passed an extraordinary 300,000 copies sold — thus making its co-authors, who’d spent all of three weeks working on it, the two luckiest walkthrough authors in history. Defying all of the games industry’s usual logic, which dictated that titles sold in big numbers for only a few months before fizzling out, Myst’s sales just kept accelerating from there. It sold 850,000 copies in 1996 in the United States alone, then another 870,000 copies in 1997. Only in 1998 did it finally begin to flag, posting domestic sales of just 540,000 copies. Fortunately, the European market for multimedia PCs, which lagged a few years behind the American one, was now also burning bright, opening up whole new frontiers for Myst. Its total retail sales topped 6 million by 2000, at least 2 million of them outside of North America. Still more copies — it’s impossible to say how many — had shipped as pack-in bonuses with multimedia upgrade kits and the like. Meanwhile, under the terms of Sunsoft’s original agreement with Cyan, it was also ported by the former to the Sega Saturn, Atari Jaguar, 3DO, and CD-I living-room consoles. Myst was so successful that another publisher came out with an elaborate parody of it as a full-fledged computer game in its own right, under the indelible title of Pyst. Considering that it featured the popular sitcom star John Goodman, Pyst must have cost far more to make than the shoestring production it mocked.

As we look at the staggering scale of Myst’s success, we can’t avoid returning to that vexing question of why it all should have come to be. Yes, Brøderbund’s marketing campaign was brilliant, but there must be more to it than that. Certainly we’re far from the first to wonder about it all. As early as December of 1994, Newsweek magazine noted that “in the gimmick-dominated world of computer games, Myst should be the equivalent of an art film, destined to gather critical acclaim and then dust on the shelves.” So why was it selling better than guaranteed crowd-pleasers with names like Star Wars on their boxes?

It’s not that it’s that difficult to pinpoint some of the other reasons why Myst should have been reasonably successful. It was a good-looking game that took full advantage of CD-ROM, at a time when many computer users — non-gamers almost as much as gamers — were eager for such things to demonstrate the power of their new multimedia wundermachines. And its distribution medium undoubtedly helped its sales in another way: in this time before CD burners became commonplace, it was immune to the piracy that many publishers claimed was costing them at least half their sales of floppy-disk-based games.

Likewise, a possible explanation for Myst’s longevity after it was no longer so cutting-edge might be the specific technological and aesthetic choices made by the Miller brothers. Many other products of the first gush of the CD-ROM revolution came to look painfully, irredeemably tacky just a couple of years after they had dazzled, thanks to their reliance on grainy video clips of terrible actors chewing up green-screened scenery. While Myst did make some use of this type of “full-motion video,” it was much more restrained in this respect than many of its competitors. As a result, it aged much better. By the end of the 1990s, its graphics resolution and color count might have been a bit lower than those of the latest games, and it might not have been quite as stunning at first glance as it once had been, but it remained an elegant, visually-appealing experience on the whole.

Yet even these proximate causes don’t come close to providing a full explanation of why this art film in game form sold like a blockbuster. There are plenty of other games of equal or even greater overall merit to which they apply equally well, but none of them sold in excess of 6 million copies. Perhaps all we can do in the end is chalk it up to the inexplicable vagaries of chance. Computer sellers and buyers, it seems, needed a go-to game to show what was possible when CD-ROM was combined with decent graphics and sound cards. Myst was lucky enough to become that game. Although its puzzles were complex, simply taking in its scenery was disarmingly simple, making it perfect for the role. The perfect product at the perfect time, perfectly marketed.

In a sense, Myst the phenomenon didn’t do that other Myst — Myst the actual artifact, the game we can still play today — any favors at all. The latter seems destined always to be judged in relation to the former, and destined always to be found lacking. Demanding that what is in reality a well-designed, aesthetically pleasing game live up to the earth-shaking standards implied by Myst’s sales numbers is unfair on the face of it; it wasn’t the fault of the Miller brothers, humble craftsmen with the right attitude toward their work, that said work wound up selling 6 million copies. Nevertheless, we feel compelled to judge it, at least to some extent, with the knowledge of its commercial and cultural significance firmly in mind. And in this context especially, some of its detractors’ claims do have a ring of truth.

Arguably the truthiest of all of them is the oft-repeated old saw that no other game was bought by so many people and yet really, seriously played by so few of its purchasers. While such a hyperbolic claim is impossible to truly verify, there is a considerable amount of circumstantial evidence pointing in exactly that direction. The exceptional sales of the strategy guide are perhaps a wash; they can be as easily ascribed to serious players wanting to really dig into the game as they can to casual purchasers just wanting to see all the pretty pictures on the CD-ROM. Other factors, however, are harder to dismiss. The fact is, Myst is hard by casual-game standards — so hard that Brøderbund included a blank pad of paper in the box for the purpose of keeping notes. If we believe that all or most of its buyers made serious use of that notepad, we have to ask where these millions of people interested in such a cerebral, austere, logical experience were before it materialized, and where they went thereafter. Even the Miller brothers themselves — hardly an unbiased jury — admit that by their best estimates no more than 50 percent of the people who bought Myst ever got beyond the starting island. Personally, I tend to suspect that the number is much lower than that.

Perhaps the most telling evidence for Myst as the game which everyone had but hardly anyone played is found in a comparison with one of its contemporaries: id Software’s Doom, the other decade-dominating blockbuster of 1993 (a game about which I’ll be writing much more in a future article). Doom indisputably was played, and played extensively. While it wasn’t quite the first running-around-and-shooting-things-from-a-first-person-perspective game, it did became so popular that games of its type were codified as a new genre unto themselves. The first-person shooters which followed Doom in the 1990s were among the most popular games of their era. Many of their titles are known to gamers today who weren’t yet born when they debuted: titles like Duke Nukem 3D, Quake, Half-Life, Unreal. Myst prompted just as many copycats, but these were markedly less popular and are markedly less remembered today: AMBER: Journeys Beyond, Zork Nemesis, Rama, Obsidian. Only Cyan’s own eventual sequel to Myst can be found among the decade’s bestsellers, and even it’s a definite case of diminishing commercial returns, despite being a rather brilliant game in its own right. In short, any game which sold as well as Myst, and which was seriously played by a proportionate number of people, ought to have left a bigger imprint on ludic culture than this one did.

But none of this should affect your decision about whether to play Myst today, assuming you haven’t yet gotten around to it. Stripped of all its weighty historical context, it’s a fine little adventure game if not an earth-shattering one, intriguing for anyone with the puzzle-solving gene, infuriating for anyone without it. You know what I mean… sort of a niche experience. One that just happened to sell 6 million copies.

(Sources: the books Myst: Prima’s Official Strategy Guide by Rick Barba and Rusel DeMaria, Myst & Riven: The World of the D’ni by Mark J.P. Wolf, and The Secret History of Mac Gaming by Richard Moss; Computer Gaming World of December 1993; MacWorld of March 1994; CD-ROM Today of Winter 1993. Online sources include “Two Histories of Myst” by John-Gabriel Adkins, Ars Technica’s interview with Rand Miller, Ryan Miller’s postmortem of Myst at the 2013 Game Developers Conference, GameSpot’s old piece on Myst as one of the “15 Most Influential Games of All Time,” and Greg Lindsay’s Salon column on Myst as a “dead end.” Michael Bywater’s colorful comments about Myst come from Peter Verdi’s now-defunct Magnetic Scrolls fan site, a dump of which Stefan Meier dug up for me from his hard drive several years ago. Thanks again, Stefan!

The “Masterpiece Edition” of Myst is available for purchase from GOG.com.)

Comments
98 Responses

- Lee_Ars

February 21, 2020 at 6:04 pm

Excellent work as always, Jimmy!

As a timely FYI, we just (as in literally within the past hour) released our extended 2-hr interview with Rand Miller for anyone who wants to hear some more directly from the man himself about HyperCard, The Manhole, Cosmic Osmo, and Myst’s long development process. Rand was awesome to spend time with, and the long interview has all kinds of cool stuff in it that I couldn’t cram down into the original 20-minute video.

The extended interview is on youtube: https://www.youtube.com/watch?v=5qxg0ykOcgM

- Jimmy Maher

February 21, 2020 at 8:38 pm

Well, you should have posted that a bit earlier, my friend… ;)

- Andrew Plotkin

February 21, 2020 at 6:15 pm

> Putting the pages together, along with a fifth page found on the central island, allows you to free the brother of your choice. This last-minute branch to an otherwise unmalleable story […]

Sheesh, no mention of the third ending? :) Or were you trying to avoid spoilers?

The bonus ending (universally considered the “real” end of the story) which requires some extra digging (and ignoring the brothers’ explicit guidance!) is a nice design decision. The fact that it’s an information puzzle is pretty interesting. (That is, if you’ve played before or are working from a walkthrough, you can skip 90% of the game and go straight to the good ending.)

- Jimmy Maher

February 21, 2020 at 8:41 pm

I confess I had no idea it existed. I played Myst seriously for the first time only recently, and was quite proud of myself for solving the whole thing without hints, with the exception only of a couple of pixel hunts I needed help with. Now I’ll have to go find out what the secret ending is all about.

But if I had known about it, I probably wouldn’t have mentioned it. I already debated whether describing the collecting of the journal pieces was too spoilery.

- Sniffnoy

February 22, 2020 at 2:53 am

I’m surprised that if you didn’t find the good ending you didn’t say anything about, wow, this game just lets you choose between two bad endings, huh? That’s a bold choice…

Honestly I think of those two endings less as endings and more as fail states — time to reload your save and try again! (I guess they’re the only ones in the game…)

- Sniffnoy

February 22, 2020 at 2:56 am

Actually, now that I remember, there’s actually one more fail state in addition to those two. So, there’s actually three bad endings and one good one, if we count fail states as endings.

- Jimmy Maher

February 22, 2020 at 10:04 am

Okay, now I understand the confusion. I did see the good ending, assuming you mean the one where you actually meet Atrus. My problem was that I was remembering it as one of two possibilities, when it was actually one of three. When Zarf mentioned a hidden ending, and especially when he said it could be found at the very beginning, I was imagining some deep, dark Easter egg. Ironically, the key element to the good ending is actually shown in one of the screenshots above. I didn’t find arriving at it to be any big stretch. It was pretty obvious that neither brother was an honest broker.

I generally play the games I write about months in advance, and sometimes my memory and my notes fail me. It’s a problem, but one I’m not quite sure how to fix, in that I don’t want to be rushing a game for a deadline. That tends to create a highly artificial experience where *just getting done* takes precedence over appreciation. I’d rather know I have lots of time, and can take my time. I guess the only solution is to take better notes. Sorry for the confusion!

I still don’t know what you mean by a *fourth* ending, however…

- Joshua Barrett

February 22, 2020 at 12:48 pm

If you meet Atrus without collecting the final page first, you fail.

- Jimmy Maher

February 22, 2020 at 3:42 pm

Ah, okay.

- Sniffnoy

February 23, 2020 at 12:33 am

Yup — Atrus gets special dialogue for it too. :)

- Todd Carson

February 22, 2020 at 4:51 am

> The bonus ending (universally considered the “real” end of the story) which requires some extra digging (and ignoring the brothers’ explicit guidance!)

And, the player’s decision on whether to do what Sirrus or Achenar says all the way to the end will be informed by what they see in the brothers’ rooms in the other Ages. This is why I thought it was a little unfair to say that Myst has no storytelling outside of the journals in the library. The brothers’ living quarters are environmental storytelling giving you a different view of their lives than what they tell you.

- Jimmy Maher

February 22, 2020 at 10:16 am

You know, you’re right. I could have done with a bit more of it, but it is there. I nixed that complaint. Thanks!

- Andrew Plotkin

February 21, 2020 at 6:27 pm

As for the overwhelming sales numbers… I think Myst manages to provide a satisfying play experience even when you’re just fumbling around. Just circling the island gives you a varied set of environments full of evocative music, images, and toys to play with. If you don’t solve a puzzle, it’s not an ostentatiously unfulfilled mission — it’s a machine that reacts when you push the buttons. Which is still fun for newcomers.

Maybe you could say that for a lot of adventure games. I guess I’m saying that, in its design naivete, Myst *doesn’t* foreshadow all the places/chapters/experiences you’re missing out on. So if you pick it up for an hour and “get stuck”, you still feel like you’ve come out ahead.

- James Schend

February 21, 2020 at 6:36 pm

Liked the article. Just a small observation, but as a kid who made *lots* of HyperCard stacks in his day, while it might have been a creative choice to not have an inventory in Myst, it’s certainly possible for HyperCard stacks to have “global” scope variables which can be used to track inventory items– that’s probably exactly how they tracked the state of those steampunk machines in the game. Drawing the inventory on screen atop any arbitrary location would also have been quite easy, using a “background card” with hidden UI elements.

- Jimmy Maher

February 21, 2020 at 8:47 pm

You could probably *do* it, but I don’t think it would scale very well. If you didn’t want the game to be stubbornly obtuse, you’d have to code lots and lots of unique failure states, which in HyperTalk would probably have to come down to long strings of conditional statements. Then you would have to figure out how to communicate what was happening, etc.

But point taken that the line between technical restriction and aesthetic choice is quite blurred with Myst, here and elsewhere.

- James Schend

February 21, 2020 at 9:22 pm

The biggest obstacle I suppose would be having to render the scene with the object there and removed, and the “goal” scene with the object there and removed, then a stand-alone render of the object for the inventory area. Which is like… nothing today but on computers at the time it would have been a big rendering time and storage hit.

However they already had to render a screen of those steampunk machines in each possible state/pose so it’s not like they weren’t already doing that anyway. So I’m inclined to think it was a purposeful choice.

- Joshua Barrett

February 21, 2020 at 7:44 pm

I’ve always liked Myst—albeit, not quite as much as Doom—So I really do wonder where the hatred comes from. Did people accidentally play 7th Guest instead? That would explain it…

Not that Myst is perfect. It’s just good. And of course, Riven is much, much better. I adore that game.

- Jimmy Maher

February 21, 2020 at 8:48 pm

Yes, The 7th Guest is truly a game worth hating…

- sjf

February 22, 2020 at 7:23 am

Now is Riven a game worth loving?
Well, I guess I already liked Myst a lot and Riven really is much better. All the animals adding life to the world. The even more fantastical worlds. It feels much bigger as well.

- Joshua Barrett

February 22, 2020 at 1:04 pm

Riven is absolutely worth loving. The worldbuilding is excellent, the setting is rich, and it contains one of my favorite puzzles ever (for the record, it’s the numbers puzzle—if you’ve played Riven, you know the one).

Of course, the flipside to that is the Riven is blisteringly hard in a way that Myst just isn’t. While Myst isn’t easy by any stretch, you can more or less fumble through quite a bit of it (including the compass puzzle in the Stoneship Age, which is arguably the worst puzzle in the game), and once you read the books on the shelf and get the rotations for the tower the main island is pretty simple.

That’s just not the case with Riven. There are only two real puzzles, and both of them are absolutely brutal tests of knowledge that rely on you putting together a fairly comprehensive understanding of the entire world. Beating Riven unaided is a real accomplishment that I could not manage.

- dsparil

February 22, 2020 at 1:55 pm

I managed to finish Myst without help, but I ended up breaking down and buying the guide for Riven. A friend managed to finish it with his dad and brother without any outside help, but it took them over a year. I still find it hard to believe that it’s even possible.

- Taras

February 27, 2020 at 9:13 am

I feel like the hatred of Myst has really dissipated in recent years. When I first played Riven and fell in love with it (I had played Myst and some Myst-likes as a kid) Cyan was not in a great state, mostly putting out wonky mobile games and yet more Myst ports. I scoured the internet for Riven/Myst trivia, reviews, retrospectives, and while I found a lot of stuff by fans that was positive, I definitely ran into a lot of myst vitriol and (after I learned to avoid that) discussions of myst vitriol. In both cases this stuff mainly seemed to be written by people who were teens or adults when myst was first released.

Then Cyan found renewed success with their Obduction kickstarter, games like The Witness started being released, and I started noticing people my age and younger, who had been little kids when myst was released, talking about myst, and I was surprised and heartened by the total lack of the usual vitriol in these discussions. Most seemed to have some fondness for myst, ranging from hardcore fans to just people with nostalgic memories of a game their grandmas had played with them. Even the people who have never played it, didn’t care to play it, or had tried it but decided it wasn’t for them couldn’t seem to muster up the usual anger. To my generation myst seems to be a favorite game, a fond memory, or just a piece of pop culture, not something to get heated about.

I guess this sort of thing is pretty much inevitable with everything but the most inflammatory pieces of art and media– eventually the ideological and aesthetic arguments that were once so important seem to become irrelevant, and the context that was so present and personal for people becomes academic. I think finally Myst, the good, pleasant game, is settling into it’s natural role, divorced from the faded hype of the 90’s CD-ROM boom, and I’m glad. Now if only people would play Riven!

- Jonathan B

February 23, 2020 at 8:01 pm

I think the Myst hatred is not unlike the Blair Witch hatred. Both Myst and Blair Witch had their charms and were novel in their way — the problem was more what they inspired: terrible games with minimal interactivity and pre-rendered graphics on one hand, and movies using nauseating hand-held camera footage on the other.

- Kroc Camen

February 21, 2020 at 7:53 pm

I feel that an opportunity was missed in this paragraph:

> Doom indisputably was played, […], it did became so popular that games of its type were codified as a new genre unto themselves. The first-person shooters which followed Doom in the 1990s were among the most popular games of their era.

I would replace “first-person shooters” with “Doom-clones” so as to codify that point that Doom defined the genre for a while, at least.

- Jimmy Maher

February 21, 2020 at 8:49 pm

It’s a little unkind to call them all “Doom clones.” Games like Half-Life actually built on the formula in important ways.

- James Schend

February 21, 2020 at 9:25 pm

If you get into the FPS area, please give Marathon some badly-needed pop-culture boost. It did pretty much everything Half-Life did, but better, and 3 years earlier. But since it was released for Macintosh only, it’s still almost entirely unknown.

To give you an idea of how ahead-of-its-time Marathon was, it had in-game voice-over-IP… in 1994. That wasn’t seen again in AAA games until, what, Battlefield 3?

- xxx

February 22, 2020 at 7:34 pm

Saying that the Marathon series did “everything that Half-Life did” is definitely overstating the case. HL was a much more immersive single-player experience than Marathon, which was still quite constrained by the limitations of a 2.5D engine; it was able to do environmental storytelling, have conversational NPCs, puzzles more complicated than “push the button,” etc.

But the Marathon games did have a remarkably deep story — arguably the first good story in a first-person shooter — and, along with System Shock, was one of the first games to understand that “oh shit, here’s a lot of demons” is less tense and less interesting than “it’s dark and quiet, and I can hear something in the distance.” And yeah, it does deserve to be a lot more widely known than it is. When the franchise is mentioned at all these days, it’s only in the context of “spiritual antecedent to the Halo games,” but at the time it was huge in the Mac world and had a large, rabidly enthusiastic fan base.

(Full disclosure: I am writing this post on a laptop whose hostname is “durandal”.)

- Matthew Parsons

February 23, 2020 at 5:24 pm

I believe you miss understood the previous posters intent: “first person shooter” was not coined/widely dissiminated yet. The term “doom clone” was used in press for quite a while to refer to what we would now call an “FPS”.

- stl

February 24, 2020 at 11:20 am

That is(pardon my native tongue, which is not french) BS. Early 90ies was era of acronym usage and they spread like wildfire because of gamer usage. Akkkkktuallly – these terms were already established long before Doom came out, but Doom came into era, when PC gaming became commonly available(unlike ZX Spectrum, Amiga or others) and players came together to play LAN games – in other words: Doom. In 90ies there were plenty of FPS before Doom, there were even 3rd person shooters, like Tomb Raider, there were many RPG games, but “doom clones” specifically meant multiplayer and deathmatch modes in FPS games. Not to mention, that Doom was perceived as a clone of Wolfenstein 3D, which however was single player FPS. I don’t remember that much of the press influence for coining those acronyms – it might be true, that initially those acronyms were popularized by gaming magazines, but most of the gamers probably had no access to those, as they already had spent all their money in acquiring PC and not much was left over, so even Doom was pirated on empty floppy disks.

- Jimmy Maher

February 26, 2020 at 1:49 pm

Fair enough, but the “FPS” acronym was already in use by the time of at least three of the four games I list as popular examples. From the modern reader’s perspective, using the term “Doom clone” there would inevitably come across as a deprecation.

- Ross

February 26, 2020 at 10:55 pm

I always find it very strange that the history of gaming seems to treat Doom as the beginning of the FPS. It seems right in retrospect, but having lived through it, at the time, it really felt like Wolfenstein 3D was the seminal game in the genre, and Doom was more of “The next big step” – something that, while refining the genre considerably and importantly, was still very much following in the footsteps of what had come before. The extent to which Wolfenstein has become something of a footnote feels almost like if the history of platformers was presented as “Sonic the Hedgehog and its imitators”

- Jimmy Maher

February 27, 2020 at 12:20 pm

I understand what you’re saying, but I don’t really believe that the weight given to Doom in most gaming histories is misbegotten. Just as with Myst, it’s a question Doom the artifact versus Doom the cultural phenomenon. While the former is indeed a fairly logical expansion upon Wolfenstein 3D, the latter changed the direction of an entire industry when it became not just successful but *astoundingly* so.

More to come on that topic in the near future…

- Lt. Nitpicker

February 21, 2020 at 10:15 pm

The overlap between Doom and Myst players is more likely than you think when you consider how much the latter levels of Doom and Doom II focus on combat encounters almost structured like puzzles, where you need to use your movement options (even sometimes the level environment itself, like dodging an archvile’s line of sight attack) and weapons, combined with threat prioritization, to survive. Also, I see one instance of “Miller brother” where the plural would be more appropriate.

- Jimmy Maher

February 21, 2020 at 10:18 pm

Thanks!

- stl

February 24, 2020 at 11:40 am

Even if Myst was older game, it became known to wider public about year after Doom – along with some other gems. That might be a reason why it was not perceived well, as it was already outdated game. Lost Eden was my first walking simulator and… you can see why I might have been baffled why Myst gets so much of attention.

I do remember there was some hype(rather artificial) about Myst in those olden days, but the nature of that ‘hype’ was mostly small talk, where players were asking each other about some new games that they were not playing and that they discovered and sometimes Myst was mentioned… there were some questions what was so special about that game and then they went back to Doom, HOMM, Civilization or whatever else was there.

This small talk is the only reason why I was drawn to this article, as there is some mystery for most of the gamers about Myst, unless they sat down and start to play it… and run away. :)

- hatless

February 26, 2020 at 1:09 pm

I offer the hot take that Doom and Myst are very nearly the same game! I just got round to playing Obduction (the modern spiritual sequel to Myst) last week, and the satisfaction of exploring a complex environment, building a mental map of the world and unlocking doors and activating lifts was identical to the satisfaction of doing those same things in a fanmade Doom map.

(But Doom also tests your survival skills — is Myst just Doom dumbed down for the masses? ;))

- Keith Palmer

February 21, 2020 at 11:13 pm

Myst “clicked” with me from pretty much the moment my brother brought a borrowed CD-ROM home around 1994 or so (there being at least a few other Macintosh users in our area), and I’ve tried to articulate some reasons why beyond “you had to be there” shrugs about the graphics not looking like anything else at the time and that ultimate brushoff “so starved for games I can’t tell what a good one looks like.”

I see the point of you bringing up “aesthetes and puzzle solvers,” and yet while before getting to Myst I’d bumped up against several walls in “The Lost Treasures of Infocom” to the point of downplaying my puzzle-solving skills to this day, with Myst I’d got off Myst Island to some of the Ages before we had to return that first CD, and when we had our own copy I took notes (our box had not just a “notepad” but a notebook, which I still have) and sorted through each mechanism in turn with a sense of satisfaction, only having real problems with the compass rose in the Stoneship Age.

Perhaps what really helped me was being able to contrast the descriptions in the library of inhabited Ages with the abandoned ones implemented, thinking something ominous had happened and standing in judgment. Maybe I supposed myself “completing the story” (in the remaining pages of the notebook after I’d steered to the ending Andrew Plotkin alluded to earlier, I wrote down a simple idea for the backstory, which might not have altogether helped me reading the spinoff novels.) Anyway, Myst is not the only property apparently intended to have wide appeal, but which attracts plenty of criticism online, that I still feel fonder than many for…

- Jacen aka Jaina

February 22, 2020 at 12:56 am

Miller brothers, humble craftsman with the right” craftsmen?

- Andy

February 22, 2020 at 1:35 am

I enjoyed the article, but I must say, the claim that Myst didn’t leave a very big imprint on ludic culture seems very odd to me. I thought Myst is widely considered to have been incredibly influential! Just because there’s no one standout megahit among its first few years of copycats doesn’t mean that they weren’t an important phenomenon that spawned a broad and lasting family tree.

What about all of the myriad games of the past 25 years designed around cryptic passcodes to find and cryptic mechanisms to manipulate? What about any game of careful observation in a rich 3D environment? More specifically, what about the teeming sea of room escape games, which are really just pared-down Myst-likes? (And then what about real-world escape rooms?)

Or what about the Myst’s distinctive aesthetic blend of fantastical, lonely, surrealist serenity? Hasn’t it gone one to become one of the basic settings for games, up there with Tolkien and “Alien”? Modern puzzle games like The Witness and The Talos Principle are able to do direct homage to Myst in their environmental design while simultaneously just being intuitive and appealing on present-day terms. Isn’t that the opposite of a “niche experience”?

And then on a slightly different branch of the tree of influence: what about the whole market for quiet, slow-paced, invitingly atmospheric “casual” games marketed to people other than young men, like hidden-object games, or the Nancy Drew series, et al.? And then by extension, what about everything else in the casual / mobile phone market? Isn’t all of that in some sense the real legacy of Myst?

Your answer may well be, “no, it’s really not,” but I’d want to read your reasons why not in more depth. I thought these notions of its influence were widespread.

(Also, possible copy edit: you take a moment to note that the game chooses to call its different areas “worlds,” but that would in fact be a pretty normal and self-explanatory thing for it to do; didn’t you mean to say that it calls them “ages”?)

- Jimmy Maher

February 22, 2020 at 9:37 am

Good catch on the “ages.” Thanks!

I find some parts of what you’ve written more compelling than other parts. I think it’s a stretch to attribute the whole casual-game market in any marked degree to Myst. Its most obvious antecedent is Tetris — also the first really popular mobile game outside the traditional gaming demographic, and a game that was, unlike Myst, obsessively *played* by just about everyone who encountered it. As I noted in the article, Myst’s design values are largely opposed to casual design values: Myst is *hard*, lacks difficulty levels, is absolutely committed to its aesthetic even when it comes at the price of player convenience, etc. We can certainly say that many of the same demographics who would later become casual players bought Myst, but any direct line of influence from the one to the other strikes me as tenuous at best. I’ve never seen any of the pioneers in the casual-game space refer to Myst as a major influence. Similarly, for his book A Casual Revolution, Jesper Juul interviewed a lot of casual players (many of whom devoted as much time to playing as hardcore players, but such is the nature of genre and taxonomy in the ludic space). Tetris is the name that comes up again and again among them when asked about their gateway game. Myst isn’t mentioned at all.

I would say much the same about the Nancy Drew games. Those games are heavily plot- and character-focused, with fixed storytelling arcs — almost anti-Mysts. I see a vastly stronger influence from traditional graphic adventures there, with the frustrations and overly taxing puzzles removed, difficulty levels implemented, etc., to suit a more casual market.

The fact is that The Witness and Talos Principle *are* niche games. They may sell more than even many hits from the era of Myst, thanks to the vastly expanded market for games in general today, but compared to a big AAA game, or for that matter a hit mobile casual game, they’re nowhere. ;)

Semantic quibbles aside, though, the question of Myst as an influence on modern games is an interesting one. I must confess that playing The Talos Principle doesn’t really put me in mind of Myst; just having the artificial intelligence talking to me constantly gives it a very different atmosphere. (More like Journeyman Project 2, maybe?) And its puzzles are all of a piece, a classic example of building upon a single mechanic to make the player feel like a genius by the end. Myst’s puzzles are very different, being much more in the mold of traditional adventure games. The undeniable influence on Talos Principle is Portal (the more recent one). Can we draw a line from Portal back to Myst? That, again, does strike me as a bit of a stretch. I certainly wouldn’t use the word “homage.”

When we come to the question of Myst as a more subtle aesthetic influence, you’re on firmer ground. Of course, Myst wasn’t the first to create this kind of atmosphere of lonely desolation: read the description of Flood Control Dam #3 in Zork I, a passage bound to strike many today as anachronistically “Myst-like.” Loneliness has always had a natural appeal to game designers because it saves them an awful lot of complications with implementing other characters.

Nor were mechanical puzzles with global effects on the environment original to Myst. Again, we see a fair amount of them in Infocom, in places like Zork III and Spellbreaker.

Still, I’m willing to accept that Myst was some influence here on those designers who came later. And you’re right that the genre of room-escape games do owe a definite debt to Myst.

My claim was never that Myst left no imprint on gaming. It’s just that Doom’s was vastly more obvious, vastly more direct, and vastly more commercially successful. The difference here is that Doom spawned a string of workalikes which were almost as successful as it was, several of them being among the top ten games of the 1990s. Myst spawned a similar string… for a while, until it became clear that there was no mass market yearning for more games in this style. It’s valid, I think, to ask why Doom’s long-term influence was so direct and concrete while Myst’s was, at best, more attenuated, when both games appear to have sold roughly the same number of copies.

Thanks for pushing back and causing me to think more deeply about these things!

- gamerindreams

February 22, 2020 at 1:13 pm

I would say the whole walking simulators genre like Gone Home, Dear Esther, Vanishing of Ethan Carter, Firewatch also show a Myst influence and they are growing in numbers daily

These games have the same feel of walking around a beautifully rendered (in real time) space all alone solving puzzles (although for the most part they are much easier than Myst puzzles) that trigger audio/video memories

Even Murdered Soul Suspect – when you enable the cheat to ignore ghosts becomes a very contemplative detective game – walking around saving people’s souls

- Petter Sjölund

February 22, 2020 at 2:38 pm

While I agree that many walking simulators are reminiscent of Myst, I think this is more of an accident than a direct influence. It just so happens that if you take a first-person shooter and remove an element that many people find off-putting, the shooting, you end up in pretty much the same place as you would if you took a Myst clone and removed the puzzles. The “trigger memories” thing does not happen in any Myst games as far as I remember, while it is a staple in horror-themed shooters.

- Richard Wells

February 24, 2020 at 5:16 am

I am not sure it is that different. The triggered memories give the player knowledge of the character the player operates backstory while the finding of a page in Myst provides the player with part of the brothers’ backstories. I have played games where a room had a puzzle where items needed to be moved and adjusted to find the clues to be able to get to the next set of rooms with the next set of clues all covered with a spooky music track. Effectively, it was Myst reskinned to the real world but made more affordable by not having any other characters.

- Andy

February 22, 2020 at 5:34 pm

Thanks for the detailed response!

Regarding Myst’s possible influence on the “casual” market, I was just referring to the way the industry conceives of what players want from games. I had always thought Myst was considered significant for introducing the idea that a broader demographic — specifically one that included female players and older players — might show up for games that were “pretty” and “relaxing,” games that had a enveloping and dreamy quality, and that might scratch the same itch as sitting somewhere cozy and piecing together a jigsaw puzzle. Maybe hard to exactly quantify what that thread is but I do think there’s one there.

And I didn’t mean to be saying that Talos Principle is a Myst-like; in terms of gameplay it is, as you say, a Portal-like, which I agree is quite a different thing. I just meant that Talos Principle, like many modern games, has a certain flavor of dreamlike serene environment that follows closely in Myst’s footsteps — islands in endless seas, surreal juxtapositions of abandoned architecture and mysterious technologies. And also a thematic overlap with Myst in terms of the meaning of that kind of landscape: Myst is all about the creation of virtual worlds by writing them, seemingly a metaphor for the game design process itself and our relationship to computers generally. And sure enough both The Talos Principle and The Witness justify their Myst-y landscapes as: virtual worlds, with a slightly melancholy implication. The underlying theme of lonely escape into the surreal beauty of the virtual is, as you say, traceable back to Zork and beyond, but Myst gave it a look and feel that has stuck around.

As for whether such games are “niche” or not, yes, it’s all relative, and you’re certainly right that we don’t live in a world where any of this sort of stuff dominates the culture at large. I guess it’s just hard for me to even conceive of an alternative history, in which slow quiet games are just as popular as fast noisy ones. As if! In movies, all other genres are niche compared to superhero movies, but that’s not their fault!

I guess I’m saying that I take Doom’s dominance and Myst’s relative niche-iness as having been natural and inevitable, reflecting societal predilections that go way beyond games, and thus not even requiring comment, but you’re right that it’s interesting to investigate that assumption more closely. I look forward to reading your take on the subsequent history as it unspools!

- calvin

February 22, 2020 at 2:42 pm

How a “walking simulators” (like The Witness as you mention, Firewatch, or Gone Home) plays and how “core” gamers spoke against them reminds me a lot of the Myst drama of the time, FWIW.

- xxx

February 22, 2020 at 7:40 pm

Too true. If there’s one thing gamers can’t seem to resist, then and now, it’s a “No True Scotsman” argument!

That said, it was heartening to see a funny counterexample to that sort of intolerance recently: https://www.rockpapershotgun.com/2020/02/20/the-doom-and-animal-crossing-fandoms-wish-each-other-luck-are-wholesome-and-lovely/

- Avian Overlord

February 22, 2020 at 11:27 pm

It’s something of an inversion though. Myst was controversial because it cast story aside (well, more or less), to focus on mechanical puzzles and world exploration, whereas walking simulators are controversial for for casting aside mechanical challenge entirely in favor of story.

- Brian Bagnall

April 28, 2020 at 12:32 pm

Good comments. One other popular game series that owes a debt to Myst is the series The Room (nothing to do with Tommy Wiseau). They’re almost more Myst than Myst, because of the complexity of the mechanical devices. Also, these type of games are great in VR where you just want to explore an interesting environment but also have something to do. The latest game in the series is The Room: a Dark Matter, which is VR exclusive and is terrific.

- Derek

February 22, 2020 at 3:22 am

Now we’re getting into the gaming era I remember—but even in the 1990s I was behind the times. Jimmy has made this point before, but it bears repeating: computers were changing so fast and becoming obsolete so rapidly in the 1990s that a lot of people were unable to play recent games. I was a child then, and a CD-ROM drive wasn’t high on my parents’ list of priorities, so until we got one in 1997 all the games I played were either professionally released products from the era just before CDs became standard (including SimCity, Prince of Persia, and Spelunx) or shareware. As soon as we got a drive, a family friend loaned us Myst, and solving the game became something of a family project. (I remain proud of figuring out how to reach the Stoneship Age.)

So I missed the hoopla surrounding Myst and got into adventure games just before the adventure game market started to die off. Ours can’t have been the only family that was behind the times that way.

Also, I’ll take this opportunity to plug Ivy Allie’s series of essays, Myst in Retrospect: http://ivyallie.com/myst/. The review of Myst itself is a bit thin, and I’m not sure how familiar Allie is with the prior history of adventure games, but the essays on the sequels are excellent, and if I don’t recommend them here I’ll have to wait around until Riven shows up at the Digital Antiquarian, which will be a looong time.

- Owen C.

February 22, 2020 at 4:20 am

Excellent article as usual, though I was a little bit miffed to see The Journeyman Project lumped into the category of “Myst copycats” when it was actually released several months before Myst (January 1993 compared to Myst’s September 1993 release.) I guess the confusion stems from the game getting a later “Turbo” re-release that was optimized for faster loading times.

- Jimmy Maher

February 22, 2020 at 10:13 am

Good catch! Fortunately, there’s a lot other titles to choose from. ;)

- Not Fenimore

February 22, 2020 at 1:14 pm

Journeyman Project 3 was the first game I ever beat end to end! Well, “beat”. I suspect I leaned on Arthur a lot for hints, but they did it organically enough I didnt mind.

- Ross

February 23, 2020 at 3:55 pm

Journeyman 3 was my favorite game straight through to Gone Home, but it’s a very different beast from the first one. The series as a whole really showcases the evolution of the genre (though it feels a few years behind the times at every beat). The first one is certainly the most myst-like, but it’s also representative of the classic age of adventure games in several ways, with its scoring mechanism, frequent cheap deaths, learn-by-death and mechanics that discourage exploration. The second one drops the scoring mechanism and encourages exploration and nonlinear gameplay, retains deaths but avoids dead-man-walking. It also replaces the hypercard-style slideshow presentation with a more sophisticated 2.5d interface. The third game pushes the UI elements all the way out to the edges, adds NPCs, removes death altogether, adds puzzles based on global narrative state, and changes from discreet camera angles to free-scrolling 360 panoramic nodes.

Then you get to the real weird fact that there are six games journeyman project games, and three of them are the first one.

- Todd Carson

February 22, 2020 at 4:54 am

The article says that the team consisted only of the Millers plus Chuck Carter and Chris Brandkamp, but there was at least one other well-known member: programmer Richard A. Watson, a.k.a. RAWA, who went on to create the D’ni language and numeral system that would feature in the subsequent games. He can be seen playing Prince of Persia in the “making of” video that originally shipped with Myst.

- Jimmy Maher

February 22, 2020 at 10:20 am

Thanks! Missed his credit in the manual somehow.

- Pedro Timóteo

February 22, 2020 at 8:30 am

But, however they categorize it, they’re happy to credit it with all but killing the adventure genre dead by the end of the 1990s. Myst, so this narrative goes, prompted dozens of studios to abandon storytelling and characters in favor of yet more sterile, hermetically sealed worlds just like its. And when the people understandably rejected this airless vision, that was that for the adventure game writ large.

I was expecting you to come back to this, but you didn’t. :) So, do those accusations have merit? They’re not a reason to “hate” Myst, much less the authors, of course, but I kind of feel that Myst *did* harm adventure games, not only for the reason you mentioned above, but also because it might have made companies consider other adventure games “failures” because they didn’t sell six million copies, and stop financing the genre altogether…

- Jimmy Maher

February 22, 2020 at 10:33 am

The full answer will come more organically, as we see what followed Myst. ;)

But my short answer would be that, yes, there is some partial merit to such claims. Myst undoubtedly created a bubble, as half the industry concluded that they could get rich by making their own 3D-modelled slideshow adventure game. (The other half, one might say, was suddenly making Doom clones, with considerably more commercial success.) But few others had the talent of the Miller brothers, and many or most were in it for the manifestly wrong reasons, with the result that all of the unfair complaints that are typically levied at Myst — incomprehensible puzzles, etc. — apply more accurately to its many clones. (It’s notable that there are no slider puzzles in Myst…) And when the vast majority of the Myst clones flopped in a saturated market, it was all too easy for the industry to conclude that the problem was adventure games in general, not this specific implementation of them.

On the other hand, this is by no means *all* that brought the genre down. Terrible puzzle design, alas, wasn’t limited to Myst clones. This, I think, was the broader reason that so many people concluded that adventure games in general just weren’t much fun. Throw in a changing industry with changing player demographics, preferring games with more immediate and visceral thrills, and what happened seems fairly inevitable.

Besides, some Myst clones were genuinely good games…

- Derek

February 22, 2020 at 3:17 pm

Myst clones are the one area of gaming history I know reasonably well, so I’ll be interested to see which of them you consider worth writing articles about. Some of them were interestingly weird, but I don’t know if you’d count any of the weird ones among the good ones.

A niggle: “…the old ‘nameless, faceless adventurer’ paragon…” Do you mean “paradigm”?

- Jimmy Maher

February 22, 2020 at 3:59 pm

Yeah, that’s the word I was looking for. Thanks!

If you’d care to tell me which ones you think are worth looking at, it might be helpful…

- Andrew Plotkin

February 23, 2020 at 6:42 pm

It’s hard to make recommendations in the post-Myst adventure bubble. Not because the games are all bad! But because they’re all kind of like Myst: good in some areas, weak in others. Ground out without a lot of game-design experience, at least not in the adventure game genre.

I played a bunch of them because I was hungry for first-person immersion and was willing to take the bad with the good.

Riven was certainly the standout of the late 90s. Cyan thought hard about design principles, put in all the storyline that Myst was missing, and hit all the marks.

But you could also feel good about playing Lighthouse (creepy), Obsidian (early, but very surreal), the whole Journeyman Project series, The Dark Eye (Poe adaptation), Morpheus (interesting story idea), Zork Nemesis (impressively arcane atmosphere, albeit barely connected to Zork), Dark Fall (start of an ongoing indie horror series), Rhem (Myst if it were designed by an absolute puzzle fiend who cared even less about story than Myst did), Alida (Myst if it were built on a giant guitar).

There was also a steady stream of European imports published by Dreamcatcher, which were minor but reliably decent if you just wanted to play another one of that sort of thing.

On the down side, there were some high-profile, highly hyped titles which turned out to be washouts when you tried to play them. Schizm and Starship Titanic, for obvious examples.

Once you get into the 2000s, the genres have started to mix and things are less clear. Pure Myst-style adventure games are in retreat, but console action-adventures and survival-horror games have picked up the techniques of environmental storytelling and immersive environments. So you have Silent Hill, Ico, the 3D Prince of Persia series, Bioshock, Portal, and so on. I don’t mean these were direct descendants of Myst, but they were all successfully doing the trick of “create an immersive narrative world and pull you into it by the eyeballs.” After that, when you talked about “a Myst-style game”, you were more talking about what the game *didn’t* have (combat, platforming) than any specific element it *did* copy from Myst.

(The question of whether Myst, Portal, and The Witness are the same genre is another whole discussion. I say no, but this comment is already too long for its margin…)

- Jimmy Maher

February 23, 2020 at 8:09 pm

Great! Thanks! Of those, I’ve played Journeyman Project 2, The Dark Eye, and Dark Fall.

- Wouter Lammers

February 23, 2020 at 10:14 pm

I always felt that The Dig was inspired by Myst quite a bit, despite NOT going for a first person immersive viewpoint. But the whole figuring out how to get around an alien environment through mechanisms that have effect on others in different locations.
Not high on many LucasArts lists but I like it quite a bit.

- Jason Dyer

February 24, 2020 at 3:18 am

I’d recommend a shot at The Book of Watermarks, if nothing else to see what happens when Japanese developers try to do their own Myst clone.

(the game is in English with Japanese subtitles, even though it was only released in Japan)

- Derek

February 22, 2020 at 4:35 pm

Oh, I don’t know. I’m a terrible adventure-game player—a prime example of the aesthete-type player you mention above—and no good at judging puzzle quality. Ask Plotkin, he knows the genre. The main examples of weirdness I was thinking of were Secrets of the Luxor (probably the only adventure game in history to be based on a licensing deal with a casino) and Drowned God (paranoia incarnate), but neither of them makes much sense story-wise, and I doubt they’re anything special puzzle-wise.

- Brian Bagnall

April 28, 2020 at 12:42 pm

I’m really surprised LucasArts didn’t come out with their own Star Wars themed Myst game. That was the era where they would copy whatever popular genre head just exploded and slap the Star Wars theme on it. Sometimes it worked great, as with Dark Forces, which is probably a better game than Doom even. Alas this strategy turned out to be the death of creativity from LucasArts.

- Alberto

February 22, 2020 at 12:47 pm

Thanks for another great writeup and your attempt to see merits and limits of this famous game beyond the exaggerated reactions of many players.

One curiosity I still have is if the authors were somehow inspired by Bioy Casares’ work “The invention of Morel”. The book is considered a masterwork of the magical realism genre and its story snd atmosphere bear a striking resemblance to Myst (suffice to look at the cover pictured in Wikipedia’s article: https://en.m.wikipedia.org/wiki/The_Invention_of_Morel#/media/File%3AThe_Invention_of_Morel_1940_Dust_Jacket.jpg). Yet I rarely see this book cited in connection to the game and I wonder if the similarities are just coincidental.

- Jimmy Maher

February 22, 2020 at 3:39 pm

The Miller brothers are pretty open about their influences, and I’ve never seen them mention that one. The one that tends to come up over and over is Jules Verne.

- Derek

February 22, 2020 at 3:49 pm

Not that I’m aware. The book that’s always cited as inspiring Myst is Jules Verne’s The Mysterious Island.

- Petter Sjölund

February 22, 2020 at 2:21 pm

I’ll try to be non-spoilery, but you probably still should skip this if you haven’t played the game.

Regarding “the one extended maze”, it is not as bad as it seems as first, as the clues to how to solve it are pretty obvious once you notice them. The main problem is that it is *possible* to brute-force by drawing a map, which of course I and many others did before even noticing the clues. It is also a problem that once you take a wrong turn, the “clues” will lead you further into a dead end rather than back to the right path. To make things worse, I think there is a bug in some versions that makes the “simulator” in the Mechanical Age give the wrong clues.

- Jimmy Maher

February 22, 2020 at 3:56 pm

I never realized there was another solution. But then, I personally don’t mind a maze once in a while. I find methodically working one out, for all that it’s a thoroughly rote process by now, to be oddly soothing.

The maze is the one puzzle in Myst which the Miller brothers themselves repeatedly cite as problematic, by the way…

- Owen C.

February 24, 2020 at 6:11 am

The other issue with that puzzle is that while there is a clue to the maze found in the Mechanical Age, Myst does not allow you to leave an age until you completed it. So if you are stuck on the puzzle you have no way of finding the Mechanical Age clue short of starting a new game/reloading from a save. And if I recall it’s one of only two instances in the game where you’re expected to have knowledge of a clue from another Age (the other case being the note split into two halves). So it’s unlikely that players will think that they need to look for clues in another Age, or realize that the Mechanical Age simulator is supposed to be a clue to the maze puzzle.
This no doubt also leads to a lot of people solving the maze through brute force.

Weirdly, although this is widely regarded as the worst puzzle in Myst, the developers repeated this same particular mistake (having a puzzle where you’re unable to return to the place where clues can be found until solving it) for one puzzle in their latest game Obduction.

- Oscar Sebastian

February 24, 2020 at 10:24 pm

Which puzzle was that, again? I don’t recall getting stuck in Obduction in such a way.

- Andrew Plotkin

March 6, 2020 at 6:16 pm

(Late answer, sorry:) There’s a point in Obduction where you have to enter numbers using the alien symbols you’ve learned. But you’re trapped in an area far away from the Hunrath garage, which has the sandbox toy where you *learn* the number system. If you didn’t pay attention back in the garage, or didn’t keep good enough notes, you can get stuck here.

I *think* that Cyan has since updated the game to remove that locked door (the one blocking the way back to Hunrath), thus fixing the problem. I haven’t replayed it since the initial release so I can’t say for sure.

- Kai

February 22, 2020 at 4:11 pm

Myst was one of those state-of-the-art games that you just had to play, and so I did. And I have to say that the visuals and multi-media aspects did not disappoint. But being from the Lucasart camp of point & click adventure games, neither the sterile surroundings nor the byzantine puzzles did impress. So I took a tour of the island, flicked some knobs and switches to no apparent effect, then turned to the strategy guide that luckily was included in the box. Much later I even read the books, but I’ve stayed away from any Myst-like game ever since, although occasionally I find Myst-like puzzles in other games. I don’t think it’s a bad game in general, and certainly don’t blame it for the demise of adventure games by the end of the ’90s (Doom is the much more likely offender). It’s just not a game for me. At least it has that in common with Doom.

(Also, in the 3rd paragraph there’s “if only the _the_ culture”.)

- Jimmy Maher

February 22, 2020 at 4:36 pm

Thanks!

- Derek

February 22, 2020 at 5:52 pm

One last point: I’m not sure if it’s a sentence-structure problem, but Robyn Miller, not Rand, composed the music.

- Jimmy Maher

February 22, 2020 at 7:08 pm

Thanks!

- Jason Dyer

February 23, 2020 at 3:53 am

re: Pyst. I’m guessing John Goodman came at a discount. The writer (Peter Bergman, of Firesign Theater fame) had previously worked with Goodman for years on radio.

https://web.archive.org/web/20020620074639/http://www.firezine.net/issue1/fz1_05.htm

- Martin

February 23, 2020 at 11:57 pm

So what’s the word on Pyst? Is it any good? I’ve got a copy sitting here that I’ve never got around to trying.

- Jason Dyer

February 24, 2020 at 3:00 am

It is not good.

It’s only worth it for the morbidly historically curious (which you might be, if you are a reader of this blog).

- Derek

March 1, 2020 at 8:35 pm

There’s always Mylk.

- Creature

February 23, 2020 at 10:43 pm

Not sure where you’re seeing this animosity between Doom fans and Myst fans? I’ve kept up with the Doom community to a greater or lesser extent for two decades now. There is no widespread or even not so widespread hatred of Myst and adventure games in general. Sure, there’s bound to be a few hardcore kiddies who vocally crap on any game where you don’t shoot things, but they by no means are representative of most Doom fans. Doom itself has been modded over the years into everything from a puzzle game to a kart racer to a platformer.

- Jimmy Maher

February 24, 2020 at 5:33 am

The way that was written, it implied that *almost all* Doom fans “hate any game that isn’t violent and visceral on principle.” That really wasn’t my intention. Deleted that bit. Thanks!

- Wolfeye M.

February 24, 2020 at 3:31 am

I borrowed Myst from the library, when I was a kid. I guess they thought it was educational, because it was in the rack with games like Math Blaster and Reader Rabbit. I don’t think I understood quite what I was supposed to do.

I remember being initially impressed with the visuals and art, as well as the FMV. I know FMV is thought of as cheesy and bad now, but it was the first time I had a real human being as a character in a game I was playing. I thought the world’s within the books idea was cool, because I was a bit bookish myself. But, I wandered around the first island, couldn’t figure out what to do to leave, got bored, and ended up returning the game before it was due. There just wasn’t much game to it.
Never could understand why it was so popular.

Reading this article did clue me in, a bit. But, I still think it’s popularity was a fluke.

- Pingback: Weekly news roundup #2 – The Guild of Messengers

- Gnoman

February 27, 2020 at 2:50 am

“Many of their titles are known to gamers today who weren’t yet born when they debuted: titles like Duke Nukem 3D, Quake, Half-Life, Unreal.”

I don’t know if it was intended, but leaving the “and” off of lists like these gives the sentence an almost legendary or mythic quality that I find quite endearing in moderation. Not sure how one would describe it better, and the comparison I’m thinking of stubbornly refuses to form, but I did feel like it deserved mention.

- Filip Hracek

March 6, 2020 at 9:35 pm

Thank you for the article. Great research and writing, as always.

I have a question about this claim:

> There are plenty of other games of equal or even greater overall merit to which [the above mentioned traits] apply equally well, but none of them sold in excess of 6 million copies.

Could you list a few of those? My hypothesis is that the field was actually quite small, if not non-existent. We are talking about games that:

* are non-violent
* are nice to look at (artistic style)
* bring a sufficiently new aesthetic for its time (3D render)
* use the potential of people’s new machines (multimedia)
* are thematically safe (e.g. no politics)
* are sufficiently well made

Myst, in my view, is to CD-ROM what Wii Sports was to home consoles, and what Beat Saber might be to VR.

In other words, I don’t think you necessarily need to invoke the inexplicable vagaries of chance. I agree the Miller brothers didn’t _design_ their game this way, and they didn’t strategically pick the time of release.

But the combination of the traits above, and the timing, has been a pretty decent predictor of success in other times. I don’t think there were many viable competitors in that space.

- Jimmy Maher

March 7, 2020 at 9:44 am

I think we’re largely in agreement. The important thing, which admittedly did perhaps get lost in the context of that section of the article, is that all of those other games I refer to came *later*. (See Andrew Plotkin’s article elsewhere for an annotated list of some of the best of them, which for the most part meet all of our criteria.) I don’t, in other words, think Myst’s success was just *pure* dumb luck — as if someone plucked a random box off the shelf to become the official go-to CD-ROM showcase — but I do think it hinged on perfect timing. It was a perfect storm of aesthetics, smart marketing, and, yes, luck.

- Vadim

March 11, 2020 at 11:05 am

I think Myst was the predecessor of casual Hidden Object games. And because of that – it achived much bigger audience. People, that bought computers not for games. Wimen – secretary, accountants. That is a main reason of it’s commerciall success.

- Nate

April 21, 2020 at 5:52 am

Some possible typos:

“sealed worlds just like its”

“One Chuck Carter helped Robyn on the art side”

- Jimmy Maher

April 21, 2020 at 9:31 am

Thanks, but as intended.

- John-Gabriel Adkins

May 4, 2020 at 9:45 pm

Hi Jimmy,

Interesting piece! Much fairer to the multifaceted history around this game than many others on the subject.

I realize this article was posted a few months ago (only just now did I stumble across it), but I wanted to drop off a source for your perusal. We chatted on Twitter a couple of years back about the old claim that the vast majority of Myst owners didn’t really play it. You address many of those points toward the bottom of your piece here, but a new bit of data has come into my possession since we last talked, and I feel like it’s worth grappling with.

What follows is an excerpt from a GameSpot article from October 1997. During this period the firm Media Metrix, part of the same data-tracking boom that PC Data rode, released regular reports on the number of game-hours played by owners of Windows PCs. While GameSpot neglects to mention exactly when these numbers were gathered, the date on the story and the fact that reports were quarterly strongly suggests Q3 1997. To quote:

“The quarterly reports, generated from a sampling of 10,000 US Census-balanced PC-owning households where 28,000 people are using the Media Metrix proprietary PC Meter software, indicate that Microsoft’s Freecell, Solitaire, Entertainment Pack 4, and Hearts Network claim four of the top five slots where play hours ranged from 34.6 million hours to 7 million hours.

“Comparatively, MS Flight Simulator ranked third on the top five most-used 3D games, reporting only 321,000 hours.

“Among 3D titles, Doom topped the list with 402,000 hours of total gameplay; followed by Myst with 373,000 hours. MechWarrior 2 and Fury 3 completed the list with 284,000 and 154,000 hours respectively.”

Link: https://web.archive.org/web/20000305062153/http://headline.gamespot.com/news/97_10/28_dummies/index.html

The first, most obvious takeaway is that Myst was still being played *a lot* in the lead-up to Riven’s release. It seems to have beaten all non-Doom, non-pack-in titles for the quarter. Given its sales volume at that time, this is only natural–373,000 hours in a quarter could break down, albeit unrealistically, to 373,000 new buyers playing 1 hour each. What’s more interesting is Myst’s placement here relative to Doom and Flight Simulator.

As you know, Myst sold 869,774 domestic units in 1997. Flight Simulator sold just below this number: 813,830. You can see this reflected in the hour gap. But Flight Simulator was built to cater to–and is arguably the quintessential title of–those casual buyers in the ’90s who owned just a handful of games that they replayed for years. Myst is much more of a one-and-done title, resistant to the kind of endless replaying that a Flight Simulator entry attracted by design.

What’s even more interesting is Doom’s placement here. Given that Doom’s retail version didn’t make PC Data’s top 25 for 1997, we’re left to assume that Media Metrix’s data includes the shareware. If that’s the case, then Doom’s playerbase by this time was almost certainly *larger* than Myst’s, as the shareware spread like wildfire to just about every American computer that could run it. And yet Myst’s playtime stacks up competitively with Doom’s–despite, again, being a one-and-done title compared to possibly the most replayed computer game of the ’90s.

It’s possible that there’s an alternative explanation for this data. However, I’m inclined to accept the Occam’s razor solution: that Myst’s sales-to-hours ratio was largely average, about what you’d expect for a popular game from its era. The issue you raise in your piece about Myst’s spillover (or lack thereof) to the sales of later games in its style is an interesting one, and I believe worth digging in to. But I’m hesitant to attribute it to a lack of playtime so much as poor marketing, poor timing and a playerbase that was, because of the infrastructural nature of selling computer games in the ’90s, ultimately unreachable for the majority of Myst competitors.

- John-Gabriel Adkins

May 4, 2020 at 10:10 pm

Addendum: doing a little digging after I sent this reply, I was able to locate more information about the Media Metrix report from the GameSpot article. The data derives from June 1997 exclusively, rather than Q3 1997 as a whole. You can see the original press release from which GameSpot’s report derived here:

https://web.archive.org/web/19980212000129/http://mediametrix.com/corp/press/pcmpr35.htm

- John-Gabriel Adkins

May 4, 2020 at 10:58 pm

One last addendum:

The full Media Metrix report contains another new data point I didn’t have when I wrote my initial reply, which is the number of users versus the number of hours played–something unfortunately neglected in the GameSpot article.

A few noteworthy points, without much structure because I’m just learning this now. Myst’s playerbase versus Doom’s was significantly larger, and Doom’s playerbase punched enormously above its weight in terms of hours played. Myst’s playerbase punched under its weight, with users outnumbering hours (a feat only repeated by Fury 3, a game I know little about). This is the first hard data I’ve seen that finally backs up the argument that Myst owners played the game a below-average amount.

That said, another important factor: Doom’s playerbase seems, at least at first glance, too small to include the unpaid shareware users I’d believed were part of the survey. id Software’s shareware-player estimates far outstrip the small number of dedicated players that Metrix is tracking here, which isn’t that far above MechWarrior 2 players–even though MechWarrior 2’s sales fell well below Doom’s. Comparatively, the Myst playerbase tracked via the PC Meter by nature includes pack-in owners, who would (at least commonsensically) be less engaged with the product than intentional buyers.

Pack-in owners would help to explain the seismic difference in player count between Myst and Flight Simulator, which had sold fairly competitively with Myst by this time. It would be more-or-less impossible for this horde of Myst players to be explained solely through purchases of the Myst SKU: Myst simply wasn’t selling fast enough in June 1997 for that many people to have picked it up and put it down that quickly.

I’ll have to think on the data more, now that I have the playercount. It’s much messier than I initially believed. I can conclude for certain that Myst’s overall audience, when including pack-in players, seems to have been engaged a below-average amount. This much supports the common narrative about Myst players. But the existence of these pack-ins also makes it hard to judge, based on PC Meter data, exactly how engaged Myst’s core audience really was. That analysis would need to take the lack of replayability into account, and weigh it against the hard numbers that Myst had sold in the US compared to Flight Simulator at that time. I’d also ideally have more than one Media Metrix report, which I don’t currently possess.

Apologies for thinking out loud in your comments section. My research of this stuff is a process, and I stumble across new material almost every time I look. This comment thread is a good example: I’d had the GameSpot report for probably a year or more, but only just now thought to check Media Metrix’s press release section to see if there was more data available. If nothing else, I hope this new information is useful in furthering your research.

- Jimmy Maher

May 5, 2020 at 8:53 am

A few points jump out for me:

1. The Media Metrix report is described as a “a sampling of 10,000 US Census-balanced PC-owning households.” It’s not, in other words, specifically targeting households whose computer is used for gaming. The vast majority of the PCs that had come into American households in such vast quantities by 1997 were purchased primarily or exclusively to surf the net, do email, etc. This is certainly borne out by the list of top games in general being almost all pack-in Microsoft casual games. And these people were also the classic Myst demographic according to the conventional narrative, which I’m generally inclined to hew to, at least in the broad strokes. What would be interesting to see is how many people in the survey *owned* Myst versus Doom. That would tell us definitively whether the average-hours numbers were the result of a lot of people owning Myst, but only playing it very casually, versus fewer people owning Doom, but playing it with much more dedication.

2. At the time of this survey, Quake, the officially anointed successor to Doom, had recently been released. Doom wasn’t old enough at this point to be considered a classic; it was just an old game. And first-person shooters, then as now, had a fan base who invested heavily in the latest hardware and were always after the latest and greatest to show it off. Nowadays the original Doom had been rediscovered to some extent and elevated to a hallowed position, and has a surprisingly substantial active fan base; I would guess that it’s played much more than Quake these days, which many deem to have aged less well. Between these two peaks, however, it strikes me that there was probably a wide valley, beginning with the release of Quake, when Doom was somewhat neglected.

3. The flip side of this coin is the fact that Doom has a lot more legs as a game than Myst, any way you slice it. Even if you love Myst, there comes a point, probably within two or three dozen hours at the most, where you’ve completely explored its geography, solved all of its puzzles, and seen all of its endings. At this point, there’s just nothing else to *do* with it. Doom, on the other hand, can quite literally be played forever with great satisfaction, assuming it’s the kind of game you enjoy in the first place. Death Match is the gift that never stops giving.

4. The third side of this particular misshapen coin is that it ironically emphasizes even more Myst’s peculiar inability to pull other games along on its coattails. (Forgive the explosion of dodgy metaphors!) If you love Myst and play it raptly to completion, the finite number of hours of enjoyment it can provide would presumably lead you to go out and try to find more games to play that are like it. But this just didn’t happen, and remains in my opinion the most telling piece of evidence against Myst as a game that was actually played to a degree commensurate with its sales figures.

I do appreciate your attempts to tackles these questions through hard analytics. By no means have I dismissed them out of hand, and I hope I haven’t tortured them unduly to fit a narrative I’m predisposed to believe. What I would say, however, is that such analyses are ultimately only as good as the numbers that go into them, and in this case the data we have is limited at best. There’s a fine line for an historian to walk here; anecdote is not history. Yet there is space to look at the bigger picture, applying what we know about people and games in a broader sense as well as other pieces of key circumstantial evidence, perhaps most notably Myst’s lack of coattails. On the whole, then, I’m still inclined to believe that most people who bought Myst didn’t play it all that seriously. Nowhere else do we see a mass market embracing this sort of quiet, heavily cerebral game to the same degree; it’s a niche product that went mass market through an accident of history. Which says nothing, of course, about its value as a game within its chosen set of values. (Personally, I find Myst a hell of a lot more enticing than either Doom or Solitaire… but I’m a weirdo.)

Anyway, thanks so much for your earlier article on Myst! It was a huge aid to me in writing this article.

- John-Gabriel Adkins

May 5, 2020 at 5:45 pm

You’re welcome regarding that article! And yes, the hours-played data is certainly limited (and weighted by the mere fact that people who installed the PC Meter were already a particular kind of person, even in the ’90s).

The coattails issue is a thorny one, and one that I want to explore if I ever finish another deep-dive about game history. I’ve crunched a lot of data since the last one that I believe can explain it. That said, the Myst article’s negative blowback from certain quarters was discouraging, and the subject I chose to tackle immediately after it — a large-scale piece about adventure games, industry sales trends and corporate practices — ultimately crushed me under its weight. I don’t know whether I’ll do another one, but I’ll be sure to drop you a line if I ever manage to address this point you’ve raised.

Have a good week!

- Jimmy Maher

May 5, 2020 at 6:02 pm

By all means, do let me know. Your Myst article was great work. And ditto!

- Marco

June 10, 2020 at 10:41 pm

So I’ve just completed Myst, having had a couple of aborted attempts in the past. Regarding the reason for its success, I would describe it as the iPhone of adventure games. The games recently preceding it were like Blackberries, trying to combine a graphical interface with a “keyboard” of verbs. Myst not only simplified the interface but made it incredibly swish, slick and satisfying to use.

But as you say, the learning curve goes sharply up from that point. The puzzles are quite satisfying and aren’t ridiculously hard – not Return to Zork hard – but they are tougher than average for an adventure game, and not helped by a couple of unsignposted pixel hunts.

In terms of the standard criticisms, I don’t actually think the lack of character interaction and inventory are big problems, and there is more plot than often claimed. The issues are the inconsistency of style – the main island in particular is a jarring mess – and the lack of integration of most puzzles into the setting, so one can’t suspend disbelief that they’re anything other than artificial obstacles. (I mean, a rocket that powers up by matching notes on a piano…)

Regarding the comments about other Myst-style games. Zork: Nemesis is one of my favourite games ever, and one I feel is very underrated. I can see now how similar it is to Myst, but I think it corrects some of those faults, by integrating the environments and machines better into the story. (Some say it’s not Zork enough, but I’d counter that all the Zork games are very different from each other.)

I’ve also played the Journeyman series, and agree that the first one is the most Myst-like of the three. The difference is that you are racing against an active enemy, which gives a very different vibe to the exploration.

The 68000 Wars, Part 6: The Unraveling
March 6, 2020

Commodore International’s roots are in manufacturing, not computing. They’re used to making and selling all kinds of things, from calculators to watches to office furniture. Computers just happen to be a profitable sideline they stumbled into. Commodore International isn’t really a computer company; they’re a company that happens to make computers. They have no grand vision of computing in the future; Commodore International merely wants to make products that sell. Right now, the products they’re set up to sell happen to be computers and video games. Next year, they might be bicycles or fax machines.

The top execs at Commodore International don’t really understand why so many people love the Amiga. You see, to them, it’s as if customers were falling in love with a dishwasher or a brand of paper towels. Why would anybody love a computer? It’s just a chunk of hardware that we sell, fer cryin’ out loud.

— Amiga columnist “The Bandito,” Amazing Computing, January 1994

Commodore has never been known for their ability to arouse public support. They have never been noted for their ability to turn lemons into lemonade. But, they have been known to take a bad situation and create a disaster. At least there is some satisfaction in noting their consistency.

— Don Hicks, managing editor, Amazing Computing, July 1994

In the summer of 1992, loyal users of the Commodore Amiga finally heard a piece of news they had been anxiously awaiting for half a decade. At long last, Commodore was about to release new Amiga models sporting a whole new set of custom chips. The new models would, in other words, finally do more than tinker at the edges of the aging technology which had been created by the employees of little Amiga, Incorporated between 1982 and 1985. It was all way overdue, but, as they say, better late than never.

The story of just how this new chipset managed to arrive so astonishingly late is a classic Commodore tale of managerial incompetence, neglect, and greed, against which the company’s overtaxed, understaffed engineering teams could only hope to fight a rearguard action.

Commodore’s management had not woken up to the need to significantly improve the Amiga until the summer of 1988, after much of its technological lead over its contemporaries running MS-DOS and MacOS had already been squandered. Nevertheless, the engineers began with high hopes for what they called the “Advanced Amiga Architecture,” or the “AAA” chipset. It was to push the machine’s maximum screen resolution from 640 X 400 to 1024 X 768, while pushing its palette of available colors from 4096 to 16.8 million. The blitter and other pieces of custom hardware which made the machine so adept at 2D animation would be retained and vastly improved, even as the current implementation of planar graphics would be joined by “chunky-graphics” modes which were more suitable for 3D animation. Further, the new chips would, at the user’s discretion, do away with the flicker-prone interlaced video signal that the current Amiga used for vertical resolutions above 200 pixels, which made the machine ideal for desktop-video applications but annoyed the heck out of anyone trying to do anything else with it. And it would now boast eight instead of four separate sound channels, each of which would now offer 16-bit resolution — i.e., the same quality as an audio CD.

All of this was to be ready to go in a new Amiga model by the end of 1990. Had Commodore been able to meet that time table and release said model at a reasonable price point, it would have marked almost as dramatic an advance over the current state of the art in multimedia personal computing as had the original Amiga 1000 back in 1985.

Sadly, though, no plan at Commodore could long survive contact with management’s fundamental cluelessness. By this point, the research-and-development budget had been slashed to barely half what it had been when the company’s only products were simple 8-bit computers like the Commodore 64. Often only one engineer at a time was assigned to each of the three core AAA chips, and said engineer was more often than not young and inexperienced, because who else would work 80-hour weeks at the salaries Commodore paid? Throw in a complete lack of day-to-day oversight or management coordination, and you had a recipe for endless wheel-spinning. AAA fell behind schedule, then fell further behind, then fell behind some more.

Some fifteen months after the AAA project had begun, Commodore started a second chip-set project, which they initially called “AA.” The designation was a baseball metaphor rather than an acronym; the “AAA” league in American baseball is the top division short of the major leagues, while the “AA” league is one rung further down. As the name would indicate, then, the AA chipset was envisioned as a more modest evolution of the Amiga’s architecture, an intermediate step between the original chipset and AAA. Like the latter, AA would offer 16.8 million colors — of which 256 could be onscreen at once without restrictions, more with some trade-offs —  but only at a maximum non-interlaced resolution of 640 X 480, or 800 X 600 in interlace mode. Meanwhile the current sound system would be left entirely alone. On paper, even these improvements moved the Amiga some distance beyond the existing Wintel VGA standard — but then again, that world of technology wasn’t standing still either. Much depended on getting the AA chips out quickly.

But “quick” was an adjective which seldom applied to Commodore. First planned for release on roughly the same time scale that had once been envisioned for the AAA chipset, AA too fell badly beyond schedule, not least because the tiny engineering team was now forced to split their energies between the two projects. It wasn’t until the fall of 1992 that AA, now renamed to the “Advanced Graphics Architecture,” or “AGA,” made its belated appearance. That is to say, the stopgap solution to the Amiga’s encroaching obsolescence arrived fully two years after the comprehensive solution to the problem ought to have shipped. Such was life at Commodore.

Rather than putting the Amiga out in front of the competition, AGA at this late date could only move it into a position of rough parity with the majority of the so-called “Super VGA” graphics cards which had become fairly commonplace in the Wintel world over the preceding year or so. And with graphics technology evolving quickly in the consumer space to meet the demands of CD-ROM and full-motion video, even the Amiga’s parity wouldn’t last for long. The Amiga, the erstwhile pioneer of multimedia computing, was now undeniably playing catch-up against the rest of the industry.

The Amiga 4000

AGA arrived inside two new models which evoked immediate memories of the Amiga 2000 and 500 from 1987, the most successful products in the platform’s history. Like the old Amiga 2000, the new Amiga 4000 was the “professional” machine, shipping in a big case full of expansion slots, with 4 MB of standard memory, a large hard drive, and a 68040 processor running at 25 MHz, all for a street price of around $2600. Like the old Amiga 500, the Amiga 1200 was the “home” model, shipping in an all-in-one-case form factor without room for internal expansion, with 2 MB of standard memory, a floppy drive only, and a 68020 processor running at 14 MHz, all for a price of about $600.

The two models were concrete manifestations of what a geographically bifurcated computing platform the Amiga had become by the early 1990s. In effect, the Amiga 4000 was to be the new face of Amiga computing in North America; ditto the Amiga 1200 in Europe. Commodore would make only scattered, desultory attempts to sell each model outside of its natural market.

Although the Amiga 500 had once enjoyed some measure of success in the United States as a games machine and general-purpose home computer, those days were long gone by 1992. That year, MS-DOS and Windows accounted for 87 percent of all American computer-game sales and the Macintosh for 9 percent, while the Amiga was lumped rudely into the 4 percent labeled simply “other.” Small wonder that very few American games publishers still gave any consideration to the platform at all; what games were still available for the Amiga in North America must usually be acquired by mail order, often as pricey imports from foreign climes. Then, too, most of the other areas where the Amiga had once been a player, and as often as not a pioneer — computer-based art and animation, 3D modeling, music production, etc. — had also fallen by the wayside, with most of the slack for such artsy endeavors being picked up by the Macintosh.

The story of Eric Graham was depressingly typical of the trend. Back in 1986, Graham had created a stunning ray-traced 3D animation called The Juggler on the Amiga; it became a staple of shop windows, filling at least some of the gap left by Commodore’s inept marketing. User demand had then led him to create Sculpt 3D, one of the first two practical 3D modeling applications for a consumer-class personal computer, and release it through the publisher Byte by Byte in mid-1987. (The other claimant to the status of absolute first of the breed ran on the Amiga as well; it was called Videoscape 3D, and was released virtually simultaneously with Sculpt 3D). But by 1989 the latest Macintosh models had also become powerful enough to support Graham’s software. Therefore Byte by Byte and Graham decided to jump to that platform, which already boasted a much larger user base who tended to be willing to pay higher prices for their software. Orphaned on the Amiga, the Sculpt 3D line continued on the Mac until 1996. Thanks to it and many other products, the Mac took over the lead in the burgeoning field of 3D modeling. And as went 3D modeling, so went a dozen other arenas of digital creativity.

The one place where the Amiga’s toehold did prove unshakeable was desktop video, where its otherwise loathed interlaced graphics modes were loved for the way they let the machine sync up with the analog video-production equipment typical of the time: televisions, VCRs, camcorders, etc. From the very beginning, both professionals and a fair number of dedicated amateurs used Amigas for titling, special effects, color correction, fades and wipes, and other forms of post-production work. Amigas were used by countless television stations to display programming information and do titling overlays, and found their way onto the sets of such television and film productions as Amazing Stories, Max Headroom, and Robocop 2. Even as the Amiga was fading in many other areas, video production on the platform got an enormous boost in December of 1990, when an innovative little Kansan company called NewTek released the Video Toaster, a combination of hardware and software which NewTek advertised, with less hyperbole than you might imagine, as an “all-in-one broadcast studio in a box” — just add one Amiga. Now the Amiga’s production credits got more impressive still: Babylon 5, seaQuest DSV, Quantum Leap, Jurassic Park, sports-arena Jumbotrons all over the country. Amiga models dating from the 1980s would remain fixtures in countless local television stations until well after the millennium, when the transition from analog to digital transmission finally forced their retirement.

Ironically, this whole usage scenario stemmed from what was essentially an accidental artifact of the Amiga’s design; Jay Miner, the original machine’s lead hardware designer, had envisioned its ability to mix and match with other video sources not as a means of inexpensive video post-production but rather as a way of overlaying interactive game graphics onto the output from an attached laser-disc accessory, a technique that was briefly en vogue in videogame arcades. Nonetheless, the capability was truly a godsend, the only thing keeping the platform alive at all in North America.

On the other hand, though, it was hard not to lament a straitening of the platform’s old spirit of expansive, experimental creativity across many fields. As far as the market was concerned, the Amiga was steadily morphing from a general-purpose computer into a piece of niche technology for a vertical market. By the early 1990s, most of the remaining North American Amiga magazines had become all but indistinguishable from any other dryly technical trade journal serving a rigidly specialized readership. In a telling sign of the times, it was almost universally agreed that early sales of the Amiga 4000, which were rather disappointing even by Commodore’s recent standards, were hampered by the fact that it initially didn’t work with the Video Toaster. (An updated “Video Toaster 4000” wouldn’t finally arrive until a year after the Amiga 4000 itself.) Many users now considered the Amiga little more than a necessary piece of plumbing for the Video Toaster. NewTek and others sold turnkey systems that barely even mentioned the name “Commodore Amiga.” Some store owners whispered that they could actually sell a lot more Video Toaster systems that way. After all, Commodore was known to most of their customers only as the company that had made those “toy computers” back in the 1980s; in the world of professional video and film production, that sort of name recognition was worth less than no name recognition at all.

In Europe, meanwhile, the nature of the baggage that came attached to the Commodore name perhaps wasn’t all that different in the broad strokes, but it did carry more positive overtones. In sheer number of units sold, the Amiga had always been vastly more successful in Europe than in North America, and that trend accelerated dramatically in the 1990s. Across the pond, it enjoyed all the mass-market acceptance it lacked in its home country. It was particularly dominant in Britain and West Germany, two of the three biggest economies in Europe. Here, the Amiga was nothing more nor less than a great games machine. The sturdy all-in-one-case design of the Amiga 500 and, now, the Amiga 1200 placed it on a continuum with the likes of the Sinclair Spectrum and the Commodore 64. There was a lot more money to be made selling computers to millions of eager European teenagers than to thousands of sober American professionals, whatever the wildly different price tags of the individual machines. Europe was accounting for as much as 88 percent of Commodore’s annual revenues by the early 1990s.

And yet here as well the picture was less rosy than it might first appear. While Commodore sold almost 2 million Amigas in Europe during 1991 and 1992, sales were trending in the wrong direction by the end of that period. Nintendo and Sega were now moving into Europe with their newest console systems, and Microsoft Windows as well was fast gaining traction. Thus it comes as no surprise that the Amiga 1200, which first shipped in December of 1992, a few months after the Amiga 4000, was greeted with sighs of relief by Commodore’s European subsidiaries, followed by much nervous trepidation. Was the new model enough of an improvement to reverse the trend of declining sales and steal a march on the competition once again? Sega especially had now become a major player in Europe, selling videogame consoles which were both cheaper and easier to operate than an Amiga 1200, lacking as they did any pretense of being full-fledged computers.

If Commodore was facing a murky future on two continents, they could take some consolation in the fact that their old arch-rival Atari was, as usual, even worse off. The Atari Lynx, the handheld game console which Jack Tramiel had bilked Epyx out of for a song, was now the company’s one reasonably reliable source of revenue; it would sell almost 3 million units between 1989 and 1994. The Atari ST, the computer line which had caused such a stir when it had beat the original Amiga into stores back in 1985 but had been playing second fiddle ever since, offered up its swansong in 1992 in the form of the Falcon, a would-be powerhouse which, as always, lagged just a little bit behind the latest Amiga models’ capabilities. Even in Europe, where Atari, like Commodore, had a much stronger brand than in North America, the Falcon sold hardly at all. The whole ST line would soon be discontinued, leaving it unclear how Atari intended to survive after the Lynx faded into history. Already in 1992, their annual sales fell to $127 million — barely a seventh those of Commodore.

Still, everything was in flux, and it was an open question whether Commodore could continue to sell Amigas in Europe at the pace to which they had become accustomed. One persistent question dogging the Amiga 1200 was that of compatibility. Although the new chipset was designed to be as compatible as possible with the old, in practice many of the most popular old Amiga games didn’t work right on the new machine. This reality could give pause to any potential upgrader with a substantial library of existing games and no desire to keep two Amigas around the house. If your favorite old games weren’t going to work on the new machine anyway, why not try something completely different, like those much more robust and professional-looking Windows computers the local stores had just started selling, or one of those new-fangled videogame consoles?

The compatibility problems were emblematic of the way that the Amiga, while certainly not an antique like the 8-bit generation of computers, wasn’t entirely modern either. MacOS and Windows isolated their software environment from changing hardware by not allowing applications to have direct access to the bare metal of the computer; everything had to be passed through the operating system, which in turn relied on the drivers provided by hardware manufacturers to ensure that the same program worked the same way on a multitude of configurations. AmigaOS provided the same services, and its technical manuals as well asked applications to function this way — but, crucially, it didn’t require that they do so. European game programmers in particular had a habit of using AmigaOS only as a bootstrap. Doing so was more efficient than doing things the “correct” way; most of the audiovisually striking games which made the Amiga’s reputation would have been simply impossible using “proper” programming techniques. Yet it created a brittle software ecosystem which was ill-suited for the long term. Already before 1992 Amiga gamers had had to contend with software that didn’t work on machines with more than 512 K of memory, or with a hard drive attached, or with or without a certain minor revision of the custom chips, or any number of other vagaries of configuration. With the advent of the AGA chipset, such problems really came home to roost.

An American Amiga 1200. In the context of American computing circa 1992, it looked like a bizarrely antediluvian gadget. “Real” computers just weren’t sold in this style of all-in-one case anymore, with peripherals dangling messily off the side. It looked like a chintzy toy to Americans, whatever the capabilities hidden inside. A telling detail: notice the two blank keys on the keyboard, which were stamped with characters only in some continental European markets that needed them. Rather than tool up to produce more than one physical keyboard layout, Commodore just let them sit there in all their pointlessness on the American machines. Can you imagine Apple or IBM, or any other reputable computer maker, doing this? To Americans, and to an increasing number of Europeans as well, the Amiga 1200 just seemed… cheap.

Back in 1985, AmigaOS had been the very first consumer-oriented operating system to boast full-fledged preemptive multitasking, something that neither MacOS nor Microsoft Windows could yet lay claim to even in 1992; they were still forced to rely on cooperative multitasking, which placed them at the mercy of individual applications’ willingness to voluntarily cede time to others. Yet the usefulness of AmigaOS’s multitasking was limited by its lack of memory protection. Thanks to this lack, any individual program on the system could write, intentionally or unintentionally, all over the memory allocated to another; system crashes were a sad fact of life for the Amiga power user. AmigaOS also lacked a virtual-memory system that would have allowed more applications to run than the physical memory could support. In these respects and others — most notably its graphical interface, which still evinced nothing like the usability of Windows, much less the smooth elegance of the Macintosh desktop — AmigaOS lagged behind its rivals.

It is true that MacOS, dating as it did from roughly the same period in the evolution of the personal computer, was struggling with similar issues: trying to implement some form of multitasking where none at all had existed originally, kludging in support for virtual memory and some form of rudimentary memory protection. The difference was that MacOS was evolving, however imperfectly. While AmigaOS 3.0, which debuted with the AGA machines, did offer some welcome improvements in terms of cosmetics, it did nothing to address the operating system’s core failings. It’s doubtful whether anyone in Commodore’s upper management even knew enough about computers to realize they existed.

This quality of having one foot in each of two different computing eras dogged the platform in yet more ways. The very architectural approach of the Amiga — that of an ultra-efficient machine built around a set of tightly coupled custom chips — had become passé as Wintel and to a large extent even the Macintosh had embraced modular architectures where almost everything could live on swappable cards, letting users mix and match capabilities and upgrade their machines piecemeal rather than all at once. One might even say that it was down almost as much to the Amiga’s architectural philosophy as it was to Commodore’s incompetence that the machine had had such a devil of a time getting itself upgraded.

And yet the problems involved in upgrading the custom chips were as nothing compared to the gravest of all the existential threats facing the Amiga. It was common knowledge in the industry by 1992 that Motorola was winding down further development of the 68000 line, the CPUs at the heart of all Amigas. Indeed, Apple, whose Macintosh used the same CPUs, had seen the writing on the wall as early as the beginning of 1990, and had started projects to port MacOS to other architectures, using software emulation as a way to retain compatibility with legacy applications. In 1991, they settled on the PowerPC, a CPU developed by an unlikely consortium of Apple, IBM, and Motorola, as the future of the Macintosh. The first of the so-called “Power Macs” would debut in March of 1994. The whole transition would come to constitute one of the more remarkable sleights of hand in all computing history; the emulation layer combined with the ported version of MacOS would work so seamlessly that many users would never fully grasp what was really happening at all.

But Commodore, alas, was in no position to follow suit, even had they had the foresight to realize what a ticking time bomb the end of the 68000 line truly was. AmigaOS’s more easygoing attitude toward the software it enabled meant that any transition must be fraught with far more pain for the user, and Commodore had nothing like the resources Apple had to throw at the problem in any case. But of course, the thoroughgoing, eternal incompetence of Commodore’s management prevented them from even seeing the problem, much less doing anything about it. While everyone was obliviously rearranging the deck chairs on the S.S. Amiga, it was barreling down on an iceberg as wide as the horizon. The reality was that the Amiga as a computing platform now had a built-in expiration date. After the 68060, the planned swansong of the 68000 family, was released by Motorola in 1994, the Amiga would literally have nowhere left to go.

As it was, though, Commodore’s financial collapse became the more immediate cause that brought about the end of the Amiga as a vital computing platform. So, we should have a look at what happened to drive Commodore from a profitable enterprise, still flirting with annual revenues of $1 billion, to bankruptcy and dissolution in the span of less than two years.

During the early months of 1993, an initial batch of encouraging reports, stating that the Amiga 1200 had been well-received in Europe, was overshadowed by an indelibly Commodorian tale of making lemons out of lemonade. It turned out that they had announced the Amiga 1200 too early, then shipped it too late and in too small quantities the previous Christmas. Consumers had chosen to forgo the Amiga 500 and 600 — the latter being a recently introduced ultra-low-end model — out of the not-unreasonable belief that the generation of Amiga technology these models represented would soon be hopelessly obsolete. Finding the new model unavailable, they’d bought nothing at all — or, more likely, bought something from a competitor like Sega instead. The result was a disastrous Christmas season: Commodore didn’t yet have the new computers everybody wanted, and couldn’t sell the old computers they did have, which they’d inexplicably manufactured and stockpiled as if they’d had no inkling that the Amiga 1200 was coming. They lost $21.9 million in the quarter that was traditionally their strongest by far.

Scant supplies of the Amiga 1200 continued to devastate overall Amiga sales well after Christmas, leaving one to wonder why on earth Commodore hadn’t tooled up to manufacture sufficient quantities of a machine they had hoped and believed would be a big hit, for once with some justification. In the first quarter of 1993, Commodore lost a whopping $177.6 million on sales of just $120.9 million, thanks to a massive write-down of their inventory of older Amiga models piling up in warehouses. Unit sales of Amigas dropped by 25 percent from the same quarter of the previous year; Amiga revenues dropped by 45 percent, thanks to deep price cuts instituted to try to move all those moribund 500s and 600s. Commodore’s share price plunged to around $2.75, down from $11 a year before, $20 the year before that. Wall Street estimated that the whole company was now worth only $30 million after its liabilities had been subtracted — a drop of one full order of magnitude in the span of a year.

If anything, Wall Street’s valuation was generous. Commodore was now dragging behind them $115.3 million in debt. In light of this, combined with their longstanding reputation for being ethically challenged in all sorts of ways, the credit agencies considered them to be too poor a risk for any new loans. Already they were desperately pursuing “debt restructuring” with their major lenders, promising them, with little to back it up, that the next Christmas season would make everything right as rain again. Such hopes looked even more unfounded in light of the fact that Commodore was now making deep cuts to their engineering and marketing staffs — i.e., the only people who might be able to get them out of this mess. Certainly the AAA chipset, still officially an ongoing project, looked farther away than ever now, two and a half years after it was supposed to have hit the streets.

The Amiga CD32

It was for these reasons that the announcement of the Amiga CD32, the last major product introduction in Commodore’s long and checkered history, came as such a surprise to everyone in mid-1993. CD32 was perhaps the first comprehensively, unadulteratedly smart product Commodore had released since the Amiga 2000 and 500 back in 1987. It was as clever a leveraging of their dwindling assets as anyone could ask for. Rather than another computer, it was a games console, built around a double-speed CD-ROM drive. Commodore had tried something similar before, with the CDTV unit of two and a half years earlier, only to watch it go down in flames. For once, though, they had learned from their mistakes.

CDTV had been a member of an amorphously defined class of CD-based multimedia appliances for the living room — see also the Philips CD-I, the 3DO console, and the Tandy VIS — which had all been or would soon become dismal failures. Upon seeing such gadgets demonstrated, consumers, unimpressed by ponderous encyclopedias that were harder to use and less complete than the ones already on their bookshelves, trip-planning software that was less intuitive than the atlases already in their glove boxes, and grainy film clips that made their VCRs look high-fidelity, all gave vent to the same plaintive question: “But what good is it really?” The only CD-based console which was doing well was, not coincidentally, the only one which could give a clear, unequivocal answer to this question. The Sega Genesis with CD add-on was good for playing videogames, full stop.

Commodore followed Sega’s lead with the CD32. It too looked, acted, and played like a videogame console — the most impressive one on the market, with specifications far outshining the Sega CD. Whereas Commodore had deliberately obscured the CDTV’s technological connection to the Amiga, they trumpeted it with the CD32, capitalizing on the name’s association with superb games. At heart, the CD32 was just a repackaged Amiga 1200, in the same way that the CDTV had been a repackaged Amiga 500. Yet this wasn’t a problem at all. For all that it was a little underwhelming in the world of computers, the AGA chipset was audiovisually superior to anything the console world could offer up, while the 32-bit 68020 that served as the CD32’s brain gave it much more raw horsepower. Meanwhile the fact that at heart it was just an Amiga in a new form factor gave it a huge leg up with publishers and developers; almost any given Amiga game could be ported to the CD32 in a week or two. Throw in a price tag of less than $400 (about $200 less than the going price of a “real” Amiga 1200, if you could find one), and, for the first time in years, Commodore had a thoroughly compelling new product, with a measure of natural appeal to people who weren’t already members of the Amiga cult. Thanks to the walled-garden model of software distribution that was the norm in the console world, Commodore stood to make money not only on every CD32 sold but also from a licensing fee of $3 on every individual game sold for the console. If the CD32 really took off, it could turn into one heck of a cash cow. If only Commodore could have released it six months earlier, or have managed to remain financially solvent for six months longer, it might even have saved them.

As it was, the CD32 made a noble last stand for a company that had long made ignobility its calling card. Released in September of 1993 in Europe, it generated some real excitement, thanks not least to a surprisingly large stable of launch titles, fruit of that ease of porting games from the “real” Amiga models. Commodore sold CD32s as fast as they could make them that Christmas — which was unfortunately nowhere near as fast as they might have liked, thanks to their current financial straits. Nevertheless, in those European stores where CD32s were on-hand to compete with the Sega CD, the former often outsold the latter by a margin of four to one. Over 50,000 CD32s were sold in December alone.

The Atari Jaguar. There was some mockery, perhaps justifiable, of its “Jetsons” design aesthetic.

Ironically, Atari’s last act took much the same form as Commodore’s. In November of 1993, following a horrific third quarter in which they had lost $17.6 million on sales of just $4.4 million, they released a game console of their own, called the Jaguar, in North America. In keeping with the tradition dating back to 1985, it was cheaper than Commodore’s take on the same concept — its street price was under $250 — but not quite as powerful, lacking a CD-ROM drive. Suffering from a poor selection of games, as well as reliability problems and outright hardware bugs, the Jaguar faced an uphill climb; Atari shipped less than 20,000 of them in 1993. Nevertheless, the Tramiel clan confidently predicted that they would sell 500,000 units in 1994, and at least some people bought into the hype, sending Atari’s stock soaring to almost $15 even as Commodore’s continued to plummet.

For the reality was, the rapid unraveling of all other facets of Commodore’s business had rendered the question of the CD32’s success moot. The remaining employees who worked at the sprawling campus in West Chester, Pennsylvania, purchased a decade before when the VIC-20 and 64 were flying off shelves and Jack “Business is War” Tramiel was stomping his rival home-computer makers into dust, felt like dwarfs wandering through the ancient ruins of giants. Once there had been more than 600 employees here; now there were about 50. There was 10,000 square feet of space per employee in a facility where it cost $8000 per day just to keep the lights on. You could wander for hours through the deserted warehouses, shuttered production lines, and empty research labs without seeing another living soul. Commodore was trying to lease some of it out for an attractive rent of $4 per square foot, but, as with with most of their computers, nobody seemed all that interested. The executive staff, not wanting the stigma of having gone down with the ship on their resumes, were starting to jump for shore. Commodore’s chief financial officer threw up his hands and quit in the summer of 1993; the company’s president followed in the fall.

Apart from the CD32, for which they lacked the resources to manufacture enough units to meet demand, virtually none of the hardware piled up in Commodore’s European warehouses was selling at all anymore. In the third quarter of 1993, they lost $9.7 million, followed by $8 million in the fourth quarter, on sales of just $70 million. After a second disastrous Christmas in a row, it could only be a question of time.

In a way, it was the small things rather than the eye-popping financial figures which drove the point home. For example, the April 1994 edition of the New York World of Commodore show, for years already a shadow of its old vibrant self, was cancelled entirely due to lack of interest. And the Army and Air Force Exchange, which served as a storefront to American military personnel at bases all over the world, kicked Commodore off its list of suppliers because they weren’t paying their bills. It’s by a thousand little cuts like this one, each representing another sales opportunity lost, that a consumer-electronics company dies. At the Winter Consumer Electronics Show in January of 1994, at which Commodore did manage a tepid presence, their own head of marketing told people straight out that the Amiga had no future as a general-purpose computer; Commodore’s only remaining prospects, he said, lay with the American vertical market of video production and the European mass market of videogame consoles. But they didn’t have the money to continue building the hardware these markets were demanding, and no bank was willing to lend them any.

The proverbial straw which broke the camel’s back was a dodgy third-party patent relating to a commonplace programming technique used to keep a mouse pointer separate from the rest of the screen. Commodore had failed to pay the patent fee for years, the patent holder eventually sued, and in April of 1994 the court levied an injunction preventing Commodore from doing any more business at all in the United States until they paid up. The sum in question was a relatively modest $2.5 million, but Commodore simply didn’t have the money to give.

On April 29, 1994, in a briefly matter-of-fact press release, Commodore announced that they were going out of business: “The company plans to transfer its assets to unidentified trustees for the benefit of its creditors. This is the initial phase of an orderly voluntary liquidation.” And just like that, a company which had dominated consumer computing in the United States and much of Europe for a good part of the previous decade and a half was no more. The business press and the American public showed barely a flicker of interest; most of them had assumed that Commodore was already long out of business. European gamers reacted with shock and panic — few had realized how bad things had gotten for Commodore — but there was nothing to be done.

Thus it was that Atari, despite being chronically ill for a much longer period of time, managed to outlive Commodore in the end. Still, this isn’t to say that their own situation at the time of Commodore’s collapse was a terribly good one. When the reality hit home that the Jaguar probably wasn’t going to be a sustainable gaming platform at all, much less sell 500,000 units in 1994 alone, their stock plunged back down to less than $1 per share. In the aftermath, Atari limped on as little more than a patent troll, surviving by extracting judgments from other videogame makers, most notably Sega, for infringing on dubious intellectual property dating back to the 1970s. This proved to be an ironically more profitable endeavor for them than that of actually selling computers or game consoles. On July 30, 1996, the Tramiels finally cashed out, agreeing to merge the remnants of their company with JT Storage, a maker of hard disks, who saw some lingering value in the trademarks and the patents. It was a liquidation in all but name; only three Atari employees transitioned to the “merged” entity, which continued under the same old name of JT Storage.

And so disappeared the storied name of Atari and that of Tramiel simultaneously from the technology industry. Even as the trade magazines were publishing eulogies to the former, few were sorry to see the latter go, what with their long history of lawsuits, dirty dealing, and abundant bad faith. Jack Tramiel had purchased Atari in 1984 out of the belief that creating another phenomenon like the Commodore 64 — or for that matter the Atari VCS — would be easy. But the twelve years that followed were destined always to remain a footnote to his one extraordinary success, a cautionary tale about the dangers of conflating lucky timing and tactical opportunism with long-term strategic genius.

Even so, the fact does remain that the Commodore 64 brought affordable computing to millions of people all over the world. For that every one of those millions owes Jack Tramiel, who died in 2012, a certain debt of gratitude. Perhaps the kindest thing we can do for him is to end his eulogy there.

The story of the Amiga after the death of Commodore is long, confusing, and largely if not entirely dispiriting; for all these reasons, I’d rather not dwell on it at length here. Its most positive aspect is the surprisingly long commercial half-life the platform enjoyed in Europe, over the course of which game developers still found a receptive if slowly dwindling market ready to buy their wares. The last glossy newsstand magazine devoted to the Amiga, the British Amiga Active, didn’t publish its last issue until the rather astonishingly late date of November of 2001.

The Amiga technology itself first passed into the hands of a German PC maker known as Escom, who actually started manufacturing new Amiga 1200s for a time. In 1996, however, Escom themselves went bankrupt. The American PC maker Gateway 2000 became the last major company to bother with the aging technology when they bought it at the Escom bankruptcy auction. Afterward, though, they apparently had second thoughts; they did nothing whatsoever with it before selling it onward at a loss. From there, it passed into other, even less sure hands, selling always at a discount. There are still various projects bearing the Amiga name today, and I suspect they will continue until the generation who fell in love with the platform in its heyday have all expired. But these are little more than hobbyist endeavors, selling their products in minuscule numbers to customer motivated more by their nostalgic attachment to the Amiga name than by any practical need. It’s far from clear what the idea of an “Amiga computer” should even mean in 2020.

When the hardcore of the Amiga hardcore aren’t dreaming quixotically of the platform’s world-conquering return, they’re picking through the rubble of the past, trying to figure out where it all went wrong. Among a long roll call of petty incompetents in Commodore’s executive suites, two clear super-villains emerge: Irving Gould, Commodore’s chairman since the mid-1960s, and Mehdi Ali, his final hand-picked chief executive. Their mismanagement in the latter days of the company was so egregious that some have put it down to evil genius rather than idiocy. The typical hypothesis says that these two realized at some point in the very early 1990s that Commodore’s days were likely numbered, and that they could get more out of the company for themselves by running it into the ground than they could by trying to keep it alive. I usually have little time for such conspiracy theories; as far as I’m concerned, a good rule of thumb for life in general is never to attribute to evil intent what can just as easily be chalked up to good old human stupidity. In this case, though, there’s some circumstantial evidence lending at least a bit of weight to the theory.

The first and perhaps most telling piece of evidence is the two men’s ridiculously exorbitant salaries, even as their company was collapsing around them. In 1993, Mehdi Ali took home $2 million, making him the fourth highest-paid executive in the entire technology sector. Irving Gould earned $1.75 million that year — seventh on the list. Why were these men paying themselves as if they ran a thriving company when the reality was so very much the opposite? One can’t help but suspect that Gould at least, who owned 19 percent of Commodore’s stock, was trying to offset his losses on the one field by raising his personal salary on the other.

And then there’s the way that Gould, an enormously rich man whose personal net worth was much higher than that of all of Commodore by the end, was so weirdly niggardly in helping his company out of its financial jam. While he did loan fully $17.4 million back to Commodore, the operative word here is indeed “loan”: he structured his cash injections to ensure that he would be first in line to get his money back if and when the company went bankrupt, and stopped throwing good money after bad as soon as the threshold of the collateral it could offer up in exchange was exceeded. One can’t help but wonder what might have become of the CD32 if he’d been willing to go all-in to try to turn it into a success.

Of course, this is all rank speculation, which will quickly become libelous if I continue much further down this road. Suffice to say that questionable ethics were always an indelible part of Commodore. Born in scandal, the company would quite likely have ended in scandal as well if anyone in authority had been bothered enough by its anticlimactic bankruptcy to look further. I’d love to see what a savvy financial journalist could make of Commodore’s history. But, alas, I have neither the skill nor the resources for such a project, and the story is of little interest to the mainstream journalists of today. The era is past, the bodies are buried, and there are newer and bigger outrages to fill our newspapers.

Instead, then, I’ll conclude with two brief eulogies to mark the end of the Amiga’s role in this ongoing history. Rather than eulogizing in my own words, I’m going to use those of a true Amiga zealot: the anonymous figure known as “The Bandito,” whose “Roomers” columns in the magazine Amazing Computing were filled with cogent insights and nitty-gritty financial details every month. (For that reason, they’ve been invaluable sources for this series of articles.)

Jay Miner, the gentle genius, in 1990. In interviews like the one to which this photo was attached, he always seemed a little befuddled by the praise and love which Amiga users lavished upon him.

First, to Jay Miner, the canonical “father of the Amiga,” who died of the kidney disease he had been battling for most of his life on June 20, 1994, at age 62. If a machine can reflect the personality of a man, the Amiga certainly reflected his:

Jay was not only the inventive genius who designed the custom chips behind the Atari 800 and the Amiga, he also designed many more electronic devices, including a new pacemaker that allows the user to set their own heart rate (which allows them to participate in strenuous activities once denied to them). Jay was not only a brilliant engineer, he was a kind, gentle, and unassuming man who won the hearts of Amiga fans everywhere he went. Jay was continually amazed and impressed at what people had done with his creations, and he loved more than anything to see the joy people obtained from the Amiga.

We love you, Jay, for all the gifts that you have given to us, and all the fruits of your genius that you have shared with us. Rest in peace.

And now a last word on the Amiga itself, from the very last “Roomers” column, written by someone who had been there from the beginning:

The Amiga has left an indelible mark on the history of computing. [It] stands as a shining example of excellent hardware design. Its capabilities foreshadowed the directions of the entire computer industry: thousands of colors, multiple screen resolutions, multitasking, high-quality sound, fast animation, video capability, and more. It was the beauty and elegance of the hardware that sold the Amiga to so many millions of people. The Amiga sold despite Commodore’s neglect, despite their bumbling and almost criminal marketing programs. Developers wrote brilliantly for this amazing piece of hardware, creating software that even amazed the creators of the hardware. The Amiga heralded the change that’s even now transforming the television industry, with inexpensive CGI and video editing making for a whole new type of television program.

Amiga game software also changed the face of entertainment software. Electronic Arts launched themselves headlong into 16-bit entertainment software with their Amiga software line, which helped propel them into the $500 million giant they are today. Cinemaware’s Defender of the Crown showed people what computer entertainment could look like: real pictures, not blocky collections of pixels. For a while, the Amiga was the entertainment-software machine to have.

In light of all these accomplishments, the story of the Amiga really isn’t the tragedy of missed opportunities and unrealized potential that it’s so often framed as. The very design that made it able to do so many incredible things at such an early date — its tightly coupled custom chips, its groundbreaking but lightweight operating system — made it hard for the platform to evolve in the same ways that the less imaginative, less efficient, but modular Wintel and MacOS architectures ultimately did. While it lasted, however, it gave the world a sneak preview of its future, inspiring thousands who would go on to do good work on other platforms. We are all more or less the heirs to the vision embodied in the original Amiga Lorraine, whether we ever used a real Amiga or not. The platform’s most long-lived and effective marketing slogan, “Only Amiga Makes it Possible,” is of course no longer true. It is true, though, that the Amiga made many things possible first. May it stand forever in the annals of computing history alongside the original Apple Macintosh as one of the two most visionary computers of its generation. For without these two computers — one of them, alas, more celebrated than the other — the digital world that we know today would be a very different place.

(Sources: the books Commodore: The Final Years by Brian Bagnall and my own The Future Was Here; Amazing Computing of November 1992, December 1992, January 1993, February 1993, March 1993, April 1993, May 1993, June 1993, July 1993, September 1993, October 1993, November 1993, December 1993, January 1994, February 1994, March 1994, April 1994, May 1994, June 1994, July 1994, August 1994, September 1994, October 1994, and February 1995; Byte of January 1993; Amiga User International of June 1988; Electronic Gaming Monthly of June 1995; Next Generation of December 1996. My thanks to Eric Graham for corresponding with me about The Juggler and Sculpt 3D years ago when I was writing my book on the Amiga.

Those wishing to read about the Commodore story from the perspective of the engineers in the trenches, who so often accomplished great things in less than ideal conditions, should turn to Brian Bagnall’s full “Commodore Trilogy”: A Company on the Edge, The Amiga Years, and The Final Years.)

Comments
42 Responses

- whomever

March 6, 2020 at 6:13 pm

So in the mid 90s, there was another attempt at a new architecture, which Jimmy likely won’t ever mention because it’s not in the least interesting from a gaming point of view…the BeBox. I bought one because at the time I had lots of disposable income and was interested in weird architectures (and to be honest, for my day to day job all I really needed was a reasonably decent VT100 emulator, which it had). They sold about, oh, 2000 of them I believe. Anyway I wrote some software for them and lurked on the mailing list and it was interesting how many were ex-Amiga developers, desperate for the second coming…

- Jimmy Maher

March 6, 2020 at 7:16 pm

Yes, Be (and BeOS) was widely hailed as being Amiga-like. I remember the hype well, but I’ve never, ever seen one live.

- Keith Palmer

March 6, 2020 at 10:58 pm

The speculation about the BeOS becoming the modern operating system the Macintosh needed (as you pointed out four weeks ago) meant I was at least aware of it at the time; had that happened, of course, the BeBox would probably have been a footnote too. Bringing it up, though, had me wonder if I might have glimpsed one of the computers at university in the mid-to-late 1990s, and yet the grandiosity of that claim makes me retrench to “maybe I saw someone running a BeOS preview on Macintosh hardware.”

- cpt kangarooski

March 7, 2020 at 4:06 pm

I saw some demos by Be, Inc. early on and I was acquainted with a fellow who bought himself both versions of the BeBox. (The second one was much nicer than the first)

It was known by then that there wasn’t room for a third consumer computing platform. The thing was basically intended to replace the Mac — either by the Mac clone companies shipping it as a second OS and eventually dumping MacOS or by being sold to Apple as a next generation replacement for MacOS.

Gil Amelio’s book is pretty useful at looking at how BeOS was received within Apple at the time. I don’t know if there have been any tell-all’s from the Be side.

Obviously we know what happened and frankly I can’t see that Apple would’ve succeeded with Gasse trying to take over.

There is a bit of irony though in that BeOS on Mac hardware could run MacOS and Mac apps in a fairly speedy emulator to provide compatibility. After all of Apple’s attempts to write a new OS that would natively support old and new apps never coming to fruition (ho ho) and being a major stumbling block, and after Steve himself couldn’t wrangle major developers to immediately rewrite their software to be native for the new platform, that same technique was ultimately used for MacOS X to support Classic apps during the transition.

With rumors now abounding that Apple will abandon Intel for an ARM-based platform for the Mac (which it already uses for iDevices) perhaps we will see yet another round of emulation — nearly-seamless transitions seem to be one of their great strengths.

- whomever

March 6, 2020 at 6:16 pm

Oh btw I think Jimmy mentioned this in a previous post but since this about The End, there are many excellent Amiga emulators (And Atari for that well) you can play with. I also bought an Amiga 4000 years later cos it was cheap and again, interesting architectures. And yes, Babylon 5 Video Toaster animation was The Thing back in the day, though it has a slightly dated look today.

- Martin

March 7, 2020 at 3:12 am

What is the best Amiga emulator these days and can you suggest something good to run on it. I guess the Amiga scene passed me by and I don’t think I ever saw it out through its paces.

- Jimmy Maher

March 7, 2020 at 10:11 am

The easiest way is to purchase Amiga Forever: https://www.amigaforever.com/. It packages together everything you need to get started with WinUAE, the best open-source Amiga emulator. It even comes with 25 or 50 popular games. You can assemble all of this on your own for free, but, given that the Amiga ROMs and operating systems are still under copyright, it’s technically piracy. Perhaps more importantly, it can be a challenge, especially if you aren’t familiar with the platform from the good old days.

- Sarah Walker

March 6, 2020 at 6:40 pm

Great article!

One odd point about Christmas 1992 is that as well as the A1200 and Falcon, in the UK Acorn of all companies tried to make a push for the home computer market with the A3010, a low-cost Archimedes with A500-like styling, TV output and joystick ports. While it didn’t sell in anything like the numbers the A1200 did, it almost certainly outsold Atari and did (briefly) cause a boost in game availability on the platform.

As Acorn will almost certainly not appear in any future articles (I’m assuming their 1998 collapse will go unnoticed) I thought their last appearance in the world of computer gaming was worth noting :)

- Jimmy Maher

March 6, 2020 at 7:22 pm

That’s just *so* classic Acorn. Release a computer at the same time as your competitor, going after the exact same market, with the exact same naming nomenclature. It requires either a special genius or a special incompetence to do that. But knowing Acorn’s marketing department, it was definitely the latter.

- Sarah Walker

March 6, 2020 at 8:24 pm

Given they produced this during the same period :

https://www.youtube.com/watch?v=mou73QdF-NU

I would tend to agree with you! Almost makes you wish for Commodore US’s marketing strategy (ie silence).

- whomever

March 6, 2020 at 10:34 pm

All I will say is that video is actually fairly well done compared to the legendary Windows 386 Video Microsof made (see https://www.youtube.com/watch?v=noEHHB6rnMI if you want, it’s hilarious).

- Sarah Walker

March 7, 2020 at 1:42 pm

The Windows 386 video wasn’t meant to be shown outside the company though. The Home Computer Minefield was a genuine bit of marketing shown to real people.

- Joachim

March 6, 2020 at 7:27 pm

Very good article, as usual. It is sad, if not surprising, that the Amiga get so little credit these days and the Mac gets so much.

BTW, Amiga Format was survived by another newsstand magazine that was even sold here in Norway. It was called AmigActive, and was started by a group of veterans from CU Amiga after that magazine folded. The last issue of AmigActive was published in october 2001. I always found it a little surreal to be able to go into a regular Narvesen’s and buy a proper Amiga magazine (with a cover-CD each issue) so many years after every trace of the Amiga had vanished from the retail market.

- Jimmy Maher

March 6, 2020 at 9:11 pm

It was twigging at the back of my mind that there was another, even later one, but I couldn’t find it. Thanks!

- Sniffnoy

March 6, 2020 at 8:33 pm

Quick editing note: the use of “greediness” towards the beginning would probably be better as just “greed”. :)

- Jimmy Maher

March 6, 2020 at 9:05 pm

Good point. Thanks!

- Chris D

March 6, 2020 at 10:11 pm

Fantastic article. I sold my Megadrive and games collection in 1993 to buy an Amiga 1200, which is in theory impossibly bad timing given that I was only interested in playing games, but I don’t regret it for a second. The Amiga scene felt incredibly quirky and special – you got this odd mix of quirky originals like Cannon Fodder, PC-style games that just didn’t work on consoles like Syndicate and Hired Guns, and console-esque arcade games like Super Stardust. While other platforms were moving towards the era where games were lavish productions produced by huge teams, the Amiga still managed to support tiny developers like Sensible Software and the Bitmap Brothers that produced games with a unique style and a strong authorial voice.

One thing I would maybe challenge in the article – was the CD32 ever really capable of competing with the 16-bit consoles technically? Obviously, it could make use of FMV sequences, but my understanding was that it was still pretty much an A1200 internally, and while there were quite a few supposed console-quality games for the Amiga in its later years, even they looked pretty ropey in comparison with the most spectacular games on the SNES. Even games like Brian the Lion or Kid Chaos, which were made by top-tier developers like Reflections and Magnetic Fields, looked nowhere nears as smooth and busy as the best games on the SNES or Mega Drive.

Not that this mattered in practice because, as per the above, the real strength of the Amiga was in games like Zeewolf, the Settlers, or Walker that feel like they wouldn’t have been made anywhere else. But I think Commodore would have struggled to compete when trying to beat the consoles at their own game.

- Sarah Walker

March 6, 2020 at 10:26 pm

In terms of scrolling and sprites AGA was quite a bit behind the Megadrive and SNES, and the Jaguar for that matter. The relatively large memory and faster CPU (even if held back by the lack of fast RAM) were the CD32’s strong points.

- Jimmy Maher

March 7, 2020 at 9:53 am

I think there was a window of opportunity there in Europe at least, although admittedly not a big one. Nintendo was just beginning to push into Europe, where they still had no real name recognition whatsoever, and the Super NES, while ahead of the CD32 in some ways, lacked the storage capacity of CD-ROM. Meanwhile the CD32 was far ahead of the Sega Genesis technically, while the Sega Saturn hadn’t yet been released at all. Throw in an established base of Amiga games and developers to draw from, and the gaming cachet that still clung to the Amiga name in Europe, and I think Commodore could have built a real market there. And once a market is established, technical specs become less relevant, at least for a time.

Of course, to continue to succeed Commodore would have had to bring out new hardware on a timely basis, probably based around the AAA chipset. What you really need for this counterfactual to work, in other words, is a takeover, hostile or otherwise, which replaces Irving Gould, Mehdi Ali, and all the rest of their sorry lot with smart management. ;)

- Captain Kal

March 8, 2020 at 9:30 pm

“What you really need for this counterfactual to work, in other words, is a takeover, hostile or otherwise, which replaces Irving Gould, Mehdi Ali, and all the rest of their sorry lot with smart management. ;)”

Too bad that David Pleasance, hadn’t secured any funds, to achieve it.

- Zack

March 6, 2020 at 10:30 pm

Thank you for the article !
As a “youngster”, ’tis hard to imagine how it was before the days of the Playstation 2 for computers. Like, I can’t even fathom if the Amiga, Commodores and such where “powerful” computers. Does it even make sense to ask this question ? Did “powerful computers” as we qualify them today mean anything in the 90’s ? Such a fascinating read.

- xxx

March 8, 2020 at 2:45 am

It’s all a matter of scale. People definitely did speak of computers as “more powerful” than others, but the power wasn’t measured in how many polygons you could fit on the screen, or how photorealistic things looked. It was more like:

* How long does it take to open programs and save files?
* How many programs can it have open at once before it starts to chug?
* What resolution does the screen have, and how many colors can it display at once?
* If you grab a window and drag it around, does it look smooth or does it tear and skip?
* How smoothly do processor-intensive games run? (That one’s a perennial.)

That sort of thing. So the criteria may have been different, but the concept was pretty much the same.

- jbk

March 14, 2020 at 12:21 pm

The thing to keep in mind about the first two generations of 3d-capable game consoles is that they weren’t really that much more powerful than what came before, they just provided kludged techniques to enable what was, for the time, impressive 3d. Your PS2 example is a perfect indication: Try connecting one to an LCD TV, or emulating one on a modern computer with PCSX2. The graphics were terrible even by contemporary PC standards of the time. The reason why they looked impressive is because the CRT standard def TVs of the time already created pretty awful blurring effects, to the degree that PS1 and PS2 emulators include specially programmed filters to make the output resemble a CRT.

This is why people who grew up back then (or are willing to tolerate graphics that have aged badly) still recommend Babylon 5 as one of the best scifi series of all time, while people who didn’t grow up back then very, very often complain about how terrible the Video Toaster 3d animations look. In the 90s, they looked spectacular, because the screens were terrible and covered it up. If you’re a Star Trek fan, this is also why they’ve never released a Deep Space 9 blu-ray set as they did with TNG, because they’ve long since lost the 3d assets they used (I believe they used SGI computers) and the software tools they used don’t exist anymore anyway, so every external scene would have to be reanimated from scratch and would take at least one or two orders of magnitude more work than TNG took, with it’s filmed practical effects.

90’s PC gaming, with early modern 3d cards and high resolution monitors didn’t really look any different than it does today, so if you go play Halflife, you’re effectively seeing it as it was originally intended. My monitor in 2001 was 1600×1200, for example.

- Gnoman

March 19, 2020 at 7:31 am

It wasn’t the CRT technology that was important there (even a low-end CRT from the 80s is capable of a surprisingly sharp picture) so much as it was the video connection standards of the time. Up through the PS2 era, it was assumed that most users would connect via composite video (the familiar yellow RCA plug) or even RF antenna (which, of course, is the method all over-the-air and cable TV used to connect at the time, to go back to your point on TV shows). This caused a lot of signal blurring , which gave a sort of low-grade anti-aliasing effect.

Where it gets interesting (and how you can observe this effect for yourself) is that most consoles were capable of much better output much earlier. Nintendo consoles were able to use S-video as early as the SNES, Sony could do S-video on the PS1, and the Genesis could do all-up component video with the right cables. These, of course were rarely used because TVs that could support them were rare, and designers didn’t always take them into account.

This means that quite a few older games look horrible when connected with these better (but available at the time) methods even to an old CRT. For example, the fog in Silent Hill 1 looks pretty good even by today’s standards, unless you’re using an S-video connection which turns it into a blurry mess. Sonic the Hedgehog on Genesis had a really neat transparency effect on the waterfalls – that turns into a pixelated mess if you’re using component.

- Carl

March 6, 2020 at 10:35 pm

I’m not entirely on the same page with you Jimmy when you imply the Amiga painted themselves into a corner with the custom chipset. Commodore was unique at the time in that it was vertically integrated and fabricated their own chips. They were absolutely the best positioned to do at least two or three iterations of new chipsets (or eventually SoCs) to stay ahead of Wintel. They absolutely could have done it (especially if they hadn’t have flushed Jay Miner).

The real issue was investment (which you did hit on). Not only were they not investing in design resources to turn around a new chipset in a timely way, they were also not investing in their wafer fab and it was embarrassingly obsolete already by the late 80s.

This fact isn’t well appreciated in the Amiga community, but the custom chips used in the Amiga were positively Jurassic from a technology standpoint. They were implemented in NMOS logic with a feature size many generations behind their former competitors from 6502 days (Intel, Zilog, and Motorola). No joke, the Amiga custom chips were obsolete the day the Amiga came out in all but one way: the design behind them was brilliant.

It’s mindblowing to me as a professional in the semiconductor industry that the Amiga was so far out in front for so long. The best analogy I can think of is a car race between a modern Porsche and a tuned 1985 Honda Civic, and the Civic wins because the mechanics and drivers were truly brilliant. From an engineer’s perspective the blitter and the DMA are heart-breakingly beautiful. It is like transferring data from memory by throwing over a cliff and it just happens to land perfectly on a passing boat, every time.

So my point is that the custom approach didn’t doom them. The lack of investment did.

I had an Amiga 500 myself (for games, natch) but finally drifted away by around 1993 into Macintosh. For the most part, the games had a kind of uniqueness to them that matched the uniqueness of the platform, I think. It was a fun machine.

- Jimmy Maher

March 7, 2020 at 10:04 am

Again, though, it’s just hugely problematic to maintain an ongoing computing platform with such a design. The incompatibilities which dogged the transition from the original chipset to AGA would have come up over and over again had the platform continued to evolve. A modular architecture, for all that it doesn’t get the engineering aesthete’s blood pumping in quite the same way, is the better choice for the long term.

Ironically, the Amiga’s architecture, which had been born for a game console, may have been better suited to that role in the long run. There you have a market that’s accustomed to “upgrading” by buying a whole new gadget to replace the old, and there backward compatibility isn’t as much of a concern (certainly not in the 1980s and 1990s).

Commodore’s neglect of MOS, their secret weapon in the 8-bit days — people tend to forget today that Commodore actually made the CPU at the heart of the Apple II and the Atari VCS, and thus profited themselves from every one of those units sold — is yet another tale of almost criminal incompetence. (There are so many when it comes to Commodore that it’s virtually impossible to fit them all into one article or even series of articles.) Even with better management, though, I do think it would have been hard to keep MOS as a going concern over the long haul. They were simply never going to be able to compete with the likes of Motorola, much less Intel, in terms of chip-fabrication technology.

- Nate

April 24, 2020 at 7:32 pm

You’re both right. The Amiga had several issues:

– Custom architecture focused on synchronizing to raster refresh rate, everywhere (even CPU clock was a multiple of raster rate instead of crossing clock domains)
– Design decisions meant to optimize RAM over CPU (eg chunky graphics mode). As RAM got cheap, direct mapped framebuffers were more efficient for animated bitmap graphics.
– Outdated 5 micron fab process. They used this in the 6502 back in 1975 and only did small incremental improvements until the end. They did move to HP to fab later Amiga ASICs (AA? Certainly the AAA and Hombre projects). But that was too late.

By 1990, Amiga should have returned as a chipset in a game console and a combined graphics and sound card for PCs. My most interesting evidence for this alternate history is the migration of engineers from Amiga, to 3DO, to SGI, and eventually nVidia. The highly customized graphics computations in video cards could have been a natural extension of the Amiga (minus a lot of NTSC-specific parts).

- Keith Palmer

March 6, 2020 at 10:51 pm

My collection of old computer magazines accumulated from my family’s subscriptions and purchases contains an October 1992 Amiga World, which previewed the Amiga 600 but also reviewed the “AMax II Plus,” an expansion board for the Amiga 2000 that would let it run Macintosh software (if, as the reviewer insinuated, you could lower yourself to something so architecturally inelegant). I suppose the magazine might have amounted to due diligence before we shelled out for a Macintosh that Christmas and retired our Tandy Color Computer 3 at last. I was conscious of the Amiga to the minimal extent of writing a story in 1993 (but not a very good story) with a minor military character named “Parry Amiga,” holding the rank of Commodore…

I did read the post-Commodore issues of Amazing Computing not that many years ago with the thought “we Macintosh users could have been there too, just the next bump in the road to absolute Microsoft hegemony,” although all counterfactuals can be dismissed as easily as they’re imagined. (So far as my family’s actual last days with the Color Computer went, the shrinking system-specific magazine did take a look at a few computers designed to run the OS-9 operating system, powered either by the “CoCo’s” Motorola 6809 or a full-blown 68000.)

- Jimmy Maher

March 7, 2020 at 10:16 am

The relative positions of the Mac and the Amiga in the early 1990s provide a good illustration of the pessimist’s maxim that, no matter how bad you think things are right now, they can always get worse. While the Mac tended to get a sidebar mention at best in the mainstream and even general-computer press, the Amiga was absolutely nowhere to be found. One would be hard-pressed to know the platform even existed in North America, unless one was working inside the specialized branch of video production.

- Andrew

March 7, 2020 at 1:39 am

My 8 year old asked me just a few days ago why there were blank keys on my A1200’s keyboard.

He loves playing Settlers and SimCity on it.

- Matthew Waller

March 7, 2020 at 9:25 am

Great article as usual thanks.

I’d like to add that Jack Tramiel introduced millions (or at least hundreds of thousands) of people to affordable 16 bit computing as well.

In 1987 when I bought my Atari ST, there was no way I could’ve afforded an Amiga which was almost twice as much.

(Note: I am choosing to ignore the fact that prior to my ST I owned a Sinclair QL…somehow doesn’t feel like a real 16 bit computer…)

- jbk

March 14, 2020 at 12:05 pm

The QL wasn’t, it was a 16 bit processor on an 8 bit bus. The 68008 was the 68k equivalent of the 8088. I can’t think of another commercial computer off the top of my head that used one.

The QL was as much a 16 bit computer as the 68000 processor was a 32-bit processor, which it technically was except it was on a 16 bit bus and by the time the Amiga/Mac/ST came out, people had stopped referring to it as a 32 bit processor. Articles and books from around when the 68k came out in the late 70s used to refer to it as a 32 bit processor because they thought people were concerned with doing 32 bit math, when the biggest concern became the 16 bit memory size limitations for the architectures. The QL was stuck with 128k RAM because of the 8 bit bus, unless you installed or built a memory paging add-on, which was the same problem you had with things running on, say, a Z80 like the Spectrum or the CPC.

- Aula

March 7, 2020 at 11:56 am

“AmigaOS also lacked a the virtual-memory system”

shouldn’t have the “the”

Not that the lack mattered much; without hardware support for making a distinction between logical and physical memory addresses (ie. page tables), “virtual memory” would amount to nothing more than banked memory with bank switching meaning a copy to/from disk, and (from an application programmer’s point of view) that’s almost simpler to do entirely in application code.

- Jimmy Maher

March 7, 2020 at 2:42 pm

Thanks!

I have always considered the term “virtual memory” to connote that very distinction between logical and physical addresses which you describe. AmigaOS lacked virtual memory, as I’m sure you know, because it was originally designed to run on a 68000, which lacked the MMU necessary to enable it. Motorola added an MMU to their chips beginning with the 68020, but support for such a thing is very difficult to add to an existing operating system on the fly. Apple managed it to some extent with MacOS, which also was first designed for the vanilla 68000, but, at least as I understand their implementation, only rather kludgily.

- Casey Muratori

March 7, 2020 at 10:53 pm

Since we’re descending into the esoterica:

First, memory protection actually _did_ make it to the Amiga using the 68030’s MMU. Although AmigaOS never used it by default IIRC, you could use a third party tool to enable it (I don’t remember the names of such tools, but a quick Google search suggests http://www.sinz.org/Michael.Sinz/Enforcer/index.html as an example). While not hugely impactful for the ordinary user, this was great for programming if you wanted to catch memory errors.

Second, although there might not have been much value to a single task workload if “automatic” virtual memory were implemented on the Amiga without address translation, because it would still not be able to allocate any more memory than the size of the machine RAM, it _would_ have benefited multi-task workloads because each task could itself allocate the entire system’s worth of memory and still work.

How useful this would have been, I couldn’t say, but it would have been interesting to see. It’s not the kind of thing that would be easy to retrofit, however, since the Amiga lacked any notion of address spaces and thus no existing apps could have used such a system without being retrofitted to ensure they always used an API to share memory they needed to share with another app. Perhaps that was rare, in which case some apps might have “just worked”…

– Casey

- Whomever

March 7, 2020 at 2:46 pm

You could do page tables on the 68k, the mmu even got integrated in iirc the 68030. Remember most of the Unix workstations of the late 80s (sun 3, hp 9000/3x, etc) were 68k based

- Andrew Plotkin

March 7, 2020 at 4:04 pm

Right. Apple had the same problem as Amiga, though to a lesser degree: applications were written “close to the metal” and so transitions were difficult.

(I will now indulge in a trip down pedantic memory lane… I just re-read some old MacOS docs. I started Mac programming in 1992, so this stuff was all very important to me, once…)

One example: the 68000 had 24-bit addressing, so the original MacOS used the top 8 bits of a 32-bit pointer to store some memory flags. Then the 68020 came along with 32-bit addressing. MacOS System 7 updated the memory APIs to use 32-bit pointers and stashed those flags elsewhere. If an app used the documented APIs, the transition was invisible. But of course some apps tweaked the flags directly for performance reasons. These were “not 32-bit clean”, and couldn’t exist in the 32-bit environment until the developers updated them.

The bigger problem was that classic MacOS didn’t have a notion of a kernel (OS code that ran in supervisor mode, versus applications that didn’t). Even after the 68k family added this feature in hardware, MacOS apps were still written with the assumption that the app called OS code in usermode. So virtual memory was possible, but *protected* memory was not, and an errant app could tromp merrily over other apps and OS data. That turned out to be intractable until Apple completely replaced the programming environment with OSX.

Mirror of old Apple programming docs: http://mirror.informatimago.com/next/developer.apple.com/documentation/mac/Memory/Memory-152.html
Andy Hertzfeld talking about these design decisions: https://www.folklore.org/StoryView.py?story=Mea_Culpa.txt

- Casey Muratori

March 7, 2020 at 11:06 pm

(Regarding page tables on the 68030)

If AmigaOS wanted to actually implement page tables and full virtual memory, it seems plausible that some apps would have “just worked” even on that. The reason I suspect it might have worked is because the problem you typically have with direct hardware programming and virtual memory is that the addresses you pass to the hardware must be physical. Normally this would be a dealkilller, but IIRC Amiga already partitioned its memory into a low “chip ram” section and a high “fast ram” section. Apps _already_ had to ensure that memory destined for the custom hardware was allocated in that lower memory space, which is exactly what you normally have to do today (make sure your GPU memory is allocated in “pinned” memory, etc.)

So, if one wanted to implement virtual memory for _just the fast mem_, in theory that would have “just worked” except for the odd place or two in the code where one app was written to try to send a fast mem pointer directly to another app.

– Casey

- Adam Sampson

March 7, 2020 at 12:48 pm

If anyone’s wondering why the CD32 controller in the photo looks like it might be a bit hard on your left thumb, it’s because – like both of mine – it’s lost the rubber cap from the top of the D-pad. It should look much like the Jaguar pad below.

When the CD32 was being discounted, I was one of the Amiga users that bought one to use as a serial-attached CD-ROM drive for my A1200. There was a CD32 boot CD sold for doing this that went through at least two revisions, and it was easy to build a serial cable – you could even attach a keyboard to the CD32 if you could cannibalise one from an A500 or similar.

- Lt. Nitpicker

March 10, 2020 at 1:56 pm

If anyone’s curious what that looked like, here’s a grainy, lo-res picture:
http://www.syntaxerror.nu/joy035.jpg

The rubber cap d-pad was apparently a stick-on adhesive thing supplied in the console box as an option, hence why you don’t see it that often. It wasn’t even shown on the front of the console box.

- Marcus

March 9, 2020 at 7:09 pm

David Pleasance and the attempt by Commodore UK to buy the parent company was a really big thing for the Amiga scene in the UK, so I hoping to read a bit about it here. Was it just not as interesting in the bigger picture as it was to us back then?

- Jimmy Maher

March 9, 2020 at 8:05 pm

I just didn’t want to spend too much time on all these anticlimactic might-have-beens. Sorry! For all that I’m happy excoriate Commodore’s mismanagement, I do think that the extent to which the Amiga’s fate was preordained by its tough-to-upgrade architecture, the lack of space in the market for a third system, and just the relative size and clout of Commodore (and the Amiga’s later owners) in comparison to the competition can get obscured when we’re constantly telling ourselves, “If only…” And besides that, it’s all just depressing as hell. ;)

Lemmings 2: The Tribes
March 20, 2020

When the lads at DMA Design started making the original Lemmings, they envisioned that it would allow you to bestow about twenty different “skills” upon your charges. But as they continued working on the game, they threw more and more of the skills out, both to make the programming task simpler and to make the final product more playable. They finally ended up with just eight skills, the perfect number to neatly line up as buttons along the bottom of the screen. In the process of this ruthless culling, Lemmings became a classic study in doing more with less in game design: those eight skills, combined in all sorts of unexpected ways, were enough to take the player through 120 ever-more-challenging levels in the first Lemmings, then 100 more in the admittedly less satisfying pseudo-sequel/expansion pack Oh No! More Lemmings.

Yet when the time came to make the first full-fledged sequel, DMA resurrected some of their discarded skills. And then they added many, many more of them: Lemmings 2: The Tribes wound up with no less than 52 skills in all. For this reason not least, it’s often given short shrift by critics, who compare its baggy maximalism unfavorably with the first game’s elegant minimalism. To my mind, though, Lemmings 2 is almost a Platonic ideal of a sequel, building upon the genius of the original game in a way that’s truly challenging and gratifying to veterans. Granted, it isn’t the place you should start; by all means, begin with the classic original. When you’ve made it through those 120 levels, however, you’ll find 120 more here that are just as perplexing, frustrating, and delightful — and with even more variety to boot, courtesy of all those new skills.

The DMA Design that made Lemmings 2 was a changed entity in some ways. The company had grown in the wake of the first game’s enormous worldwide success, such that they had been forced to move out of their cozy digs above a baby store in the modest downtown of Dundee, Scotland, and into a more anonymous office in a business park on the outskirts of town. The core group that had created the first Lemmings — designer, programmer, and DMA founder David Jones; artists and level designers Mike Dailly and Gary Timmons; programmer and level designer Russell Kay — all remained on the job, but they were now joined by an additional troupe of talented newcomers.

Lemmings 2 also reflects changing times inside the games industry in ways that go beyond the size of its development team. Instead of 120 unrelated levels, there’s now a modicum of story holding things together. A lengthy introductory movie — which, in another telling sign of the times, fills more disk space than the game itself and required almost as many people to make — tells how the lemmings were separated into twelve tribes, all isolated from one another, at some point in the distant past. Now, the island (continent?) on which they live is facing an encroaching Darkness which will end all life there. Your task is to reunite the tribes, by guiding each of them through ten levels to reach the center of the island. Once all of the tribes have gathered there, they can reassemble a magical talisman, of which each tribe conveniently has one piece, and use it to summon a flying ark that will whisk them all to safety.

It’s not exactly an air-tight plot, but no matter; you’ll forget about it anyway as soon as the actual game begins. What’s really important are the other advantages of having twelve discrete progressions of ten levels instead of a single linear progression of 120. You can, you see, jump around among all these tribes at will. As David Jones said at the time of the game’s release, “We want to get away from ‘you complete a level or you don’t.'” When you get frustrated banging your head against a single stubborn level — and, this being a Lemmings game, you will get frustrated — you can just go work on another one for a while.

Rather than relying largely on the same set of graphics over the course of its levels, as the original does, each tribe in Lemmings 2 has its own audiovisual theme: there are beach-bum lemmings, Medieval lemmings, spooky lemmings, circus lemmings, alpine lemmings, astronaut lemmings, etc. In a tribute to the place where the game was born, there are even Scottish Highland lemmings (although Dundee is actually found in the less culturally distinctive — or culturally clichéd — Lowlands). And there’s even a “classic” tribe that reuses the original graphics; pulling it up feels a bit like coming home from an around-the-world tour.

Teaching Old Lemmings New Tricks

In this Beach level, a lemming uses the “kayak” skill to cross a body of water.

In this Medieval level, one lemming has become an “attractor”: a minstrel who entrances all the lemmings around him with his music, keeping them from marching onward. Meanwhile one of his colleagues is blazing a trail in front for the rest to eventually follow.

In this Shadow level, the lemming in front has become a “Fencer.” This allows him to dig out a path in front of himself at a slight upward angle. (Most of the skills in the game that at first seem bewilderingly esoteric actually do have fairly simple effects.)

In this Circus level, one lemming has become a “rock climber”: a sort of super-powered version of an ordinary climber, who can climb even a canted wall like this one.

In this Polar level, a lemming has become a “roper,” making a handy tightrope up and over the tree blocking the path.

In this Space level, we’ve made a “SuperLem” who flies in the direction of the mouse cursor.

Other pieces of plumbing help to make Lemmings 2 feel like a real, holistic game rather than a mere series of puzzles. The first game, as you may recall, gives you an arbitrary number of lemmings which begin each level and an arbitrary subset of them which must survive it; this latter number thus marks the difference between success and failure. In the sequel, though, each tribe starts its first level with 60 lemmings, who are carried over through all of the levels that follow. Any lemmings lost on one level, in other words, don’t come back in the succeeding ones. It’s possible to limp to the final finish line with just one solitary survivor remaining — and, indeed, you quite probably will do exactly this with a few of the tribes the first time through. But it’s also possible to finish all but a few of the levels without killing any lemmings at all. At the end of each level and then again at the end of each tribe’s collection of levels, you’re awarded a bronze, silver, or gold star based on your performance. To wind up with gold at the end, you usually need to have kept every single one of the little fellows alive through all ten levels. There’s a certain thematic advantage in this: people often note how the hyper-cute original Lemmings is really one of the most violent videogames ever, requiring you to kill thousands and thousands of the cuties over its course. This objection no longer applies to Lemmings 2. But more importantly, it sets up an obsessive-compulsive-perfectionist loop. First you’ll just want to get through the levels — but then all those bronze and silver performances lurking in your past will start to grate, and pretty soon you’ll be trying to figure out how to do each level just that little bit more efficiently. The ultimate Lemmings 2 achievement, needless to say, is to collect gold stars across the board.

This tiered approach to success and failure might be seen as evidence of a kinder design sensibility, but in most other respects just the opposite is true; Lemmings 2 has the definite feel of a game for the hardcore. The first Lemmings does a remarkably good job of teaching you how to play it interactively over the course of its first twenty levels or so, introducing you one by one to each of its skills along with its potential uses and limitations. There’s nothing remotely comparable in Lemmings 2; it just throws you in at the deep end. While there is a gradual progression in difficulty within each tribe’s levels, the game as a whole is a lumpier affair, especially in the beginning. Each level gives you access to between one and eight of the 52 available skills, whilst evincing no interest whatsoever in showing you how to use any of them. There is some degree of thematic grouping when it comes to the skills: the Highland lemmings like to toss cabers; the beach lemmings are fond of swimming, kayaking, and surfing; the alpine lemmings often need to ski or skate. Nevertheless, the sheer number of new skills you’re expected to learn on the fly is intimidating even for a veteran of the first game. The closest Lemmings 2 comes to its predecessor’s training levels are a few free-form sandbox environments where you can choose your own palette of skills and have at it. But even here, your education can be a challenging one, coming down as it still does to trial and error.

Your first hours with the game can be particularly intimidating; as soon as you’ve learned how one group of skills works well enough to finish one level, you’re confronted with a whole new palette of them on the next level. Even I, a huge fan of the first game, bounced off the second one quite a few times before I buckled down, started figuring out the skills, and, some time thereafter, started having fun.

Luckily, once you have put in the time to learn how the skills work, Lemmings 2 becomes very fun indeed, — every bit as rewarding as the first game, possibly even more so. Certainly its level design is every bit as good — better in fact, relying more on logic and less on dodgy edge cases in the game engine than do the infamously difficult final levels of the first Lemmings. Even the spiky difficulty curve isn’t all bad; it can be oddly soothing to start on a new tribe’s relatively straightforward early levels after being taxed to the upmost on another tribe’s last level. If the first Lemmings is mountain climbing as people imagine it to be — a single relentless, ever-steeper ascent to a dizzying peak — the second Lemmings has more in common with the reality of the sport: a set of more or less difficult stages separated by more or less comfortable base camps. While it’s at least as daunting in the end, it does offer more ebbs and flows along the way.

One might say, then, that Lemmings 2 is designed around a rather literal interpretation of the concept of a sequel. That is to say, it assumes that you’ve played its predecessor before you get to it, and are now ready for its added complexity. That’s bracing for anyone who fulfills that criterion. But in 1993, the year of Lemmings 2’s release, its design philosophy had more negative than positive consequences for its own commercial arc and for that of the franchise to which it belonged.

The fact is that Lemmings 2’s attitude toward its sequel status was out of joint with the way sequels had generally come to function by 1993. In a fast-changing industry that was fast attracting new players, the ideal sequel, at least in the eyes of most industry executives, was a game equally welcoming to both neophytes and veterans. Audiovisual standards were changing so rapidly that a game that was just a couple of years old could already look painfully dated. What new player with a shiny new computer wanted to play some ugly old thing just to earn a right to play the latest and greatest?

That said, Lemmings 2 actually didn’t look all that much better than its predecessor either, flashy opening movie aside. Part of this was down to DMA Design still using the 1985-vintage Commodore Amiga, which was still very popular as a gaming computer in Britain and other European countries, as their primary development platform, then porting the game to MS-DOS and various other more modern platforms. Staying loyal to the Amiga meant working within some fairly harsh restrictions, such as that of having no more than 32 colors on the screen at once, not to mention making the whole game compact enough to run entirely off floppy disk; hard drives, much less CD-ROM drives, were still not common among European Amiga owners. Shortly before the release of Lemmings 2, David Jones confessed to being “a little worried” about whether people would be willing to look beyond the unimpressive graphics and appreciate the innovations of the game itself. As it happened, he was right to be worried.

Lemmings and Oh No! More Lemmings sold in the millions across a bewildering range of platforms, from modern mainstream computers like the Apple Macintosh and Wintel machines to antique 8-bit computers like the Commodore 64 and Sinclair Spectrum, from handheld systems like the Nintendo Game Boy and Atari Lynx to living-room game consoles like the Sega Master System and the Nintendo Entertainment System. Lemmings 2, being a much more complex game under the hood as well as on the surface, wasn’t quite so amenable to being ported to just about any gadget with a CPU, even as its more off-putting initial character and its lack of new audiovisual flash did it no favors either. It was still widely ported and still became a solid success by any reasonable standard, mind you, but likely sold in the hundreds of thousands rather than the millions. All indications are that the first game and its semi-expansion pack continued to sell more copies than the second even after the latter’s release.

In the aftermath of this muted reception, the bloom slowly fell off the Lemmings rose, not only for the general public but also for DMA Design themselves. The franchise’s true jump-the-shark moment ironically came as part of an attempt to re-jigger the creatures to become media superstars beyond the realm of games. The Children’s Television Workshop, the creator of Sesame Street among other properties, was interested in moving the franchise onto television screens. In the course of these negotiations, they asked DMA to give the lemmings more differentiated personalities in the next game, to turn them from anonymous marchers, each just a few pixels across, into something more akin to individualized cartoon characters. Soon the next game was being envisioned as the first of a linked series of no less than four of them, each one detailing the further adventures of three of the tribes after their escape from the island at the end of Lemmings 2, each one ripe for trans-media adaptation by the Children’s Television Workshop. But the first game of this new generation, called The Lemmings Chronicles, just didn’t work. The attempt to cartoonify the franchise was cloying and clumsy, and the gameplay fell to pieces; unlike Lemmings 2, Lemmings Chronicles eminently deserves its underwhelming critical reputation. DMA insiders like Mike Dailly have since admitted that its was developed more out of obligation than enthusiasm: “We were all ready to move on.” When it performed even worse than its predecessor, the Children’s Television Workshop dropped out; all of its compromises had been for nothing.

Released just a year after Lemmings 2, Lemmings Chronicles marked the last game in the six-game contract that DMA Design had signed with their publisher Psygnosis what seemed like an eternity ago — in late 1987 to be more specific, when David Jones had first come to Psygnosis with his rather generic outer-space shoot-em-up Menace, giving no sign that he was capable of something as ingenious as Lemmings. Now, having well and truly demonstrated their ingenuity, DMA had little interest in re-upping; they were even willing to leave behind all of their intellectual property, which the contract Jones had signed gave to Psygnosis in perpetuity. In fact, they were more than ready to leave behind the cute-and-cuddly cartoon aesthetic of Lemmings and return to more laddish forms of gaming. The eventual result of that desire would be a second, more long-lasting worldwide phenomenon, known as Grand Theft Auto.

Meanwhile Sony, who had acquired Psygnosis in 1993, continued off and on to test the waters with new iterations of the franchise, but all of those attempts evinced the same vague sense of ennui that had doomed Lemmings Chronicles; none became hits. The last Lemmings game that wasn’t a remake appeared in 2000.

It’s interesting to ask whether DMA Design and Psygnosis could have managed the franchise better, thereby turning it into a permanent rather than a momentary icon of gaming, perhaps even one on a par with the likes of Super Mario and Sonic the Hedgehog; they certainly had the sales to compete head-to-head with those other videogame icons for a few years there in the early 1990s. The obvious objection is that Mario and Sonic were individualized characters, while DMA’s lemmings were little more than a handful of tropes moving in literal lockstep. Still, more has been done with less in the annals of media history. If everyone had approached Lemmings Chronicles with more enthusiasm and a modicum more writing and branding talent, maybe the story would have turned out differently.

Many speculate today that the franchise must inevitably see another revival at some point, what with 21st-century pop culture’s tendency to mine not just the A-list properties of the past, but increasingly its B- and C-listers as well, in the name of one generation’s nostalgia and another’s insatiable appetite for kitsch. Something tells me as well that we haven’t seen the last of Lemmings, but, as of this writing anyway, the revival still hasn’t arrived.

As matters currently stand, then, the brief-lived but frenzied craze for Lemmings has gone down in history, alongside contemporaries like Tetris and The Incredible Machine, as one more precursor of the casual revolution in gaming that was still to come, with its very different demographics and aesthetics. But in addition to that, it gave us two games that are brilliant in their own right, that remain as vexing but oh-so-rewarding as they were in their heyday. Long may they march on.

One other surviving tribute to Dundee’s second most successful gaming franchise is this little monument at the entrance to the city’s Seabraes Park, erected by local artist Alyson Conway in 2013. Lemmings and Grand Theft Auto… not bad for a city of only 150,000 souls.

(Sources: the book Grand Thieves and Tomb Raiders by Magnus Anderson and Rebecca Levene; Compute! of January 1992; Amiga Format of May 1993 and the special 1992 annual; Retro Gamer 39; The One of November 1993; Computer Gaming World of July 1993.

Lemmings 2 has never gotten a digital re-release. I therefore make it available for download here, packaged to be as easy as possible to get running under DOSBox on your modern computer.)

Comments
31 Responses

- Lee

March 20, 2020 at 6:49 pm

Lemmings 2 is the game with probably the most mismatched ratio between how much I loved it and how good I was at it. After downloading it from one of the boards in the 713 BBS scene and falling completely in love with it, I begged my parents to buy it for me at the local Babbage’s—a true rarity! My recollection is that I never managed to bring a single tribe to the center of the map, and indeed I think there was at least one tribe (space, perhaps?) where I couldn’t even complete the first level.

I eventually fell out of love with the game and moved on, but not before spending countless hours murdering those cute little guys. Even if I never made much progress on it, I’ll remember this damn game forever.

- Jimmy Maher

March 21, 2020 at 7:44 am

And now comes the point where I tell you that my wife and I finished it without a single hint. ;) I do think having experience with the first Lemmings is almost a prerequisite to get anywhere with this one…

- Jason Dyer

March 20, 2020 at 9:56 pm

This is in my absolute top 3 of puzzle games (the other two, for the record, are Deadly Rooms of Death and Lost Vikings 2).

Any thoughts on 3D Lemmings? (I haven’t played it but it got a decent critical reception at the time, if not sales.)

- Jimmy Maher

March 21, 2020 at 7:47 am

I looked at it briefly, but didn’t get on with it at all. I found it so different that it might as well have belonged to a different series.

- Carl Muckenhoupt

March 21, 2020 at 10:46 am

I mostly remember 3D Lemmings for in-game advertising for Jelly Belly. To this day, whenever I see the Jelly Belly logo, I think of Lemmings 3D, which is presumably the reverse of what they were aiming for.

However, if I recall correctly, 3D Lemmings did at least introduce one good thing that I wished more real-time puzzle games would do: a replay mechanic. That is, in making a second attempt at a level, you could start it off doing a repeat of whatever you did previously, and then yank it out of that mode whenever you felt like taking control again.

I guess today you’d be more likely to get the same effect with a Prince-of-Persia-style rewind mechanism. I’ve seen a puzzle game or two with that.

- Sarah Walker

March 21, 2020 at 12:01 pm

Lemmings Chronicles (All New World of Lemmings in the UK – not sure which is the original title!) also had the replay feature, but it missed the point by not counting any level completed with the use as replay as actually beaten, meaning you still had to go back to the start! 3D Lemmings at least fixed that.

- whomever

March 21, 2020 at 12:13 am

It’s interesting that you bring up the Amiga graphics, because I remember it having actually pretty good use of VGA. I guess the fog of youth etc…

- Sarah Walker

March 21, 2020 at 12:03 pm

There are a few VGA enhancements on the PC version – look at the flamethrower for example, or the shields in the Medieval levels. But it’s still mostly a 16 colour Amiga/ST game.

- whomever

March 21, 2020 at 12:19 am

It’s also interesting that these are the same people who did GTA! I never put two and two together! Not sure if you will get there but GTA is a sort of guilty pleasure of a lot of people I know; I remember listening to an interview with the guy who did the fake radio stations who had worked for NPR for years, about especially how they did the fake NPR station. True story: The biggest GTA fan I know is a woman who grew up in an extremely conservative culture in ever other respect and has a very hight powered job, and I think it really was her outlet :-)

- Jimmy Maher

March 21, 2020 at 7:49 am

For all that I love Terry Gross, NPR satire practically writes itself. That Fresh Air-alike on Parks and Recreation used to have me rolling.

- Sniffnoy

March 21, 2020 at 3:10 am

It looks like the 2006 Lemmings was indeed a remake? Or at least mostly a remake, possibly with some additional levels? So that would make Lemmings Revolution, in 2000, the last truly new one.

- Jimmy Maher

March 21, 2020 at 7:52 am

Good catch. Thanks!

- Gnoman

March 21, 2020 at 4:16 am

” What’s really important important are the other advantages of having twelve discrete progressions of ten levels instead of a single linear progression of 120.”

Looks like you have a redundant “important” here.

I must confess that I never really “got” Lemmings, so this article is mostly interesting to me for the comments on the nature of sequels. Which is probably a subject that could handle an entire article by itself.

- Lisa H.

March 21, 2020 at 6:20 am

Looks like you have a redundant “important” here.

It’s just REALLY important! :)

- Jimmy Maher

March 21, 2020 at 7:53 am

Thanks!

- Kroc Camen

March 21, 2020 at 11:43 am

Sony (the current owners) appear uninterested and out of touch with Lemmings’ cultural imprint in the UK. As much as it should make a comeback, I don’t see it happening. The PSP port (2006) is accessible, but the rendered graphics are an acquired taste compared to the original pixel work.

- Wolfeye M.

March 22, 2020 at 2:42 am

I never play games like Lemmings 2, never been a fan of puzzle games. But, you certainly made the game interesting to read about.

- Wolfeye M.

March 22, 2020 at 2:46 am

Also wanted to say I think it’s hilarious that the same folks who made Lemmings went on to make GTA. Haha!
Can’t think of a game that’s more unlike Lemmings than that franchise.

- patryk

March 22, 2020 at 12:50 pm

Great overview of the Lemmings franchise! I never managed to get much far in Lemmings 2 because it somehow lacked, I would say, “intimacy” with all the skills that you have to acquire in the first game. In Lemmings after passing 40 or 50 levels you are very proficient with all specific skills, you know exactly how many pixels a bomber would destroy and how to combine two different skills to achieve a specific goal. In L2 there are too many skills and you are usually exposed to a specific skill only with one or two tribes. I definitely prefer the minimalist “less is more” design of the first game.

- Chris Floyd

March 23, 2020 at 1:58 am

I didn’t expect the final word on Lemmings 2 to be so positive! I could never crack it, as it just didn’t give me a steady enough learning curve to master the new skills, despite having played a lot of the first game. Kinda glad to hear it actually pays off. Either way, the core mechanic of Lemmings has such a gem-like purity and the presentation so much charm, it is definitely worthy of some kind of spiritual sequel.

(Since I’ve been recently replaying Zeus, I can’t help but selfishly ask, now that you’re a couple years into the 90s, if you expect to hit the Impressions City Builders. For me, it’s a seminal series that hasn’t really been bettered, even with the (as I see it) recent PC renaissance in city-builders.)

- Jimmy Maher

March 23, 2020 at 5:30 am

I do, but it’s probably not a thread I will pick up until Caesar III. Since the Caesar games are all takes on the same theme and concept, becoming steadily more content-rich and more refined, I don’t see a need to give each its own article. And there’s little reason to play Caesar I or II in a world that has Caesar III…

- Andrew L

March 24, 2020 at 1:59 am

In my youth, one year I got this and Dune 2 as birthday presents… that sure was a great gaming birthday. At the time I actually found Lemmings 2 more accessible than the first game, probably mostly for the reasons you listed: 12 vectors for progression and less gimmicks with obscure properties of the skills. I remember the fan tool being quite fun. Thanks for such a quality write-up on Lemmings 2; it’s nice to see a great but forgotten game get some love.

- Markus Peter

March 24, 2020 at 9:15 am

You write “By the time Jones made that comment, Lemmings and Oh No! More Lemmings had already sold in the millions across a bewildering range of platforms, from modern mainstream computers like the Apple Macintosh and Wintel machines to antique 8-bit computers like the Commodore 64 and Sinclair Spectrum”

This is slightly wrong, though. A single level demo of Lemmings was long the only thing available for the Commodore 64. The release of the real game was only in December 1993/January 1994, so in fact after the release of Lemmings 2 on other platforms.

- Jimmy Maher

March 24, 2020 at 9:23 am

Slight adjustment made. Thanks!

- Ricky Derocher

March 28, 2020 at 5:48 pm

“Staying loyal to the Amiga meant working within some fairly harsh restrictions, such as that of having no more than 32 colors on the screen at once…” – Actually it’s even more limited than that. It uses no more than 16 colors due to making it easier to port to the Amiga’s less powerful competitor the Atari ST.

- Carlo Savorelli

April 16, 2020 at 3:12 pm

Lemmings was built on minimalism. The sprites were a challenge on how much personality you could imbue in the least possible amount of pixels. In light of this, I’d say staying with the Amiga for the sequel was certainly not an hindrance whatsoever. These phenomena have a parable curve, and switching to full-fledged DOS support for, say, Populous II, has’t really earned the franchise any extra time on the limelight. As for the Mario or Sonic comparison, I’d rule that out quickly. There’s just too much quirky social commentary in Lemmings and too brains versus brawn involved to have them as “mascots”.

- whomever

April 16, 2020 at 6:28 pm

[veering off topic, but…]
“Mascots”. Oh man. I have an 8 year old and sat through the Sonic movie; he’s loved it and is young enough to not notice that the plot has enough holes you could fit the Death Star through (thank goodness it was at an Alamo Drafthouse so at least I could have some beer while we watched). I actually think that for Lemmings at least you could justify a more coherent plot (why are they fleeing? From whom? To where?), but still, it would be absolutely part of the video game to movie curse. Then again we live in a timeline that made a movie out of Battleship, so…

- Fuck David Cage

April 26, 2020 at 8:05 pm

I think the best way to go the opposite route: Make it an 80s style action movie in which the lemmings are alien invaders that have to be killed in increasingly bloody and explosive ways. Alternatively, make it like Death Wish 3 or Home Alone: A guy setting elaborate traps that brutally kill the lemmings.

- Fuck David Cage

April 26, 2020 at 8:01 pm

I love Lemmings and am curious about this game, but I remember it getting very mixed reviews. I have some questions:

Does it fix the annoying problem in the original game that lemmings bunch up into cluttered groups and become very difficult to select individually?

Do you have to get all the gold stars to get to the end? I remember that being a common complaint in its time.

- Charles

May 6, 2020 at 4:03 am

I remember some later version of Lemmings let you hold the left or right arrow key to only select a lemming going that way when you click, but I don’t remember if it started in Lemmings 2 or not.

- Charles

May 6, 2020 at 4:01 am

Oh wow, this is a welcome surprise to find a Lemmings 2 review. I have to agree that this is a superb and often overlooked sequel.

I seem to recall that it had some difficulty loading on FAT32 systems, which I believe came out only a few years after the game was released. That might also have contributed to its lack of recognition. At least now DOSBox is a valid option. Thank you for writing this article.

The (7th) Guest’s New Clothes
April 3, 2020

Once upon a time, two wizards decided to remake the face of computer gaming with the help of a new form of magic known as CD-ROM. They labored for years on their task, while the people waited anxiously, pouncing upon the merest hint the wizards let drop of what the final product would look like.

At long last — well after the two wizards themselves had hoped — the day of revelation came. Everyone, including both the everyday people and the enlightened scribes who kept them informed on the latest games, rushed to play this one, which they had been promised would be the best one ever. And at first, all went as the wizards had confidently expected. The scribes wrote rapturously about the game, and hordes of people bought it, making the wizards very rich.

But then one day a middle-aged woman, taking a break from reckoning household accounts by playing the wizards’ game, said to her husband, “You know, honey, this game is really kind of slow and boring.” And in time, a murmur of discontent spread through many ranks of the people, gaining strength all the while. The cry was amplified by a disheveled young man with a demon of some sort on his tee-shirt and a fevered look in his eyes: “That’s what I’ve been saying all along! The wizards’ game sucks! Play this one instead!” And he hunched back down over his computer to continue playing his very different sort of game, muttering something about “gibs” and “frags” as he did so.

The two wizards were disturbed by this growing discontent, but resolved to win the people over with a new game that would be just like their old one, except even more beautiful. They worked on it too for years to make it as amazing as possible. Yet when they offered it to the people, exponentially fewer of them bought it than had bought their first game, and their critics grew still louder and more strident. They tried yet one more new game of the same type, yet more beautiful, but by now the people had lost interest entirely; few could even be bothered to criticize it. The wizards started bickering with each other, each blaming the other for their failures.

One of the wizards, convinced he could do better by himself, went away to make still more games of the same type, but the people remained stubbornly uninterested; he finally gave up and found another occupation. From time to time, he tries again to see if the people want another game like the one they seemed to love so much on that one occasion long ago, but he is invariably disappointed.

The other wizard — perhaps the wiser of the two — said, “If you can’t beat ’em, join ’em.” He joined the guild that included the violent adolescent with the demon on his shirt, and enjoyed a return to fortune if not fame.

Such is the story of Trilobyte Games in a nutshell. Today, we remember 1993 as the year that Cyan Productions and id Software came to the fore with Myst and Doom, those two radically different would-be blueprints for gaming’s future. But we tend to forget that the most hyped company and game of the year were in fact neither of those pairings: they were rather Trilobyte and their game The 7th Guest. Echoing the conventional wisdom of the time, Bill Gates called The 7th Guest “the future of multimedia,” and some even compared Graeme Devine and Rob Landeros, the two “wizards” who had founded Trilobyte together, to John Lennon and Paul McCartney. Sadly for the wizards, however, The 7th Guest had none of the timeless qualities of the Beatles’ music; it was as of its own time as hula hoops, love beads, or polyester leisure suits were of theirs.

Rob Landeros and Graeme Devine

Unlike their alter egos in the Beatles, Graeme Devine and Rob Landeros grew up in vastly different environments, separated not only by an ocean but by the equally enormous gulf of seventeen years.

Born in Glasgow, Scotland, in 1966, Devine was one of the army of teenage bedroom coders who built the British games industry from behind the keyboards of their Sinclair Spectrums. His first published work was actually a programming utility rather than a game, released as part of a more complete Speccy programmer’s toolkit by a company known as Softek in the spring of 1983. But it was followed by his shoot-em-up Firebirds just a few months later. That game’s smooth scrolling and slick presentation won him a reputation. Thus one day the following year the phone rang at his family’s home; a representative from Atari was on the line, asking if he would be free to port their standup-arcade and console hit Pole Position to the Spectrum.

Over the next several years, Devine continued to port games from American publishers to the Europe-centric Spectrum, while also making more original games of his own: Xcel (1985), Attack of the Killer Tomatoes (1986), Metropolis (1987). His originals tended to be a bit half-baked once you really dove in, but their technical innovations were usually enough to sustain them, considering that most of them only cost a few quid. Metropolis, the first game Devine programmed for MS-DOS machines, provides a prime example of both his technical flair and complete lack of detail orientation. A sort of interactive murder mystery taking place in a city of robots, sharing only a certain visual sensibility with the Fritz Lang film classic of the same name, it includes almost-decipherable “voice acting” for its characters, implemented without the luxury of a sound card, being played entirely through the early IBM PC beeper. The game itself, on the other hand, is literally unfinished; it breaks halfway through its advertised ten cases. Perhaps Devine decided that, given that he included no system for saving his rather time-consuming game, no one would ever get that far anyway.

Metropolis

Metropolis was published through the British budget label Mastertronic, whose founder Martin Alper was a force of nature, famous as a cultivator of erratic young talent like Devine. Alper sold Mastertronic to Richard Branson’s Virgin Media empire just after Metropolis was released, and soon after that absconded to Southern California to oversee the newly formed American branch of Virgin Games. On a routine visit back to the Virgin mother ship in London in 1988, he dropped in on Devine, only to find him mired in a dark depression; it seemed his first serious girlfriend had just left him. “England obviously isn’t treating you well,” said Alper. “Why don’t you come with me to California?” Just like that, the 22-year-old Devine became the head of Virgin Games’s American research and development. It was in that role that he met Rob Landeros the following year.

Landeros’s origin story was about as different from Devine’s as could be imagined. Born in 1949 in Redlands, California, he had lived the life of an itinerant bohemian artist. After drifting through art school, he spent much of the 1970s in hippie communes, earning his keep by drawing underground comic books and engraving tourist trinkets. By the early 1980s, he had gotten married and settled down somewhat, and found himself fascinated by the burgeoning potential of the personal computer. He bought himself a Commodore 64, learned how to program it in BASIC, and even contributed a simple card game to the magazine Compute!’s Gazette in the form of a type-in listing.

But he remained a computer hobbyist only until the day in early 1986 that an artist friend of his by the name of Jim Sachs showed him his new Commodore Amiga. Immediately struck by the artistic possibilities inherent in the world’s first true multimedia personal computer, Landeros worked under Sachs to help illustrate Defender of the Crown, the first Amiga game from a new company called Cinemaware. After that project, Sachs elected not to stay on with Cinemaware, but instead recommended Landeros for the role of the company’s art director. Landeros filled that post for the next few years, illustrating more high-concept “interactive movies” which could hardly have been more different on the surface from Devine’s quick-and-dirty budget games — but which nevertheless tended to evince some of the same problems when it came to the question of their actual gameplay.

Whatever its flaws in that department, Martin Alper over at Virgin was convinced that the Cinemaware catalog was an early proof of concept for gaming’s future. As Cinemaware founder Bob Jacob and many others inside and outside his company well recognized, their efforts were hobbled by the need to rely on cramped, slow floppy disks to store all of their audiovisual assets and stream them into memory during play. But with CD-ROM on the horizon for MS-DOS computers, along with new graphics and sound cards that would make the platform even more audiovisually capable than the Amiga, that could soon be a restriction of the past. Alper asked Devine to interview Landeros for the role of Virgin’s art director.

Landeros was feeling “underappreciated and underpaid” at Cinemaware, as he puts it, so he was very receptive to such an offer. When he called Devine back after hearing the message the latter had left on his answering machine, he found the younger man in an ebullient mood. He had just gotten engaged to be married, Devine explained, to a real California girl — surely every cloistered British programmer’s wildest fantasy. Charmed by the lad’s energy and enthusiasm, Landeros let himself be talked into a job. And indeed, Devine and Landeros quickly found that they got on like a house on fire.

Tall and skinny and bespectacled, with unkempt long hair flying everywhere, Devine alternated the euphoria with which he had first greeted Landeros with bouts of depression such as the one Martin Alper had once found him mired in.  Landeros was calmer, more grounded, as befit his age, but still had a subversive edge of his own. When you first met him, he had almost a patrician air — but when he turned around for the first time, you noticed a small ponytail snaking down his back. While Devine was, like so many hackers, used to coding for days or weeks on end, sometimes to the detriment of his health and psychological well-being, Landeros needed a very good reason indeed to give up his weekend motorcycle tours. Devine was hugely impressed by Landeros’s tales of his free-spirited life, as he was by the piles of self-inked comic books lying about his home; Landeros was repeatedly amazed simply at the things Devine could make computers do. The two men complemented each other — perhaps were even personally good for one another in some way that transcends job and career.

Their work at Virgin, however, wasn’t always the most exciting. The CD-ROM revolution proved late in arriving; in the meantime, the business of making games continued pretty much as usual. In between his other duties, Devine made Spot, an abstract strategy game which betrayed a large debt to the ancient Japanese board game of Go whilst also serving as an advertisement for the soft drink 7 Up; if not quite a classic, it did show more focus than his earlier efforts. Meanwhile Landeros did the art for a very Cinemaware-like cross-genre concoction called Spirit of Excalibur. In his spare time, he also helped his friend and fellow Cinemaware alumnus Peter Oliphant with a unique word-puzzle/game-show hybrid called Lexi-Cross. (Rejected by Alper because “game shows need a license in order to sell,” it was finally accepted by Interplay after that company’s head Brian Fargo brought a copy home to his wife and she couldn’t stop playing it. Nonetheless, it sold hardly at all, just as Alper had predicted.)

Devine and Landeros were itching to work with CD-ROM, but everywhere they went they were told that the market just wasn’t there yet. As they saw it, no one was buying CD-ROM drives because no one was making compelling enough software products for the new medium. It was a self-fulfilling prophecy, a marketplace Gordian knot which someone had to break. Accordingly, they decided to put together their own proposal for a showpiece CD-ROM game. Both were entranced by Twin Peaks, the darkly quirky murder-mystery television series by David Lynch, which had premiered in the spring of 1990 and promptly become an unlikely mass-media sensation. Sitting in the airport together one day, they overheard the people around them debating the question of the year: who killed Laura Palmer?

Imagine a game that can fascinate in the same way, mused Devine. And so they started to brainstorm. They pictured a game, perhaps a bit like the board game Clue — tellingly, the details of the gameplay were vague in their minds right from the start — that might make use of a Twin Peaks license if such a thing was possible, but would go for that sort of vibe regardless. Most importantly, it would pull out all the stops to show what CD-ROM — and only CD-ROM — could do; there would be no floppy version. Indeed, the project would be thoroughly uncompromising in all of its hardware requirements, freeing it from the draconian restrictions that came with catering to the lowest common denominator. It would require one of a new generation of so-called “Super” VGA graphics cards, which would let it push past the grainy resolution of 320 X 200, still the almost universal standard in games, to a much sharper 640 X 480.

To keep the development complications from spiraling completely out of control, it could take place in a haunted house that had a group of people trapped inside, being killed one by one. Sure, Agatha Christie had done it before, but this would be different. Creepier. Darker. A ghost story as well as a mystery, all served up with a strong twist of David Lynch. “Who killed Laura Palmer? Who killed Laura Palmer? We wanted to create that sort of intrigue,” remembers Landeros.

When they broached the possibility of a Twin Peaks game with Alper, he was definitive on one point: there wasn’t enough room in his budget to acquire a license to one of the hottest media properties in the country. They should therefore focus their thinking on a Twin Peaks-like game, not the real thing. Otherwise, he was noncommittal. “Give me a detailed written proposal, and we’ll see,” he said.

At this point in our story, it would behoove us to know something more of Martin Alper the man, a towering figure whose shadow loomed large over all of Virgin Games. A painter and sculptor of some talent during his free time, Alper was also an insatiable culture vulture, reading very nearly a novel per day and seeing several films per week. His prodigious consumption left no space for games. “I’ve never played any game,” he liked to boast. “What interests me is the cultural progress that games can generate. I’m looking to make a difference in society.” He liked to think of himself as a 1990s incarnation of Orson Welles, nudging his own group of Mercury Players into whole new fields of creative expression. When Devine and Landeros’s detailed proposal landed on his desk in November of 1990, full of ambition to harness the current zeitgeist in the service of a new medium, it hit him right where he lived. Even the proposed budget of $300,000 — two to three times that of the typical Virgin game — put him off not at all.

So, he invited Devine and Landeros to a lunch which has since gone down in gaming lore. After the niceties had been dispensed with, he told the two bluntly that they had “no future at Virgin Games.” He enjoyed their shock for a while — a certain flair for drama was also among his character traits — then elaborated. “Your idea is too big to be developed here. If you stayed here, you’d quickly overrun our offices. I can’t afford to let you do that. Other games have to be made here as well.”

“What do you suggest?” ventured Devine.

And so Alper laid out his grand plan. They should start their own studio, which Virgin Games would finance. They could work where they liked and hire whomever they liked, as long as the cost didn’t become too outrageous and as long as they stayed within 90 minutes of Virgin’s headquarters, so that Alper and David Bishop, the producer he planned to assign to them, could keep tabs on their progress. And they would have to plan for the eventuality of a floppy-disk release as well, if, as seemed likely, CD-ROM hadn’t yet caught on to a sufficient degree with consumers by the following Christmas, the game’s proposed release date. They were simple requirements, not to mention generous beyond Devine and Landeros’s wildest dreams. Nevertheless, they would fail to meet them rather comprehensively.

In the course of his hippie wanderings, Landeros had fallen in love with the southern part of Oregon. After the meeting with Alper, he suggested to Devine that they consider setting up shop there, where the biking and motorcycling were tremendous, the scenery was beautiful, the people were mellow, and the cost of living was low. When Devine protested that one certainly couldn’t drive there from Virgin’s offices within 90 minutes, Landeros just winked back. Alper hadn’t actually specified a mode of transportation, he noted. And one could just about fly there in an hour and a half.

On December 5, 1990, the pair came for the first time to Jacksonville, Oregon, a town of just 2000 inhabitants. It so happened that the lighting of the town Christmas tree was taking place that day. All of the people had come out for the occasion, dressed in Santa suits and Victorian costumes, caroling and roasting chestnuts. Just at sunset, snow started to fall. Devine, the British city boy far from home, looked around with shining eyes at this latest evolution of his American dream. Oregon it must be.

So, during that same visit, they signed a lease on a small office above a tavern in an 1884-vintage building — wood floors, a chandelier on the ceiling, even a fireplace. They hired Diane Moses, a waitress from the tavern below, to serve as their office manager. Then they went back south to face the music.

The 7th Guest was created in this 1884-vintage building in Jacksonville, Oregon, above a tavern which is now known as Boomtown Saloon.

Alper was less than pleased at first that they had so blatantly ignored his instructions, but they played up the cheap cost of living and complete lack of distractions in the area until he grudgingly acquiesced. The men’s wives were an even tougher sell, especially when they all returned to Jacksonville together in January and found a very different scene: a bitter cold snap had caused pipes to burst all over town, flooding the streets with water that had now turned to treacherous ice, making a veritable deathtrap of the sidewalk leading up to their new office’s entrance. But the die was now cast, for better or for worse.

The studio which Devine and Landeros had chosen to name Trilobyte officially opened for business on February 1, 1991. The friends found that working above a tavern had its attractions after a long day — and sometimes even in the middle of one. “It’s fun to watch the fights spill out onto the street,” said Devine to a curious local newspaper reporter.

The first pressing order of business was to secure a script for a game that was still in reality little more than a vague aspiration. Landeros had already made contact over the GEnie online service with Matthew Costello, a horror novelist, gaming journalist, and sometime tabletop-game designer. He provided Trilobyte with a 100-page script for something he called simply Guest. Graeme Devine:

We presented the basic story to Matt, and he made it into a larger story, built the characters and the script. He created it out of what was really just a sketch. We were anxious that the [setting] be very, very closed. One that would work as a computer environment. That’s what he gave us.

The script took place within a single deserted mansion, and did all of its storytelling through ghostly visions which the player would bump into from time to time, and which could be easily conveyed through conveniently non-interactive video snippets. Like so many computer games, in other words, Guest would be more backstory than story.

Said backstory takes place in 1935, and hinges on a mysterious toy maker named Henry Stauf — the anagram of Faust is intentional — who makes and sells a series of dolls which cause all of the children who play with them to sicken and die. When the people of his town figure out the common thread that connects their dead children, they come for him with blood in their eyes. He barricades himself in his mansion to escape their wrath — but sometime shortly thereafter he lures six guests into spending a night in the mansion, with a promise of riches for those who survive. Falling victim either to Stauf’s evil influence or their own paranoia, or both, the six guests all manage to kill one another, Agatha Christie-style, over the course of the night, all without ever meeting Stauf himself in the flesh. But there is also a seventh, uninvited guest, a street kid named Tad who sneaks in and witnesses all of the horror, only to have his own soul trapped inside the mansion. It becomes clear only very slowly over the course of the game that the player is Tad’s spirit, obsessively recapitulating the events of that night of long ago, looking for an escape from his psychic prison in the long-deserted mansion.

The backstory of how Stauf came to take up residence in his mansion is shown in the form of narrated storybook right after the opening credits.

The only thing missing from Costello’s script was any clear indication of what the player would be expected to do in the course of it all. Trilobyte planned to gate progress with “challenges to the player’s intellect and curiosity. Our list of things to avoid includes: impossible riddles, text parsers, inventories, character attribute points, sword fights, trolls, etc. All actions are accomplished via mouse only. Game rules will either be self-explanatory or simple enough to discover with minimal experimentation.” It sounded good in the abstract, but it certainly wasn’t very specific. Trilobyte wouldn’t seriously turn to the game part of their game for a long, long time to come.

The question of Guest’s technical implementation was almost as unsettled, but much more pressing. Devine and Landeros first imagined showing digitized photographs of a real environment. Accordingly, they negotiated access to Jacksonville’s Nunan House, a palatial three-story, sixteen-room example of the Queen Anne style, built by a local mining magnate in 1892. But, while the house was fine, the technology just wouldn’t come together. Devine had his heart set on an immersive environment where you could see yourself actually moving through the house. Despite all his technical wizardry, he couldn’t figure out how to create such an effect from a collection of still photographs.

The Mansion

The Nunan House in Jacksonville, Oregon, whose exterior served as the model for the Stauf Mansion. The interior of the latter was, however, completely different, with the exception only of a prominent central staircase.

A breakthrough arrived when Devine and Landeros shared their woes with a former colleague from Virgin, an artist named Robert Stein. Stein had been playing for several months with 3D Studio, a new software package from a company known as Autodesk which let one build and render 3D scenes and animations. It was still an awkward tool in many ways, lagging behind similar packages for the Commodore Amiga and Apple Macintosh. Nonetheless, a sufficiently talented artist could do remarkable things with it, and it had the advantage of running on the MS-DOS computers on which Trilobyte was developing Guest. Devine and Landeros were convinced when Stein whipped up a spooky living room for them, complete with a ghostly chair that flew around of its own accord. Stein soon came to join them in Jacksonville, becoming the fourth and last inhabitant of their cozy little office.

3D Studio

The 7th Guest was the first major game to make extensive use of Autodesk’s 3D Studio, a tool that would soon become ubiquitous in the industry. Here we see the first stage of the modeling process: the Shaper, in which an object is created as a two-dimensional geometric drawing, stored in the form of points and vectors.

In the Lofter, an object’s two dimensions are extruded into three, as the X- and Y-coordinates of its points are joined to Z-coordinates.

The Materials Editor is used to apply textured surfaces to what were previously wire-frame objects.

The 3D Editor is used to build a scene by hanging objects together in a virtual space and defining the position, color, and intensity of light sources.

The Keyframer is used to create animation. The artist arranges the world in a set of these so-called key frames, then tells the computer to extrapolate all of the frames in between. The process was an extremely time-consuming one on early-1990s computer hardware; each frame of a complex animation could easily take half an hour to render.

Even using 3D Studio, Guest must fall well short of the ideal of an immersive free-scrolling environment. At the time, only a few studios — most notably Looking Glass Technologies and, to a much more limited extent, id Software of eventual Doom fame — were even experimenting with such things. The reality was that making interactive free-scrolling 3D work at all on the computer hardware of the era required drastic compromises in terms of quality — compromises which Trilobyte wasn’t willing to make. Instead they settled for a different sort of compromise, in the form of a node-based approach to movement. The player is able to stand only at certain pre-defined locations, or nodes, in the mansion. When she clicks to move to another node, a pre-rendered animation plays, showing her moving through the mansion.

Just streaming these snippets off CD fast enough to play as they should taxed Devine’s considerable programming talents to the utmost. He would later muse that he learned two principal things from the whole project: “First, CD-ROM is bloody slow. Second, CD-ROM is bloody slow.” When he could stretch his compression routines no further, he found other tricks to employ. For example, he got Landeros to agree to present the environment in a “letter-boxed” widescreen format. Doing so would give it a sense of cinematic grandeur, even as the black bars at the top and bottom of the monitor dramatically reduced the number of pixels Devine’s routines had to move around. A win win.

With the interior of the mansion slowly coming into being, the time was nigh to think about the ghostly video clips which would convey the story. Trilobyte recruited local community-theater thespians to play all the parts; with only $35,000 to spend on filming, including the camera equipment, they needed actors willing to work for almost nothing. The two-day shoot took place in a rented loft in Medford, Oregon, on a “stage” covered with green butcher paper. The starring role of Stauf went to Robert Hirschboeck, a fixture of the annual Oregon Shakespeare Festival, which was (and is) held in nearby Ashland. Diane Moses, Trilobyte’s faithful office manager, also got a part.

Robert Hirschboeck, the semi-professional Shakespearean actor who played the role of Stauf in The 7th Guest and its sequel. He was bemused by the brief fame the role won him: “I’ll be walking down the street and meet someone with all the CD-ROM gear, and they’ll say, ‘Ah, man, I’ve been looking at your ugly mug for 60 hours this week.'”

Trilobyte believed, with some justification, that their game’s premise would allow them to avoid some of the visual dissonance that normally resulted from overlaying filmed actors onto computer-generated backgrounds: their particular actors represented ghosts, which meant it was acceptable for them to seem not quite of the world around them. To enhance the impression, Trilobyte added flickering effects and blurry phosphorescent trails which followed the actors’ movements.

The Chroma-Key Process

A technique known as chroma-keying was used by The 7th Guest and most other games of the full-motion-video era to blend filmed actors with computer-generated backgrounds. The actor is filmed in front of a uniform green background. After digitization, all pixels of this color are rendered transparent. (This means that green clothing is right out for the actors…)

Meanwhile a background — the “stage” for the scene — has been created on the computer.

Finally, the filmed footage is overlaid onto the background.

While Trilobyte built their 3D mansion and filmed their actors, the project slipped further and further behind schedule. Already by May of 1991, they had to break the news to Alper that there was no possibility of a Christmas 1991 release; Christmas 1992 might be a more realistic target. Luckily, Alper believed in what they were doing. And the delay wasn’t all bad at that; it would give consumers more time to acquire the SVGA cards and CD-ROM drives they would need to run Guest — for by now it was painfully clear that a floppy-disk version of the game just wasn’t going to happen.

In January of 1992, Devine, Landeros, and Stein flew to Chicago for the Winter Consumer Electronics Show. They intended to keep a low profile; their plan was simply to check out the competition and to show their latest progress to Alper and his colleagues. But when he saw what they had, Alper broke out in goosebumps. Cinema connoisseur that he was, he compared it to Snow White and the Seven Dwarfs, Walt Disney’s first feature film, which forever changed the way people thought about cartoon animation. What Snow White had done for film, Alper said, Guest could do for games. He decided on the spot that it needed to be seen, right there and then. So, he found a computer on the show floor that was currently demonstrating a rather yawn-inducing computerized version of Scrabble and repurposed it to show off Guest. To make up for the fact that Trilobyte’s work had no music as of yet, he put on a CD of suitably portentous Danny Elfman soundtrack extracts to accompany it.

Thanks to this ad hoc demonstration, Guest turned into one of the most talked-about games of the show. Its stunning visuals were catnip to an industry craving killer apps that could nudge reluctant consumers onto the CD-ROM bandwagon. Bill Gates hung around the demo machine like a dog close to feeding time. Virgin’s competitor Origin Systems, of Wing Commander and Ultima fame, also sat up and took notice. They highlighted Guest as the game to watch in their internal newsletter:

Here’s a tip: keep an eye out for Guest, a made-for-CD-ROM title from Oregon developer Trilobyte for Virgin Games. In it, you explore a 22-room haunted mansion, complete with elaborate staircases, elegant dining rooms, a gloomy laboratory, and see-through ghosts. The version we saw is in a very primitive stage; there’s no real story line yet and many of the rooms are only rendered in black and white. But the flowing movement and brilliant detail in a few scenes which are fleshed-out are nothing less than spectacular. Ask anybody who saw it.

None of the press or public seemed to even notice that it was far from obvious what the player was supposed to do amidst all the graphical splendor, beyond the vague notion of “exploring.” The Trilobyte trio flew back to Oregon thoroughly gratified, surer than ever that all of their instincts had been right.

Still, with publicity came expectations, and also cynicism; Bill Gates’s enthusiasm notwithstanding, a group of multimedia experts at Microsoft said publicly that what Trilobyte was proposing to do was simply impossible. Some believed the entire CES demo had been a fake.

Trilobyte remained a tiny operation: there were still only Devine, Landeros, Stein, and Moses in their digs above the tavern. Other artists, as well as famed game-soundtrack composer George “The Fat Man” Sanger, worked remotely. But Devine, who had always been a lone-wolf coder, refused to delegate any of his duties now, even when they seemed about to kill him. “I’ve never seen someone work so hard on a project,” remembers one Virgin executive. The Fat Man says that “Graeme wanted to prove everyone else a liar. He knew he was going to be able to do it.” This refusal to delegate began to cause tension with Alper and others at Virgin, especially as it gradually became clear that Trilobyte was going to miss their second Christmas deadline as well. Virgin had now sunk twice the planned $300,000 into the project, and the price tag was still climbing. Incredibly, Trilobyte’s ambitions had managed to exceed the 650 MB of storage space on a single CD, a figure that had heretofore seemed inconceivably enormous to an industry accustomed to floppy disks storing barely 1 MB each; Guest was now to ship on two CDs. Devine and Landeros agreed to work without salary to appease their increasingly impatient handlers.

Only in these last months did an already exhausted Devine and Landeros turn their full attention to the puzzles that were to turn their multimedia extravaganza into a game. Trilobyte was guided here by a simple question: “What would Mom play?” They found to their disappointment that many of the set-piece puzzles and board and card games they wanted to include were still under copyright. Their cutting-edge game would have to be full of hoary puzzles plundered from Victorian-era texts.

But at least Trilobyte could now see the light at the end of the tunnel. In January of 1993, they made a triumphant return to CES, this time with far more pomp and circumstance, to unveil the game they were now calling The 7th Guest. Alper sprang for a haunted-house mock-up in the basement of the convention hall, to which only a handpicked group of VIPs were admitted for a “private screening.” Bill Gates was once again among those who attended; he emerged a committed 7th Guest evangelist, talking it up in the press every chance he got. And why not? It blew Sherlock Holmes Consulting Detective, the current poster child for CD-ROM gaming, right out of the water. Sherlock’s herky-jerky video clips, playing at a resolution of just 160 X 100, paled next to The 7th Guest’s 3D-rendered SVGA glory.

When it was finally released in April of 1993, the reaction to The 7th Guest exceeded Virgin and Trilobyte’s fondest hopes. Virgin began with a production run of 60,000, of which they would need to sell 40,000 copies to break even on a final development budget of a little over $700,000. They were all gone within days; Virgin scrambled to make more, but would struggle for months to keep up with demand. “Believe it or not, The 7th Guest really does live up to all the hype,” wrote Video Games and Computer Entertainment magazine. “It takes computer entertainment to the next level and sets new standards for graphics and sound.” What more could anyone want?

Well, in the long run anyway, a lot more. The 7th Guest would age more like raw salmon than fine wine. Already just two and a half years after its release to glowing reviews like the one just quoted, the multimedia trade magazine InterAction was offering a much more tepid assessment:

As a first-generation CD-ROM-based experience, The 7th Guest broke new ground. It also broke a lot of rules – of course, this was before anyone knew there were any rules. The music drowns out the dialog; the audio is not mixable. The video clips, once triggered, can’t be interrupted, which in a house of puzzles and constant searching leads to frustration. How many times can you watch a ghost float down a hallway before you get bored?

Everywhere The 7th Guest evinces the telltale signs of a game that no one ever bothered to play before its release — a game the playing of which was practically irrelevant to its real goals of demonstrating the audiovisual potential of the latest personal computers. Right from the moment you boot it up, when it subjects you to a cheesy several-seconds-long sound clip you can’t click past, it tries your patience. The Ouija Board used to save and restore your session seems clever for about half a minute; after that’s it’s simply excruciating. Ditto the stately animations that sweep you through the mansion like a dancing circus elephant on Quaaludes; the video clips that bring everything to a crashing halt for a minute or more at a time; the audio clips of Stauf taunting you which are constantly freezing the puzzles you’re trying to solve. The dominant impression the game leaves you with is one of slowness: the slowness of cold molasses coming out of the jar, of a glacier creeping over the land, of the universe winding down toward its heat death. I get fidgety just thinking about it.

One of the game’s few concessions to player convenience is this in-game map. Yet it’s made so annoying to use that you hardly want to. First, you have to click through a menu screen which forces you to watch it tediously fading in and out, like every screen in the game. And then you have to watch the game fill in the map with colors square by exasperating square to indicate where you’ve solved the puzzles and where you still have puzzles remaining. This game would make an excellent trial of patience for a Zen school, if such institutions exist.

The puzzles that are scattered through the rooms of the mansion gate your progress, but not for any reason that is discernable within the environment. When you solve certain puzzles, the game simply starts letting you go places you couldn’t go before. In practice, this means that you’re constantly toing and froing through the mansion, looking for whatever arbitrary new place the game has now decided to let you into. And, as already noted, moving around takes forever.

The puzzles themselves were already tired in 1993. Landeros has been cheeky enough to compare The 7th Guest to The Fool’s Errand, Cliff Johnson’s classic Macintosh puzzler, but the former’s puzzles haven’t a trace of the latter’s depth, grace, wit, or originality. Playing The 7th Guest exposes a pair of creators who were, despite being unquestionably talented in other ways, peculiarly out of their depth when it came to the most basic elements of good game design.

For example, one of the puzzles, inevitably, is an extended maze, which the vast majority of players solve, assuming they do so at all, only through laborious trial and error. “The solution to the maze was on a rug in one of the bedrooms,” notes Devine. “We thought people would copy that down.” A more experienced design team would have grasped that good game design requires consistency: all of the other puzzles in the game are completely self-contained, a fact which has trained the player long before she encounters the maze not to look for clues like this one in the environment. Alternately, testers could have told the designers the same thing. The 7th Guest provides yet one more illustration of my maxim that the difference between a bad and a good one is the same as that between a game that wasn’t played before its release and one that was. “Our beta testing was, well, just us,” admits Devine.

Another infamous lowlight — easily the worst puzzle in the game in purely abstract design terms — is a shelf of lettered soup cans which you must rearrange to spell out a message. The problem is that the sentence you’re looking for makes sense only under a mustily archaic Scottish diction that vanishingly few players are likely to be familiar with.

But the worst puzzle in practical terms is actually Devine’s old abstract strategy game Spot, imported wholesale, albeit with the intelligence of your computer opponent cranked up to literally superhuman levels. It’s so difficult that even the official strategy guide throws up its hands, offering only the following clarification: “It is not necessary to beat this game to advance through The 7th Guest, and you will not be missing anything if you can’t beat it. To our knowledge, nobody has a consistent strategy to beat this game, not even Graeme!” The most serious problem here, even beyond the sheer lunacy of including a mini-game that even the programmer doesn’t know how to beat, is that the player doesn’t know that the puzzle is unnecessary. Thus she’s likely to waste hours or days on an insurmountable task, thinking all the while that it must gate access to a critical part of the plot, just like all the other puzzles. (What did I say about consistency?) Its presence is unforgivably cruel, especially in a game that advertised itself as being suitable for casual players.

None of the other puzzles are quite as bad as these, but they are samey —  three of the 22 are chess puzzles, doubtless all drawn from the same Victorian book — at wild variance with one another in difficulty, and just generally dull, in addition to being implemented in ways calculated to maximize their tedium. Playing the game recently to prepare for this article, I never once felt that rush that accompanies the solution of a really clever puzzle. Working through these ones does indeed feel like work, made all the more taxing by the obstinately form-over-function interface. The best thing to be said about the puzzles is that they can all be bypassed by consulting an in-game hint book in the mansion’s library, albeit at the cost of missing the video clips that accompany their successful solutions and thus missing out on that part of the plot.

Still, one might want to argue that there is, paradoxical though it might sound, more to games than gameplay. Aesthetics have a value of their own, as does story; certainly The 7th Guest is far from the first adventure game with a story divorced from its puzzles. In all of these areas as well, however, it’s long since curdled. The graphics, no longer able to dazzle the jaded modern eye with their technical qualities, stand revealed as having nothing else to offer. There’s just nothing really striking in the game’s visual design — no compelling aesthetic vision. The script as well manages only to demonstrate that Matthew Costello is no David Lynch. It turns out that subversive surrealistic horror is harder to pull off than it looks.

As for the actors… I hesitate to heap too much scorn on them, given that they were innocent amateurs doing their best with a dodgy script in what had to feel like a thoroughly strange performing situation. Suffice to say, then, that the acting is about as good as that description would suggest. On the other hand, it does seem that they had some fun at least some of the time by hamming it up.

Link to video:
https://www.filfre.net/wp-content/uploads/2020/03/guest.mp4

Indeed, the only claim to aesthetic or dramatic merit which The 7th Guest can still make is that of camp. Even Devine acknowledges today that the game is more silly than scary. He now admits that the story is “a bit goofy” and calls the game “Scooby Doo spooky” rather than drawing comparisons to The Shining and The Haunting, as he did back in the day. Which is progress, I suppose — but then, camp is such a lazy crutch, one that far too many games try to lean upon.

“The 7th Guest just kept selling and selling,” says its producer David Bishop of the months after its release. “We’d look at the sales charts and it had incredible legs. Sales were picking up, not slowing down.” By the end of 1996, the game would sell well over 2 million copies.  Trilobyte was suddenly flush with cash; they earned $5 million in royalties in the first year alone. Nintendo gave them a cool $1 million upfront for the console rights; Paul Allen came along with another $5 million in investment capital. Trilobyte moved out of their little office above the tavern into a picturesque old schoolhouse, and started hiring the staff that had been so conspicuously missing while they made their first game. Then they moved out of the schoolhouse into a 29,000-square-foot monstrosity, formerly a major bank’s data center.

The story of Trilobyte after The 7th Guest becomes that of two merely smart men who started believing that they really were the infallible geniuses they were being hyped as. “Trilobyte thought they could pick up any project and it would turn to gold,” says one former Virgin staffer. “They had huge egos and wanted to grow,” says another. Even writer Matthew Costello says that he “could see the impact the attention from The 7th Guest had on [Devine and Landeros’s] perceptions of themselves.”

Despite the pair’s heaping level of confidence and ambition, or perhaps because of it, Trilobyte never came close to matching the success of The 7th Guest. The sequel, called The 11th Hour, shipped fully two and a half years later, but nonetheless proved to be just more of the same: more dull puzzles, more terrible acting, more technically impressive but aesthetically flaccid graphics. The zeitgeist instant for this sort of thing had already passed; after a brief flurry of early sales, The 11th Hour disappeared. Other projects came and went; Trilobyte spent $800,000 on Dog Eat Dog, a “workplace-politics simulator,” before cancelling it. Meanwhile Clandestiny, another expensive game in the mold of The 7th Guest, sold less than 20,000 copies to players who had now well and truly seen that the guest had no clothes.

Dog Eat Dog, Trilobyte’s never-released “workplace-politics simulator.”

Rob Landeros gradually revealed himself to be a frustrated filmmaker, always a dangerous thing to have around a game-development studio. Worse, he was determined to push Trilobyte into “edgy” content, rife with adult themes and nudity, which he lacked sufficient artistic nuance to bring to life in ways that didn’t feel crass and exploitative. When Devine proved understandably uncomfortable with his direction, the two fast friends began to feud.

The two founders were soon pulling in radically different directions, with Landeros still chasing the interactive-movie unicorn as if Doom had never happened, while Devine pushed for a move into real-time 3D games like the ones everyone else was making. New Media magazine memorably described Landeros’s Tender Loving Care as “a soft-porn film with a weak plot and rancid acting” after getting a sneak preview; the very name of Devine’s Extreme Warfare sounded like a caricature of bro-gamer culture. The former project was eventually taken by an embittered Landeros to a new company he founded just to publish it, whereupon it predictably flopped; the latter never got released at all. Trilobyte was officially wound up in January of 1999. “In the end, I never outran the shadow of The 7th Guest,” wrote Devine in a final email to his staff. “Mean old Stauf casts his long and bony shadow across this valley, and Trilobyte will always be remembered for those games and none other.”

In the aftermath, Devine continued his career in the games industry as an employee rather than an entrepreneur, working on popular blockbusters like Quake III, Doom 3, and Age of Empires III. (Good things, it seems, come to him in threes.) Landeros intermittently tried to get more of his quixotic interactive movies off the ground, whilst working as a graphic designer for the Web and other mediums. He’s become the keeper of the 7th Guest flame, for whatever that is still worth. In 2019, he launched a remastered 25th anniversary edition of the game, but it was greeted with lukewarm reviews and little enthusiasm from players. It seems that even nostalgia struggles to overcome the game’s manifest deficiencies.

The temptation to compare The 7th Guest to Myst, its more long-lived successor in the role of CD-ROM showcase for the masses, is all but irresistible. One might say that The 7th Guest really was all the things that Myst was so often accused of being: shallow, unfair, a tech demo masquerading as a game. Likewise, a comparison of the two games’ respective creators does Devine and Landeros no favors. The Miller brothers of Cyan Productions, the makers of Myst, took their fame and fortune with level-headed humility. Combined with their more serious attitude toward game design as a craft, this allowed them to weather the vicissitudes of fortune — albeit not without a few bumps along the way, to be sure! — and emerge with their signature franchise still intact. Devine and Landeros, alas, cannot make the same claim.

And yet I do want to be careful about using Myst as a cudgel with which to beat The 7th Guest. Unlike so many bad games, it wasn’t made for cynical reasons. On the contrary: all indications are that Devine and Landeros made it for all the right reasons, driven by a real, earnest passion to do something important, something groundbreaking. If the results largely serve today as an illustration of why static video clips strung together, whether they were created in a 3D modeler or filmed in front of live actors, are an unstable foundation on which to build a compelling game, the fact remains that we need examples of what doesn’t work as well as what does. And if the results look appallingly amateurish today on strictly aesthetic terms, they shouldn’t obscure the importance of The 7th Guest in the history of gaming. As gaming historians Magnus Anderson and Rebecca Levene put it, “The 7th Guest wasn’t anywhere near the league of professional film-making, but it moved games into the same sphere — a non-gamer could look at The 7th Guest and understand it, even if they were barely impressed.”

A year before Myst took the Wintel world by storm, The 7th Guest drove the first substantial wave of CD-ROM uptake, doing more than any other single product to turn 1993 into the long-awaited Year of CD-ROM. It’s been claimed that sales of CD-ROM drives jumped by 300 percent within weeks of its release. Indeed, The 7th Guest and CD-ROM in general became virtually synonymous for a time in the minds of consumers. And the game drove sales of SVGA cards to an equal degree; The 7th Guest was in fact the very first prominent game to demand more than everyday VGA graphics. Likewise, it undoubtedly prompted many a soul to take the plunge on a whole new 80486- or Pentium-based wundercomputer. And it also prompted the sale of countless CD-quality 16-bit sound cards. Thanks to The 7th Guest’s immense success, game designers after 1993 had a far broader technological canvas on which to paint than they had before that year. And some of the things they painted there were beautiful and rich and immersive in all the ways that The 7th Guest tried to be, but couldn’t quite manage. While I heartily and unapologetically hate it as a game, I do love the new worlds of possibility it opened.

(Sources: the books La Saga des Jeux Vidéo by Daniel Ichbiah, Grand Thieves and Tomb Raiders: How British Video Games Conquered the World by Magnus Anderson and Rebecca Levene, and The 7th Guest: The Official Strategy Guide by Rusel DeMaria; Computer Gaming World of December 1990, May 1991, November 1992, October 1994, November 1994, June 1995, November 1998, December 1999, and July 2004; Electronic Entertainment of June 1994 and August 1995; Game Players PC Entertainment Vol. 5 No. 5; InterActivity of February 1996; Retro Gamer 85, 108, 122, and 123; Video Games and Computer Entertainment of August 1993; Zero of May 1992; Run 1986 Special Issue; Compute!’s Gazette of April 1985 and September 1986; ZX Computing of April 1986; Home Computing Weekly of July 19 1983; Popular Computing Weekly of May 26 1983; Crash of January 1985; Computer Gamer of December 1985 and February 1986; Origin Systems’s internal newslatter Point of Origin dated January 17 1992. Online sources include Geoff Keighly’s lengthy history of Trilobyte for GameSpot, John-Gabriel Adkins’s “Two Histories of Myst,” and “Jeremiah Nunan – An Irish Success Story” at the Jacksonville Review.

The 25th anniversary edition of The 7th Guest is available for purchase at GOG.com, as is the sequel The 11th Hour.)

Comments
50 Responses

- Jason B Dyer

April 3, 2020 at 6:03 pm

My favorite writing about Tender Loving Care is at Carl Muckenhoupt’s blog. It goes into lengthy detail.

https://www.wurb.com/stack/index.php?s=TLC&sbutt=Find

- dsparil

April 3, 2020 at 7:14 pm

I never even realized that The 7th Guest was supposed to be scary! It is such a goofy game, and an awareness of that could have gone a long way. Not sure if you’re going to cover the Tex Murphy games at all, but they gained a lot from embracing some of the silliness innate to the premise.

You can really tell from playing it that the puzzles were a total afterthought. I am certainly not surprised that they were basically just tacked on at the end. I kinda feel like some of the blame can be pinned on Alpers not being a game player at all. It’s mind boggling that there wasn’t even a vague design from the outset and that it was greenlit at such a relatively high budget without one. Not that it ultimately mattered in this case, but the lack seemingly anyone with a solid sense of design is obviously what sunk the company in the end.

On Tender Loving Care, it’s definitely a trashy thriller. It actually starts out well enough, but devolves fairly quickly. Some of the endings are just nuts though. There’s actually barely any nudity in it, and it’s very likely to not see any of it in a play through . Calling it soft porn is such a huge exaggeration.

- Jimmy Maher

April 3, 2020 at 7:21 pm

I suspect that the version of Tender Loving Care which was actually released was considerably toned-down from the one that was screened when it was still a Trilobyte project. There is precedent for this: The 11th Hour as well had quite some nudity as originally filmed, but cooler heads ultimately prevailed. The GameSpot history linked to in the comments has some… eye-opening descriptions of what was cut.

- Alex Smith

April 4, 2020 at 12:37 am

“Nintendo gave them a cool $1 million simply to prevent them from selling the console rights to arch-rival Sega”

Actually, Nintendo was working on a CD-ROM expansion for the SNES first with Sony and then with Philips, famously causing the rift that led to the Sony PlayStation. I am pretty sure 7th Guest was signed for this add-on. Guest, as it was still called at the time, was featured in a two-page spread on the SNES CD drive in Nintendo Power in late 1992. The whole spread was aspirational rather than portraying actual SNES development work, but Guest was clearly something Nintendo hoped to release.

- Jimmy Maher

April 4, 2020 at 7:04 am

That was the story as Trilobyte apparently understood it. Too bad, it was kind of a good one. :) Thanks!

- Eric Nyman

April 4, 2020 at 2:02 am

Trilobyte’s Wikipedia page contains a few pieces of info that caused me to double take.

The company had twice as many unreleased games (10) than released games (5) in its history, including 4 failed attempts to extend the 7th Guest series–The 7th Guest III, The 13th Soul, The 7th Guest III 3rd Version, and the 7th Guest III: The Collector. For good measure, the last of those also failed to launch twice more in recent years via crowdsourced funding attempts.

However, there was a third “game” in the series, Uncle Henry’s Playhouse, which sold a grand total of 27 copies in the United States and 176 worldwide. I put “game” in quotation marks because 12 of the 13 puzzles were exact copies of those from the 7th Guest, 11th Hour and Clandestiny. But still, how can a game fail so spectacularly, especially considering the first two editions each sold well over a million copies each? Talk about having wrung every last drop out of a saturated market.

Also worth mentioning that another 7th Guest game was made by Attic Door Productions called The 13th Doll that just came out last year, and they even got Robert Hirschboeck to play Stauf again. http://www.the13thdoll.com/

- Jimmy Maher

April 4, 2020 at 7:07 am

I can hardly express how *done* I am with The 7th Guest — but good to hear that Robert Hirschboeck is still around. He seemed like a good egg.

- Peter Olausson

April 4, 2020 at 9:45 am

I’d like to see the incredibly low number of 176 copies sold double checked.

- matt w

April 4, 2020 at 12:56 pm

Part 5 of the GameSpot article Jimmy links cites numbers from the firm PC Data, as does every other source I can find. The 27 copies sold thing is the number of copies sold in the 1996 holiday season. So I guess to check it, you might need to find old copies of PC Data’s numbers.

- Joachim

April 4, 2020 at 9:02 am

A few years ago I got the silly idea that I would play every game in a collection of 75 games on one cassette (tape) for the Commodore 64. These were mostly written in BASIC, and obviously pretty small given that 75 of them were crammed onto one tape. Funnily enough, one of them was a less annoying version of a puzzle also featured in The 7th Guest. I actually doubt there are many puzzles in the game that one couldn’t recreate in BASIC for the Commodore 64.

- The X

April 4, 2020 at 4:28 pm

Would a C64 have the horsepower to make the microscope puzzle as impossibly unfair as we all remember it being, though?

- Joachim

April 5, 2020 at 12:21 am

Heh, I don’t know, but Spot was released for the C64, so… maybe? :)

- matt w

April 4, 2020 at 1:26 pm

I was thinking that, with a modern sensibility of what works and what doesn’t and also with modern technology, it might be possible to make a Guest-like that isn’t terrible. Drop the silly puzzles and focus entirely on atmosphere, especially now that you can put in a lot more clips. And then… well, am I talking about Gone Home? Or modern FMV games like Her Story (and Telling Lies, I guess) and perhaps Bandersnatch?

On another note, the game Machinarium uses some of the same kind of silly puzzles–there are occasional locks opened by varieties of puzzles, some of which are relatively interesting and some of which are ancient chestnuts (there’s a four knights puzzle and a leapfrog puzzle, which is apparently also found in Trilobyte’s Clandestiny and then Uncle Henry’s Playhouse). I kind of enjoyed it there, partly because they weren’t the whole of the gameplay (there’s a fair amount of conventional point-and-clickery), and partly because the game is a show-off-our-art’em-up that’s really about showing off an interesting hand-drawn art style, rather than showing off technology that’s going to be painfully outdated within a few years.

- Aula

April 5, 2020 at 8:46 am

“I was thinking that, with a modern sensibility of what works and what doesn’t and also with modern technology, it might be possible to make a Guest-like that isn’t terrible.”

Already done in 1996, called Bad Mojo. In both games you are confined to a single building, in which you move around and solve puzzles, for which you are rewarded with video clips that reveal the backstory.

- matt w

April 5, 2020 at 8:07 pm

Interesting… I had been going to say “There was Bad Milk, of course” (“of course” meaning “I only just heard about it last year because of an entry into the annual Interactive Fiction competition, it’s apparently impossible to play now, and it has the reputation of being totally inexplicable and fairly awful yet it somehow won the Seumas McNally Grand Prize”). But this is a different Bad M.

One of my college classmates who developed an individualized major in videogames (in 1992) went on to work on a FMV game called Obsidian which I’ve always wondered about… that is, ever since I got into games and said “Hey, did Tom work on anything I’d have heard of?” Though maybe it’s more of a Mystlike than a Guest-’em-up. Also maybe most of the game isn’t FMV past the opening scenes, which are all I’ve seen on YouTube.

- dsparil

April 6, 2020 at 3:46 pm

Obsidian is very much a Myst clone. If by FMV you mean “uses live actors” then it is limited to just the beginning and the end. However, using the literal definition there is quite a bit of FMV as movement between locations is fully animated in addition to general interaction. The game itself is decent, but a commercial failure with an ad campaign that is actually more memorable than the actual game.

Bad Milk isn’t really a game so much as an art installation that was deemed unworkable. I played it when it was released, and you’re not missing much but calling it awful is a bit unfair considering its roots.

If you take out the puzzles from something like The 7th Guest, you’re basically just left with a movie and then an interactive movie if choices are added to it. A “pure” Visual Novel that only has plot branches and no other gameplay is conceptually the same idea but with text. Then there’s also the fairly unique hybrid of Steins;Gate Elite which couples the text of the original VN with animation from the anime adaption plus some new animation for alternate and early “failure” endings that the anime obviously doesn’t include.

Lightly interactive games that are story heavy are a fairly well represented genre these days. There just aren’t many that use live actors, but even that has been increasing in recent years. Wales Interactive in particular has been filling that niche although they also publish/develop more “traditional” games too.

If you double down on the inexplicable puzzles of the The 7th Guest, you end up with the Professor Layton series which doesn’t even try to integrate the puzzles into the story except for one or two in every game except the first. People just ask them or they’re hidden in the environment. The difference being that the puzzles were created by the author of a decades long puzzle book series and lean towards more towards logic puzzles with significantly fewer mechanical ones. Also 150+ puzzles instead of two dozen.

- CdrJameson

April 19, 2020 at 12:50 pm

There are plenty of live actors in games these days, but they (rather sensibly) tend to be motion and voice captured rather than appearing directly.

- Captain Kal

April 4, 2020 at 1:28 pm

Since I am not really into adventures (although I thoroughly enjoyed “The Dig”, and Legend Entertainment’s “Gateway II” ), the first jaw-dropping CD game was “Star Wars: Rebel Assault”.
Too bad it was exorbitantly expensive!! (And I owned an A1200 at the time, so playing an MS-Dos game, was out of the question!!).

- Jacen aka Jaina

April 4, 2020 at 8:01 pm

considerable programming talents to the upmost”

Utmost? Though upmost might be a valid one as well.

- Jimmy Maher

April 5, 2020 at 7:48 am

“Utmost” was the word I was looking for. Thanks!

- John

April 4, 2020 at 8:43 pm

7th Guest really was very impressive for its time, visually speaking. I went to a friend’s house to watch him play and I was amazed by the graphics. I can also attest that the game’s atmosphere was, while not necessarily scary, at the very least unsettling. (It probably helped that 7th Guest was the first horror or quasi-horror game I’d ever seen.) Despite all that, the game didn’t appeal to me. Though I can no longer remember the details, I know I watched my friend work on at least two different puzzles and make zero progress on either. I’m afraid I was no help. As I recall, the game was unhelpfully unclear about not only what you were supposed to be doing but what it was you could do in the first place. I’m quite certain that any puzzles my friend ultimately ended up solving on his own he solved through pure trial and error and dumb luck.

- Derek

April 4, 2020 at 9:30 pm

The disheveled young man in the parable is obviously id Software, or the first-person shooter genre in general, but who does the middle-aged woman represent?

After belatedly discovering Myst, my family ended up with a cheap collection of other games from that era, including The Journeyman Project, The 7th Guest, and Return to Zork. We finished The Journeyman Project, and I saw others in the family play a bit of The 7th Guest. We never went farther than the beginning of Return to Zork. Apparently, giving up on the latter two games was a wise decision on our part!

- Jimmy Maher

April 5, 2020 at 7:56 am

She represents the new, non-traditional demographics that many publishers imagined CD-ROM games could reach by combining the qualities and approaches of film and television with interactivity. As the sales figures for The 7th Guest and Myst evince, a fair number of such folks were convinced to try such things out — but, as subsequent history evinces, very few of them were convinced by what they found to buy more such productions, much to the industry’s disappointment. Ironically, when the long-sought demographic expansion of gaming finally was achieved, it was via games that were the polar opposite of slow, cumbersome, heavily expository creations like The 7th Guest.

- Moschops

April 6, 2020 at 9:53 am

” who does the middle-aged woman represent?”

While this archetype is clearly not her (not the right age, for starters), she’s certainly reminiscent of Roberta Williams playing Colossal Cave and deciding she could do better. Perhaps there’s a piece of Roberta Williams in this archetype.

- Not Fenimore

April 5, 2020 at 4:57 am

Devine continued his career in the games industry as an employee rather than an entrepreneur, working on popular blockbusters like Quake III, Doom 3, and Age of Empires III

Good on him. I’m not much of an FPS guy, but (unpopular(?) opinion ahead) AOE3 is my favorite AOE. The shipments system is fun and adds a cute little deckbuilding element, and the units, for whatever reason, seem more distinctive and interesting than the ones in the other games.

Also, we’ve finally reached solve the soup cans!

- Joshua Barrett

May 9, 2020 at 2:42 pm

Good for him indeed.

Speaking as an FPS fan, I can say that while Doom 3 is… certainly a game (not a particularly bad one, but none too great either), Quake III Arena is among the finest FPSes ever made.

…With the large asterisk being that it’s a more-or-less multiplayer-only experience, and a bit lacking in official content compared to its stablemate, Unreal Tournament. More than a few reviewers complained that it was just the same nine weapons as every other id game, with nothing new. However, as a deathmatch experience… it absolutely sings. It’s the platonic ideal of deathmatch, a minimalist gem polished until it absolutely shines (Carmack’s influence is writ large here), and to this day I’d argue that it has never really been beaten in its particular niche.

- Torbjörn Andersson

April 5, 2020 at 7:54 am

I don’t know where else it was distributed, but I found a teaser – just a couple of very brief, silent movie clips – of Guest on the Magnetic Scrolls Collection CD of all things. The time stamps on the movie files are October 11 1990, but judging by the time stamps on other files the CD was released in 1992.

The movies show:

1. A Trilobyte Production logo.
2. A title screen. The house appears to be the same as in the final game, but much more brightly lit and on an different hill. It shows 1991 as the copyright year.
3. A door opening while the camera zooms in.
4. A headless ghost running through a corridor towards the camera.

There isn’t really any indication what the game is about. The demo menu just notes that “This early work has been compiled for demonstration purposes.”, and the README file says:

“Guest is a 3D animated Epic Fantasy game.

Guest has been developed for Virgin Games by Trilobyte using the latest 3D rendering and animation techniques.

(This Demo requires Super VGA)…”

- Jimmy Maher

April 5, 2020 at 8:02 am

That’s interesting. I didn’t know that was there. The obvious common thread here is David Bishop, The 7th Guest’s producer at Virgin, who was very close to Magnetic Scrolls. He actually wrote Wonderland, their last text adventure.

- Torbjörn Andersson

April 6, 2020 at 6:03 am

Do you need a copy of that teaser, or do you already have it? (Actually, it looks like Strand Games – who are in the process of remastering the Magnetic Scrolls games – have copies of the original games in their “brahman” GitLab project.)

- Jimmy Maher

April 6, 2020 at 9:43 am

No, it looks like the CD version is, as you say, archived in that GitLab repository. Can always get it there. Thanks, though!

- M. Casey

April 5, 2020 at 11:45 pm

Good work as always Mr. Maher.

I agree with Mrs. Fargo; at the time, Lexi-Cross was pretty good! Though I do remember getting it out of a deep discount bin at Electronics Boutique, so perhaps that wasn’t a good sign for its success.

BTW, wasn’t SVGA 800×600, not 640×480 as you mention above? Normal old VGA was 640×480 (albeit at sixteen colors).

- Jimmy Maher

April 6, 2020 at 9:25 am

Yeah, my wife and I had a lot of fun with Lexi-Cross a while back. We played together because, while she’s much better than I am with puzzles in general, all of the obscure (and now mustily archaic) American trivia was too much for her. (I remember the first puzzle we got involved the Campbell and Wales Conferences of the old NHL.) I thought about writing about Lexi-Cross in more depth, but wasn’t sure I had that much that was interesting to say about it, other than that it strikes me as a game that could work really well on mobile with an updated implementation. Fun fact: Lexi-Cross started life as an X-rated version of Wheel of Fortune. It was, ironically enough, Rob Landeros of eventual Tender Loving Care fame who convinced Peter Oliphant that absolutely no publisher would dare to touch such a thing.

Vanilla VGA could do 640 X 480, but only in 16 colors. For this reason, it’s high-resolution mode, although widely used in business applications, was almost never used by games. SVGA was very amorphously defined in comparison to CGA, EGA, or VGA because it wasn’t based on a single IBM reference implementation which everyone else cloned. In practice, and despite some efforts to define specifications by the VESA board, it really just meant “anything better than VGA.” While some SVGA cards could indeed do 800 X 600 (and possibly better than that) by 1993, The 7th Guest runs in 640 X 480.

- krebizfan

April 7, 2020 at 4:54 pm

The 16 color limit was not an impediment to games running on stock VGA. Many of the games written for the 320×256 mode only used 16 colors and ignored the remaining 240 colors of the possible palette. The problem for stock VGA was market share. For the first year of the PS/2 line-up, the MCGA models accounted for more than half of sales with a dominant position with the prime gaming playing audience of college students. Doing 640 x 480 assets would be a lot of work to go after probably around 10,000 high end PS/2s used for gaming.

SVGA may have allowed for higher resolutions but it was a long time before good quality monitors capable of exceeding 640×480 cost than than $1,000. Megabyte of RAM yielding 256 colors on a crisp 640×480 display was the way to go. Trying to make a game playable on a headache inducing monitor forced into 1024 x 768 mode would have been a considerable challenge.

- Ross

April 8, 2020 at 3:49 am

I remember back in those days, when you put a monitor in a higher resolution, quite often it would make a sort of noise. Something that sent a message to your soul that the monitor was not happy with you about this.

- Martin

April 8, 2020 at 11:20 pm

Ahh, the multi-sync monitor.

- Steven Marsh

April 6, 2020 at 12:59 pm

Good article (as ever). I certainly respect your opinion, and I can easily see how they were formed. But 7th Guest occupies an odd place in my heart. I played dozens (if not hundreds) of games from this era, and it’s one of the only ones that I’ll fire up and tinker with for more than a few minutes.

The atmosphere always hit the sweet spot for me. I find the music to be top-notch. The “community theater” aesthetic scratches the right itch where there’s a delight in seeing what befalls them. The geography of the house “made sense” to me in a way that Myst never did. (“Wait; which rock face is this? If I turn right, am I — no, dang it, I’m back where I started.”) I liked how the rooms all felt different, and there was an anticipation with going into a new room after unlocking it.

Even many of the puzzles are enjoyable in their own way. It’s similar to how I take comfort in “solving” a 4×4 sliding-tile grid puzzle (even though it’s almost muscle memory by now); there’s still a tactile delight in seeing it come together.

And I enjoyed (enjoy) the plot. It actually “pays off” for me in a way that most games simply didn’t, and the less-than-linear nature of everything added to the disquieting atmosphere. And — unlike many adventure games that took pride on difficult or obtuse puzzles — 7th Guest “played fair,” in that it wasn’t possible to lock yourself out of victory, or to be missing a vital piece. And — again, unlike Myst for me — what you were expecting to do was very fair and up front, and the rewards for doing so were immediate and often . . . well, rewarding.

I admit that my original playing of this was enhanced by enjoying it in college, when I took scribbled notes of chess puzzles to my honors-dorm lobby and we muddled out answers. And the game exists in almost an ideal state in my head now, with just-enough half-remembered clues and details that I can enjoy it exactly as I want. (“Oh, right . . . ‘shy gypsy crypt’ something something . . .”)

Anyway, I’m not trying to dissuade you from your opinions; they’re perfectly rational, and I don’t begrudge anyone them. But 7th Guest still holds a place in my heart, where the promise of CD-ROM technology more-or-less paid off to what my imagination had hoped for.

- Lt. Nitpicker

April 7, 2020 at 3:04 pm

Worth noting that the Scrabble game shown off at the winter 92′ CES by Virgin was probably this one, for Windows.
https://www.mobygames.com/game/win3x/deluxe-scrabble-for-windows
Given it “supports” 256 color (640×480) SVGA (It will define a custom 16 color palette under such a mode for slightly better colors), and is published by Virgin, it’s probably the game mentioned. (Unlike the one linked in the article, which is published by U.S. Gold)

- Jimmy Maher

April 7, 2020 at 3:16 pm

Thanks!

- flowmotion

April 9, 2020 at 7:02 am

> “The 7th Guest just kept selling and selling,” says its producer David Bishop of the months after its release. “We’d look at the sales charts and it had incredible leg

There needs to be a huge boldfaced asterisks on these sales figures. Because all (US) brandname “Multimedia PCs,” and most CD-ROM upgrade kits includes 5-12 ‘free’ CD-ROMs. This collection of “shovelware” almost always included the The 7th Guest, even for years afterwards.

7th Guest was a good 5-10 minute demo on a 486 CD-ROM system. As *a game*. nobody ever cared. It wasn’t a “system seller”, it was a “system parasite”. It got bundled exactly because of the “highest low budget” shite.

I guess you could make a similar argument for Myst sales figures, but at least that was a geme some people liked playing alot.

- Jimmy Maher

April 9, 2020 at 7:15 am

It’s long been standard practice not to count these sorts of throw-in deals as part of standard sales figures; otherwise, it would become trivially easy to game the system. And David Bishop has no reputation for dishonesty.

I’m almost certain the Myst sales figures include only boxed retail editions. I’m *slightly* less confident in the case of The 7th Guest, but still reasonably so. Certainly the anecdotal evidence supports the idea of 2 million plus sold at retail: its presence for months and months near the tops of sales charts, the buzz about it both inside and outside the traditional ghettos of computer gaming, the amount of money that poured into Trilobyte, the eagerness of venture capitalists and Nintendo to jump aboard (these people definitely do their homework), the surge in sales of CD-ROM drives and multimedia upgrade kits following its release (what was driving those sales if not The 7th Guest?), the number of people — even non-gamers — who still have memories of it today. If anything, I’m surprised that it *only* sold 2 million.

- flowmotion

April 11, 2020 at 5:39 pm

Well, I worked at a business who purchased a CD-ROM kit in order to use an address database. And we got the 7th Guest and etc along with it. Hopefully you’re right and that sort of thing didn’t “count”.

- Wouter Lammers

April 11, 2020 at 5:53 am

I’m not sure if our sale was counted for the numbers you mention here, but we played it on our brand new CD-i. I’m not sure if we ever finished it, all I really remember of it are chess puzzles, and the horrible remote control we had to use to play it. It was quite terrible but far from alone in the collection of crap we played on our soon to only good for gathering dust CD-i.

Spotted one “the Seventh Guest”, probably should be “the 7th Guest” everywhere.

- Jimmy Maher

April 12, 2020 at 7:43 am

Thanks!

- Iván Díaz Álvarez

April 11, 2020 at 4:37 pm

How did you know about Metropolis being uncompletable? Did you try to play it or did you found a source?

I have an original copy since it was reviewed in an Amstrad Magazine and piqued my interest, but it is really obscure and difficult to find anything online about it.

- Jimmy Maher

April 12, 2020 at 7:52 am

Ah, therein lies a tale…

What must be fifteen or twenty years ago now, I downloaded Metropolis from the old Home of the Underdogs site and started playing it. I’m not sure why now, other than that I seem to recall Sarinee giving it quite a glowing write-up. Anyway, the version I downloaded crapped out on me about halfway through, which rankled. Assuming it was just a problem with the download, I eventually bought a copy on eBay and had it shipped all the way from Britain. (A. I could be very stubborn in those days. B. I was still living in the States.) I thought I could image the disks and upload a working version for posterity if all went well. But, much to my surprise, the game I’d bought crashed in the same place in the same way running off original disks on vintage hardware.

I’d forgotten all about this until I was researching this article, and saw Metropolis on Graeme Devine’s CV. I’d never made the connection before… Small world sometimes, isn’t it?

- Iván Díaz Álvarez

April 12, 2020 at 1:33 pm

The home of the underdogs, how many hours checking it!. I like the fact that it still exists with a similar look (no downloads now, sadly).

I have several old PCs from 486 to Pentium III but nothing that can run Metropolis slow enough.
But I have the impression that was made for Amstrad machines that were the first popular PCs in Europe (and had some proprietary quirks), so perhaps I will someday try to run it in PCem that can specifically emulate an Amstrad pc1512 to see if it still has that problem.

- Jimmy Maher

April 13, 2020 at 7:26 am

Cool. Let me know if you learn anything!

- Wolfeye M.

April 18, 2020 at 8:00 am

Hrm… reminds me of the kind of movies they’d have on MST3K or B movies in general. Sometimes I can tell the filmmakers were ambitious, put their heart into it, and wanted to make the best movie they could. But…all they could afford was a “ray gun” made of cardboard covered with aluminum foil, or an obviously toy submersible, or something like that. For whatever reason, the final product doesn’t quite measure up to what they wanted to do.

- The Confabulist

June 9, 2020 at 5:20 pm

Regarding the potential entertainment value of FMV, I wonder what your feelings are on the recent “Her Story” and “Telling Lies”?

- Jimmy Maher

June 9, 2020 at 7:22 pm

Haven’t played Telling Lies yet, but thought Her Story was quite brilliant. In certain applications that take account of its limitations, full-motion video can work really well.

The Shareware Scene, Part 1: The Pioneers
April 17, 2020

The digital society which we’ve created over the last few decades has upended many of our traditional notions about commerce. Everyday teenagers now stress over their ratings and advertising revenues on YouTube; gamers in “free” games pay staggering sums for the privilege of advancing through them a little faster (wasn’t the actual playing supposed to be the point of a game?); “clicks” and “likes” have become commodities that are traded in the same way that soybean futures are in the “real” world; consumers have become speculators in their own future entertainment on crowd-funding platforms like Kickstarter; a writer like me can ask for support from readers like you to allow me to make content that I then give away for free. (Thank you for that!) And, in the most direct parallel to our main topic for today, even some of the biggest corporations on the planet have learned to give away their products for free, then ask us to pay for them later.

Some of these new modes of commerce reflect the best in us, some perhaps the very worst. They all share in common, however, the quality of being markedly different from the old model wherein you paid someone an upfront amount of money and got some concrete good or service in exchange. As those of you with elderly parents or grandparents may well have learned, our modern digital economies have departed so far from that model in some areas that just explaining how they work to someone still wedded to the old ways can be a daunting task indeed. (I know that my 86-year-old father has literally no idea what I do all day or how I can possibly be earning money from it…) Maybe we too should ask the question that so many of our elders are already asking themselves every day: exactly how did we get from there to here so quickly?

It’s a bigger question than any one article can possibly answer. Still, it does turn out that we can trace at least one point of origin of our strange new ways of commerce to a trio of American pioneers who, all within a year of one another, embraced a new model for selling software — a model which has, one might say, taken over the world.

Andrew Fluegelman

The first of our pioneers is one Andrew Fluegelman. Born in 1943, Fluegelman within his first 35 years of life finished law school, passed the Bar exam, took up and then gave up corporate law, and settled into a whole new career as the owner, editor, and sole employee of the Headlands Press, a boutique book publisher in Marin County, California. He worked from time to time with the techno-utopian visionary Stewart Brand on The Whole Earth Catalog, and even the books he edited and published on his own had much the same counter-cultural DIY flavor: The New Games Book (a selection of friendly outdoor sporting activities for groups of adults), How to Make and Sell Your Own Record, Worksteads: Living and Working in the Same Place. Yet for all their hippie bona fides, Headlands books went out under the larger imprint of the international publishing titan Doubleday. The ability to speak the language of both the idealistic dreamer and the everyday businessperson proved a vital asset for Fluegelman throughout his life.

Like Brand and so many others of a similar bent, Fluegelman saw great potential in the personal computer as a force for social liberation. Therefore in 1981, before ever actually purchasing a computer of his own, he signed a contract with Doubleday to embark on a new book project, this time with himself in the role of coauthor rather than just editor. It was to be an exploration of the role of computers in the writing process, in terms of both current practicalities and future potential. He would of course need to buy himself a computer to complete the project. Just as he was about to pull the trigger on an Apple II, the IBM PC was announced. “I took one look at it and just had this gut feeling,” he said in a later interview. “This is what I want.”

While he waited for the machine he had ordered to arrive, Fluegelman, who had never touched a computer before in his life, started teaching himself BASIC from books. Even after the computer came in, learning to word-process on it remained on the back burner for a time while he continued to pursue his new passion for programming. His bible was that touchstone of a generation of amateur programmers, David Ahl’s million-selling book BASIC Computer Games. Fluegelman:

I got Ahl’s [book], and I said, “This is just what I want to do.” I typed [one of the games] in. It took me a day to get the bugs out and get the thing to run. And as soon as I saw the program running, I immediately started thinking, “Well, gee, I’d really like to add up the scores, and say this, and make a little noise…” I’d look through the book, and I’d say, “Oh, there’s something I could use. What happens if I stick it in there?”

I’m a real believer in the Berlitz method of programming. Which is: you learn how to say, “Please pass the salt,” [then] you look in the dictionary and look up the word for “pepper,” stick it in there, and, by God, someone gives you the pepper. And you know you’re making progress. Purely trial and error.

I liked it a lot. I abandoned all bodily functions for about a month.

Programmers are born as much as made. You either feel the intrinsic joy of making a machine carry out your carefully stipulated will or you don’t; the rest is just details. Clearly Fluegelman felt the joy.

Still, the book project wouldn’t wait forever. Fluegelman and Jeremy Joan Hewes, his coauthor, had the idea that they would indeed write the book together, but with each working on his or her own machine from his or her own office. They would share their files electronically; it would be one more way of practicing what they intended to preach in the book proper, about the new methods of working that were unlocked by the computer. But Hewes had an older CP/M computer rather than a flashy new IBM PC, and this stopped them in their tracks — for the only telecommunications package currently available for the latter came from IBM themselves, and could only swap files using IBM’s proprietary protocols. Fluegelman thus found himself in the ironic position of being able to trade files with an IBM mainframe, but not with most of his peers in the world of personal computing. He could see only one solution:

[I] started out to write a communications program. I said, “Gee, I’d really like to do this, and I’d like to do that, and we should have a dialing directory, and we should have some macros…” And I just kept adding to it for my own use.

We eventually typeset the book using the program I wrote. In the process, I gave it to a lot of my friends, and they started using it. At the time it was the only program that let you do these things on the IBM PC; this was the early spring of 1982. And inevitably one of my friends said, “You know, you really ought to publish that.”

If I hadn’t been in the publishing business for eight years, I would have gone the traditional route — find a publisher, royalties — but I’d been through all that, and I’d seen the pitfalls and all the ways things can get derailed. And this was kind of a new medium, and I was still very exhilarated by it. And I said, having had all this fun, I just can’t go the same publishing route that I’ve gone before.

Throughout his life, Fluegelman had a special relationship with San Francisco’s Golden Gate Bridge. “I think it’s a power point,” he said once only semi-facetiously. “I have more inspirations driving across the Golden Gate Bridge…” One day shortly after finishing his program, he was driving across while thinking back to the pledge drive he had seen the night before on the local PBS television station.

My American readers will doubtless recognize the acronym, but, for the benefit of those of you in other places: PBS stands for “Public Broadcasting System.” It’s a network of over-the-air television stations which show children’s programs (most famously Sesame Street) as well as documentaries, news, and high-culture content such as symphony concerts and dramatizations of classic literature. Although the stations are free to watch, they are unlike other free stations in that they don’t sustain themselves with advertising. Instead they rely on a limited degree of taxpayer funding, but most of all on donations, in any amount and frequency, from viewers who appreciate their content and consider it worth supporting. In some ways, then, PBS can be called the great forefather of the many non-coercive digital-funding models of today. And indeed, the tale of Andrew Fluegelman makes the otherwise tangential thread that runs from PBS to so many modern Internet economies much more direct.

For, driving across his favorite bridge that day, Fluegelman had a PBS-inspired epiphany. He would market his little telecommunications package under the name of PC-Talk, using a method no one had ever dreamed of before.

I said, I’ll just set it out there, encourage people to use it. If they like it, I’ll ask them to send me some money. [He set the initial “suggested” donation at $25.]

So, I sent out the first version of the program that way. I put some notices on The Source and CompuServe: I’ve got this program, I wrote it, it’ll do this and this. It’s available for free, but if you like it, send me the money. And even if you don’t like it, still make copies for your friends because maybe they’ll like it and send some money.

The response was really overwhelming. I was getting money! I remember on the first day I got a check in the mail, and I just couldn’t believe it. I almost got driven out of business filling orders. At the time I was still producing books, and software programming was my own late-night thing. And suddenly I was standing there all day filling orders and licking stamps and sending things out, and I had to hire someone to start doing that. I was totally unprepared for it.

While I had written the program to work very well in my own situation, once you start sending software out into the world you start hearing about people with all sorts of crazy circumstances that you haven’t anticipated at all. I think if I had tried to publish this first version of the program [conventionally], people would have reacted very negatively. But they didn’t because I’d sent it out in this unrestricted way. So people would write back and say, “This is great, but why don’t you add this? Why don’t you try this?” In many cases people even helped me re-program to deal with their situations. And I ended up calling that “freeback” instead of “feedback” because it was really getting free support back from the community.

The usually savvy Fluegelman did make a couple of puzzling decisions during these early days. The first was to name his revolutionary scheme for software distribution “Freeware.” If you twist your synapses around just right, you can almost arrive at the sense he was trying to convey, but under any more straightforward reading the name becomes dangerously counter-intuitive. Thousands upon thousands of developers who came after Fluegelman would work desperately, but only partially successfully, to make people understand that their software wasn’t in fact “free” in the sense that using it regularly placed no ethical demand upon the user to financially compensate the creator.

Then, having coming up with such a flawed name, the lawyer in Fluegelman came to the fore: he went out and trademarked it. He imagined creating a proprietary “Freeware catalog,” collecting a lot of software that was marketed on the same model. Accordingly, he also included in his program’s liner notes a request for other programmers with useful software of their own to contact him, thereby to join him in a “unique marketing experiment.”

In the meanwhile, PC-Talk’s success was such that it quickly caught the attention of the business-computing mainstream. Already in August of 1982, the widely read InfoWorld magazine published an article on the subject, under the heading “CA man likens ‘Freeware’ to user-supported TV.” Fluegelman noted sensibly therein that, rather than fighting against the natural desire people had to make copies of their software and share them with their friends, Freeware leveraged it. He estimated that five copies of PC-Talk were made for every one that was downloaded directly from one of the commercial online services or sent out on disk by himself in response to a mailed request — and, unlike a conventional software publisher, he thought this ratio was just great.

Jim Knopf/Button

Our second pioneer was a far more experienced programmer than Fluegelman. Seattle-area resident Jim Knopf was only one year older than our first pioneer, but had already worked for IBM for many years as a systems analyst by the dawn of the microcomputer era. He built his first personal computer himself in 1978, then sold it to partially finance an Apple II. Among other things, he used that machine to keep track of the names and addresses of his church’s congregation. Knopf later wrote that “I liked what I produced so much [that] the program itself became a hobby — something I continued to work on and improve in my spare time.”

When the IBM PC was released in 1981, Knopf sold his Apple II and bought one of those instead. His first project on his new computer was to write a new version of his database program. As soon as said program was far enough along, Knopf started sharing it with his colleagues at IBM. They in turn shared it with their friends, and soon the database, which he called Easy File, went beyond his office, beyond Seattle, beyond Washington State. People encouraged him to upload it to the early online services; this he obligingly did, and it spread still faster.

Knopf was gratified by its popularity, but also bothered by it in a certain way. His database was still under active development; he was improving it virtually every week. But how to get these updates out to users? He included a note in the program asking users to “register” themselves so he could keep in touch with them; he maintained the resulting mailing list in Easy File itself. Yet keeping everyone up to date was prohibitively complicated and expensive in a world where most software was still passed around on floppy disks — a world where the idea of a program as a changing, improving entity rather than a static tool that just was what it was barely existed in the minds of most people. “How could I identify which of the users were serious ones – those that desired and required enhancements?” Knopf later wrote about his mindset at the time. “How could I afford to send mailings to notify them of the availability of improvements?”

So, in September of 1982, Knopf made a few moves which would define his future. First, he changed his own name for purposes of business. Worried that his Germanic surname would be too difficult for potential customers to pronounce and remember, he quite literally translated it into English. “Knopf,” you see, is the German word for the English “button” — and so Jim Knopf became Jim Button. (I’ll refer to him by the latter name from now on. Coincidentally, “Jim Knopf” is also the name of a character from a popular series of children’s books in Germany.) Next, he registered a company that referenced his new nom de plume: Buttonware. And, last but by no means least, he added a new note to his program. “I would ask those who received it to voluntarily send a modest donation to help defray my costs,” remembered Button later. “The message encouraged users to continue to use and share the program with others, and to send a $10 donation only if they wanted to be included in my mailing list.”

The very first person to contact Button in response told him that his approach was just the same as the one used by another program called PC-Talk. Button found himself a copy of PC-Talk, read its pitch to other programmers interested in joining the ranks of Freeware, and sent his own Easy File to Andrew Fluegelman. Fluegelman phoned Button excitedly on the same day that he received the package in the mail. The two of them hit it off right away.

While they waited for Fluegelman to find enough other quality software to make up his Freeware Catalog, the two agreed to form a preliminary marketing partnership. Button would rename his Easy File to PC-File and raise its price to $25 to create a kinship between the two products, and each program would promote the other, along with the Freeware trademark, in its liner notes. Button:

My wife said I was “a foolish old man” if I thought even one person would voluntarily send me money for the program. I was more optimistic. I suspected that enough voluntary payments would come to help pay for expansions to my personal-computer hobby – perhaps several hundred dollars. Maybe even a thousand dollars (in my wildest dreams!).

As it happened, he would have to learn to dream bigger. Like PC-Talk, PC-File turned into a roaring success.

The founding staff of PC World magazine. Andrew Fluegelman stands in the very back, slightly right of center.

Both programs owed much of their early success to the extracurricular efforts of the indefatigable Andrew Fluegelman. Shortly after releasing PC-Talk to such gratifying interest, Fluegelman had given the final manuscript of his word-processing book to Doubleday, who would soon publish it under the title Writing in the Computer Age. Still as smitten as ever by the potential of personal computing, he now embarked on his third career: he became a full-time computer journalist. He initially wrote and edited articles for PC Magazine, the first periodical dedicated to the IBM PC, but got his big break when he was asked to join the staff of a new rival known as PC World. Within a few issues, Fluegelman became editor-in-chief there.

Not coincidentally, the magazine lavished glowing coverage upon PC-Talk and PC-File. The latest version of Button’s program, for example, got a six-page feature review — as much space as might be devoted to a major business-software release from the likes of Microsoft or VisiCorp — in PC World’s September 1983 issue. “What was previously a very desirable program is now just about mandatory for much of the PC population,” the review concluded. “If you use PC-File and don’t send Jim Button a check, the guilt will kill you. And it should.”

Button and his family were vacationing in Hawaii when the review appeared. Button:

The response was overwhelming. Our house sitter had to cart the mail home daily in grocery sacks.

When we arrived home, the grocery sacks were strewn all over the basement floor. We had to step over and around them just to get into our basement office. My son, John, worked days, evenings, and weekends just catching up on the mail. Life would never be the same for any of us!

Button would later date the beginning of Buttonware as a real business to these events. Nine months later, he quit his job with IBM, by which time he was making ten times as much from his “moonlighting” gig as from his day job.

Ironically, though, Button had already parted ways to some extent with Fluegelman by the time that life-changing review appeared. Fluegelman was finding it difficult to focus on his idea of starting a Freeware catalog, given that he was already spending his days running one of the biggest magazines in the computer industry and his evenings improving and supporting PC-Talk. Button:

Andrew got questions about my program and I got questions and requests about his. Checks were sent to the wrong place. The work required to correct all this grew exponentially. We had to make the separation.

Button came up with his own moniker for the distribution model he and Fluegelman had pioneered: “user-supported software.” That name was perhaps less actively misleading than “Freeware,” but still didn’t really get to the heart of the matter. Other names that were tried, such as “quasi-public domain,” were even worse. Luckily, the perfect moniker — one that would strike exactly the right note, and do it in just two syllables at that — was about to arrive along with Bob Wallace, the third principal in our little drama.

In this iconic picture of the early Microsoft, Bob Wallace is in the middle of the back row.

Like Jim Button, Bob Wallace was based in Seattle, and was a veteran of the kit era of personal computing. In fact, his experience with microcomputers stretched back even further than that of his counterpart: he had been the founder in 1976 of the Northwest Computer Society, one of the first hobbyist user groups in the country. Shortly thereafter, he was recruited from the computer store where he worked by Paul Allen, whereupon he became Microsoft’s ninth employee. In time, he became the leading force behind Microsoft’s implementation of the Pascal programming language. But, as an unreformed hippie whose social idealism paralleled his taste for psychedelic drugs, he found both Microsoft’s growing bureaucracy and its founders’ notoriously sharp-elbowed approach to business increasingly uncongenial as time went on. In March of 1983, he was for the first time refused permission to barge into Bill Gates’s office unannounced to argue some technical point or other, as had always been his wont. It was the last straw; he quit in a huff.

Taking note of Fluegelman and Button’s success, he wrote a word processor using his own Pascal implementation, and released it as PC-Write under the same payment model. To encourage its distribution, he added an extra incentive. He sent to any user who mailed in the suggested donation of $75 a special registration code, which she was then expected to enter into her copy of the program. When she gave this copy to others, it was thus tagged with its source. If any users of those copies sent in the fee, Wallace would send $25 to the user whose tag it bore; he later claimed that at least one person made $500 in these commissions. In its roundabout way, the scheme pioneered the idea of not just asking users for a donation out of the goodness of their hearts, but marking and altering the functionality of the software for those who sent in the payment, all through the use of the soon-to-be ubiquitous mechanism of the registration code.

But Wallace’s biggest contribution of all came in the form of a name. And therein lies a tale in itself.

Back in July of 1982, an InfoWorld magazine editor named Jay Lucas had started a column on “freeware” without being aware of Fluegelman’s counter-intuitive use of that term; Lucas took the word to mean any and all freely distributed software, whether the author asked for an eventual payment in return or not. The following spring, Fluegelman contacted the magazine to inform them of his trademark and ask them to cease and desist from violating it. So, Lucas launched a contest among his readers to come up with a new name. He reported in the InfoWorld dated May 30, 1983, that “at least a dozen” readers had sent in the same suggestion: “shareware.” He announced that he would be using this name henceforth. At the time, he still made no distinction between “free” software that came with financial strings attached and software that didn’t. He was, in other words, effectively using “shareware” as a synonym for all types of freely distributed software.

But when Bob Wallace saw the name, he knew that it was perfect for his distribution model: pithy, catchy, with all the right intimations. He contacted Lucas, who told him that he was free to use it; InfoWorld made no legal claim on the name. So, when PC-Write went out later that year, it described itself as “shareware.”

In early 1984, Softalk IBM, a brief-lived spinoff of a much-loved Apple II magazine, hired one Nelson Ford to write a regular column about “public-domain software.” Unsure what he should call the distribution model being used by each of Fluegelman, Button, and Wallace under a different name, he started off by employing the manifestly inadequate placeholder “quasi-public domain.” But in his May 1984 column, he announced a contest of his own: “A free disk of software and widespread publicity for the person sending in the best name for quasi-PD, contribution-suggested software. Since Andy won’t let anyone use ‘freeware,’ we’ll have to come up with another catchy name.”

He received such dubious suggestions as “conscience-wear” — “the longer you use the software, the more it wears on your conscience if you do not pay” — and “tryware.” But, just as Lucas had over at InfoWorld, Ford kept getting most of all the suggestion of “shareware.” Unaware of the name’s origin at InfoWorld, but well aware of its use by Wallace, he suspected that “shareware” would be as impossible for him to appropriate as “freeware.” Nevertheless, he inquired with Wallace — and was pleasantly surprised to be told that he was more than welcome to it. Ford announced the new name in the August 1984 issue of Softalk IBM.

It’s questionable whether the actual column in which he made the announcement was all that influential in the end, given that the issue in which it appeared was also the last one that Softalk IBM ever published. Still, Ford himself was a prominent figure online and in user-group circles. His use of the name going forward in those other contexts, combined with that of Jay Lucas in InfoWorld, probably had a real impact. Yet one has to suspect that it was PC-Write itself which truly spread the name hither and yon.

For, perhaps because a word processor, unlike a telecommunications program or a database, was a piece of software which absolutely every computer owner seemed to need, Wallace was even more successful with his first piece of shareware than the two peers who had beaten him onto the scene had been with theirs. The company he founded, which he called QuickSoft, would peak with annual sales of more than $2 million and more than 30 employees, while PC-Write itself would garner more than 45,000 registered users. Staying true to his ideals, Wallace would always refuse to turn it into a boxed commercial product with a price tag in the hundreds of dollars, something many conventional software publishers were soon pressuring him to do. “I’m out to make a living, not a killing,” he said.

Jim Button was less inclined to vocalize his ideals, but one senses that much the same sentiment guided him. Regardless, he too did very well for himself. Already by 1984, he was getting approximately $1000 worth of checks in the mail every day. While PC-File itself never garnered quite the popularity of PC-Write — about 7000 users registered their copies in the end — Button soon branched out well beyond that first effort. Buttonware would peak with annual sales of $4.5 million and 35 employees.

Those who jumped on the shareware bandwagon afterward would find it very difficult to overtake these two pioneers in terms of either income or market impact. As late as 1988, Compute! magazine judged that the two most impressive shareware products on the market were still PC-File and PC-Write, two of the first three ever released. But PC-Talk would have a shorter lifespan — and, much more tragically, so would its creator.

The founding staff of Macworld magazine. Andrew Fluegelman can just be seen at the very back, slightly left of center.

The PC World issue with the landmark review of PC-File was still on newsstands when Andrew Fluegelman had his next life-changing encounter with a computer: he was one of a select few invited to Apple for an early unveiling of the new Macintosh. He was so smitten by this whole new way of operating a computer that he immediately began lobbying for a companion magazine to PC World, to be named, naturally enough, Macworld. Its first issue appeared in time to greet the first Macintosh buyers early in 1984. Fluegelman held down the editor-in-chief job there even as he continued to fill the same role at PC World.

He was utterly unfazed to thus be straddling two encampments between which Apple was trying to foment a holy war. He spoke about the differences between the two aesthetics of computing in an interview that, like so much of what he said back then, rings disarmingly prescient today:

People [say the Macintosh is] more of a right-brain machine and all that. I think there is some truth to that. I think there is something to dealing with a graphical interface and a more kinetic interface; you’re really moving information around, you’re seeing it move as though it had substance. And you don’t see that on [an IBM] PC. The PC is very much a conceptual machine; you move information around the way you move formulas, elements on either side of an equation. I think there’s a difference.

I think the most important thing is to realize that computers are tools, that unless you want to become an expert programmer, the main thing that a computer provides you is the ability to express yourself. And if it’s letting you do that, if you now have hands on those tools, then you can be a force for good out in the world, doing the things that you used to do, that you’re still doing — representing your own ideas, not changing your persona to suddenly become a “computer person.”

And I think that may be the advantage of the Macintosh.

At bottom, Fluegelman himself wasn’t really a “computer person” in the sense of Button and Wallace, both of whom had been programming since the 1960s. And then, running not one but two of the biggest computer magazines in the country could hardly leave him with much free time. Thus PC-Talk was somewhat neglected, and other telecommunications software — some of it released under the burgeoning shareware model — took its place. Fluegelman accepted this with equanimity; he was never inclined to stay in one place for very long anyway. In an interview conducted at the very first Macworld Expo in January of 1985, he spoke of his excitement about the future — both his personal future and the world’s technological future:

I think this is just the next adventure for a lot of us to get into. I know the intellectual excitement the [computer] has caused for me. It’s really been a rejuvenation, and anything that gets you that pumped up has got to be something that you can use in a good way.

I also think that people who do get excited about computers and involved in all this are almost uniformly intelligent, interesting people. I never have been as socially involved, as interconnected with as many different kinds of people, as when I started getting involved with computers. I think that the easier it is for people to express themselves, and to share their views with others, that’s got to be a good democratic force.

It’s great to go along for 40 years and still find your life changing and new things happening. It makes you look forward to what’s going to happen when you’re 60, what’s going to happen when you’re 80.

Quotes like these are hard to square with what happened to Andrew Fluegelman just six months later.

On July 6, 1985, Fluegelman left his office as usual at the end of a working day, but never arrived at his home; he simply disappeared. A week later, police discovered his Mazda hatchback parked near the toll plaza at the entrance to the Golden Gate Bridge. They found a note addressed to his wife and family inside, but its contents have never been published. Nevertheless, we can piece some things together. It seems that his health hadn’t been good; he’d been suffering from colitis, for which he’d begun taking strong medication that was known to significantly impact many patients’ psychology — and, indeed, friends and colleagues in the aftermath mentioned that he’d been acting erratically in the final few days before his disappearance. There are reports as well that he may have recently received a cancer diagnosis. At any rate, the implications seem clear: the 41-year-old Andrew Fluegelman went back to one of his favorite places in the world — the bridge where he had invented the revolutionary concept of shareware if not the name — and jumped 220 feet into the water below. His body was never recovered.

The legacy of those brief four years between his discovery of the joys of BASIC and his death by suicide encompasses not only the shareware model but also PC World and especially Macworld. It went on to become arguably the most literate, thoughtful computer magazine ever, one of the vanishingly few to evince a genuine commitment to good writing in the abstract. In doing so, it merely held to the founding vision of its first editor-in-chief. One can’t help but wonder what else this force of nature might have done, had he lived.

At shareware’s peak in the early and mid-1990s, at least one glossy newsstand magazine was devoted exclusively to the subject in quite a number of countries.

By that fateful day in 1985, shareware was already becoming an unstoppable force, with more and more programmers throwing their hats into the ring. To be sure, most of them didn’t build seven-figure businesses out of it, as Jim Button and Bob Wallace did. Inevitably for a distribution model that placed all of its quality control on the back end, much of the shareware that was released wasn’t very good at all. Yet even many of those who didn’t get to give up their day jobs did receive the satisfaction and capitalistic validation of being paid real money, at least every once in a while, for something they had created. In time, this loose-knit band of fellow travelers began to take on the trappings of a movement.

To wit: in February of 1987, a “Meeting of Shareware Authors” assembled in Houston to chat and kibitz about their efforts. Out of that meeting grew the Association of Shareware Professionals six months later, with founding chairmen Jim Button and Bob Wallace. In the years that followed, the ASP published countless shareware catalogs and pamphlets; they even published a 780-page book in 1993 called The Shareware Compendium, which represented the last attempt anyone ever made to list in one place all of the staggering quantity of shareware that was available by that point. But perhaps even more importantly, the ASP acted as a social outlet for the shareware authors themselves, a way of sharing hints and tips, highs and lows, dos and don’ts with one another.

There arose more big success stories out of all this ferment. For example, one Phil Katz was responsible for what remains today the most tangible single software artifact of the early shareware scene. In 1986, he started a little company called PKWare to distribute a reverse-engineered shareware clone of ARC, the most popular general-purpose compression program of the time. When the owners of ARC came after him with legal threats, he switched gears and in 1989 released PKZIP, which used an alternative, much more efficient compression format of his own design. Although he sold PKZIP as shareware — $25 donation requested, $47 for a printed manual — he also scrupulously documented the compression format it used and left the door open for other implementations of it. He was rewarded with sweet revenge: ZIP quickly superseded ARC all across the digital world. Striking a fine balance between efficiency and ease of implementation, not to mention being unentangled by patents, it has remained the world’s most common compression format to this day, a de facto standard that is now built right into many operating systems.

Another success story is less earthshaking and more esoteric, but instructive nonetheless as an illustration of just how far the shareware model could be stretched. In a time when desktop publishing was one of the biggest buzzwords in computing, a veteran of print publishing named Gary Elfring took a hard look at the current state of digital fonts, and noted how expensive those offered by major foundries like Adobe tended to be. He started Elfring Soft Fonts to distribute shareware typefaces, and made a lot of money from them in the late 1980s and early 1990s, before the established vendors of word processors and operating systems got their acts together in that department.

I could go on and on with such stories, but suffice to say that many people did very, very well from shareware during its heyday.

Like any movement, shareware also came complete with internecine disputes. One constant source of tension were the many third parties who collected shareware which they didn’t own on physical media for distribution. As early as 1984, the librarian of the Silicon Valley Computer Society users group caused an uproar when he started selling floppy disks filled with shareware for $6 apiece, a figure somewhat above the cost of blank disks and postage alone. “It’s not legal,” said Andrew Fluegelman flatly at the time. “I’m opposed to it because when somebody spends even $6 for a disk, they feel they’ve paid for it and see little reason to pay again for it. I’m concerned about somebody building a product around my product.” But, in a rare break with Fluegelman, Jim Button had a different point of view: “With that [price], all he’s doing is helping me distribute sample copies.” He continued in later years to believe that “distribution is one of the cornerstones of sales. All other factors being equal, if you can double your distribution you will double your sales.”

In the end, Button’s point of view carried the day. Shareware authors were never entirely comfortable with the “parasites” who profited off their software in this way, and Fluegelman’s worry that many users would fail to distinguish between paying a cataloger and paying the actual creator of the software was undoubtedly well-founded. Yet the reality was that the vast majority of computer owners would not go online until the World Wide Web struck in the mid-1990s. In the meantime, floppy disks — and eventually CD-ROMs — were the only realistic mechanism for reaching all of these otherwise isolated users. The catalogers and the authors had to learn to live with one another in an uneasy symbiotic relationship.

Another, even more bitter dispute within the ranks of shareware was touched off near the end of the 1980s, when some authors started opting to “encourage” registration by releasing crippled versions of their software — programs that only functioned for a limited time, or that blocked access to important features — that could only have their full potential unlocked via the input of a valid registration code. Although Bob Wallace had ironically pioneered the idea of a registration code that was input directly into a program, he and most of the other early shareware pioneers hated to see the codes used in this way. For the socially conscious Wallace, it was a moral issue; his vision for shareware had always been to collect payment from those who could pay, but not to deprive those who couldn’t of quality software. Button as well preferred to rely upon the honor system: “Don’t get off on the wrong foot with your users with things like crippled programs, time-limited programs, and other negative incentives to register your software. If you can’t trust your users to pay for truly good software, then you should stay out of the shareware business.” Under the influence of these two founding chairmen, the ASP refused for a time to admit shareware authors who freely distributed only crippled versions of their software.

In the end, though, the ASP would be forced to relax their stance, and “crippleware” would become nearly synonymous with shareware in many circles, for better or for worse. In 1989, Nelson Ford, the earlier popularizer of the name “shareware,” set up a service for authors which let people register their software over the telephone using their credit cards instead of having to mail checks or cash through the post. The ease of passing out registration codes this way, without having to send out disks and/or documentation or do any additional work at all, probably led many more authors to go the crippleware route. In fairness to those who decided to implement such schemes, it should be noted that they didn’t have the advantages that went along with being first on the scene, and were often marketing to less committed computer users with a less nuanced sense of the ethics of intellectual property and the sheer amount of work that goes into making good software of any stripe.

In a strange sort of way, Windows 10 is actually a shareware product.

The buzz around shareware gradually faded in the second half of the 1990s, and by soon after the turn of the millennium the term was starting to seem like an antiquated relic of computing’s past. Even the Association of Shareware Professionals eventually changed their name to the Association of Software Professionals, before doddering off entirely. (A website still exists for the organization today, but it doesn’t appear to have been updated in some years.)

Yet it would be profoundly inaccurate to say that shareware died as anything but a name. On the contrary: it conquered the world to such an extent that it became the accepted means of distributing much or most software, and as such is no longer in need of any particular name. Just about everyone is selling shareware today — not only the sometimes honest, sometimes dodgy small vendors of “try before you buy” utilities of many types, but also some of the biggest corporations in the world. Microsoft, for example, now distributes Windows using what is essentially the shareware model: users download a copy for free, enjoy a limited trial period, and then need to purchase a registration code if they wish to go on using it. Many other software developers have stuck to their idealistic guns and put their creations out there uncrippled, asking for a donation only from those who can afford it. And, as I mentioned to open this piece, the overarching spirit of shareware, if you will, has infected countless digital economies that don’t involve downloads or registration keys at all.

Jim Button and Bob Wallace got to see some of these later developments, but they weren’t active participants in most of them. Wallace gradually divested himself from Quicksoft after 1990. Ever the hippie, he devoted his time to the study and promotion of psychedelic drugs and other “mind-expanding technologies” via publications and foundations. He died in 2002 at age 53 from a sudden attack of pneumonia that may or may not have been related to his quest for chemical transcendence.

Jim Button (né Knopf) very nearly died even younger. At the age of 49 in 1992, he had a major heart attack. He survived, but wasn’t sure that he could continue to cope with the stress of running his shareware business. At the time, big players like Microsoft were pouring enormous resources into their own productivity software, and the likes of little Buttonware had no real hope of competing with them anymore. This combination of factors prompted Button to slowly wind his company down; after all, his decade in shareware had already left him with enough money to enjoy a comfortable early retirement. He died in 2013, a few weeks shy of his 71st birthday. He continued until the end to downplay his role in the evolution of software distribution and digital culture. “I’m not a visionary man,” he said. “I never saw the future, but I was lucky enough to be in the right place at the right time, with the right ideas and a proper amount of energy.”

Some might say that the “right ideas” are synonymous with vision, but no matter; we’ll let him keep his modesty. What he and his fellow pioneers wrought speaks for itself. All you have to do is look around this place we call the Internet.

(Sources: the books The New Games Book by the New Games Foundation, Writing in the Computer Age by Andrew Fluegelman and Jeremy Joan Hewes, and Gates by Stephen Manes and Paul Andrews; Softalk IBM of May 1984, June 1984, July 1984, and August 1984; Byte of June 1976, June 1983, July 1984, March 1985, and September 1987; 80 Computing of May 1987; Ahoy! of February 1984; CompuServe Magazine of December 1990 and March 1992; Family Computing of March 1984; InfoWorld of July 5 1982, August 23 1982, December 20 1982, March 7 1983, May 30 1983, June 27 1983, July 30 1984, September 17 1984, October 22 1984, July 29 1985, December 23 1985, August 25 1986, and December 7 1987; MicroTimes of May 1985 and August 1985; Games Machine of October 1987; Compute! of February 1985 and June 1988; PC World of September 1983; Macworld premiere issue. Online sources include The Association of Software Professional’s website, Michael E. Callahan’s “History of Shareware” on Paul’s Picks, The Charley Project’s entry on Andrew Fluegelman’s disappearance, the Shareware Junkies interview with Jim “Button” Knopf, “Jim Button: Where is He Now?” at Dr. Dobb’s, the M & R Technologies interview with Jim Knopf, the Brown Alumni Monthly obituary of Bob Wallace, and a 1989 online discussion of the newly released PKZip archived by Jason Scott. My thanks to Matthew Engle for giving me the picture of Shareware Magazine included in this article.)

Comments
40 Responses

- Sol_hsa

April 17, 2020 at 8:22 pm

I dabbled in making shareware around 2006 or so, making some educational software. What I found was that the only thing that made any difference in sales was that the more nag screens I added, the better the sales were. I hated the fact that worked. Releasing software for free is much less stressful.. but it’s also nice to be compensated.

- Sam

April 17, 2020 at 10:02 pm

I would argue Windows 10 isn’t even really that crippled. If you don’t activate, you’re restricted in the personalization features you can use, but it’s otherwise functional.

- Ken Brubaker

April 17, 2020 at 11:29 pm

The latest version of the Button’s program…

The second the is not needed.

- Jimmy Maher

April 18, 2020 at 6:59 am

Thanks!

- Lisa H.

April 18, 2020 at 2:48 am

Microsoft, for example, now distributes Windows using what is essentially the shareware model: users download a copy for free, enjoy a limited trial period, and then need to purchase a registration code if they wish to go on using it.

Ehh… I understand what you’re getting at here… but the thing about shareware, aside from being “nagware/annoyware/begware” that either asks for or requires a license after a certain period, is that each user is encouraged/expected to distribute copies, rather than there only being a central distribution point. I don’t think Microsoft would be too happy with anyone who did that.

- Jimmy Maher

April 18, 2020 at 7:20 am

Actually, I’m pretty sure they don’t mind at all. Windows 10 ISOs are in a lot of places, by no means all of them illegal or even gray-market sites. After trying fruitlessly for many years to protect the bits themselves, Microsoft has very cleverly shifted the valuable commodity being exchanged to registration codes. If you want to distribute an ISO that someone will later have to pay Microsoft to activate, more power to you. All you’ve done is saved Microsoft some bandwidth. If you try to charge for the ISOs, of course, you’re going to have a problem — but the same is true of classic shareware beyond a nominal threshold.

- Lisa H.

April 19, 2020 at 8:46 pm

I still don’t think they encourage users to do so with messages in the software itself, which every piece of shareware I can think of that I used back in the 90s did. Of course a small author wants wider exposure; Microsoft hardly needs it!

- Andrew Plotkin

April 18, 2020 at 4:51 am

“Worksteads: Living and Working in the Same Place.”

Nonsense, that’ll never catch on.

- Jonathan Badger

April 25, 2020 at 11:24 pm

Perhaps the promoters of the idea misunderstood what business consultants meant by a “viral marketing campaign”.

- sam

April 18, 2020 at 5:06 am

I think it’s slightly misleading to toss in Mozilla there without noting the different ideological lineage. AFAIU, the F/OSS movement (which Mozilla is definitely a part of) had basically no cross-over with the PC shareware movement, the former coming from Unix labs and the latter from the PC world. Of course, this history’s rather more focused on the latter than the former because of the PC’s importance to gaming, Spacewar! and ADVENT and friends not withstanding. (Though, in a little coincidence, this point in the timeline – 1993ish or so, give or take a year – is when Unix and free software really started arriving in force on PCs: 386BSD was released in 1992 and Linux in 1991.)

- Jimmy Maher

April 18, 2020 at 7:31 am

The distinction between free-as-in-beer and free-as-in-freedom is an important one to make in many cases, but I’d disagree that it’s super-critical here. My point here was not so much to demonstrate an “ideological lineage” — it’s highly doubtful whether Microsoft either ever said, “Hey, let’s do the shareware thing!” when coming up with the Windows registration scheme — as to show how at least superficially shareware-like funding models, whether only belatedly coercive or non-coercive, have all but taken over software distribution.

- dsparil

April 20, 2020 at 6:54 pm

The Mozilla Foundation is a bad example anyway because they make the vast majority of their income from “royalties” and not “contributions” (the exact terms from their financial statements). Royalties for 2018 (the last year available) were $429.6m versus donations of $6.3m out of a total income of $450.7m! It’s my understanding that royalties are largely from search engines (mainly Google) paying to be the default in Firefox. A very large number of significant F/OSS projects run off a foundation model which isn’t totally comparable.

Something closer is the distinction between CentOS and Red Hat Enterprise Linux. If you don’t want to pay anything, you get CentOS. If you want/need commercial technical support, require certain certifications or need support for less common processors, you pay for a RHEL subscription. Since CentOS is now an official Red Hat project, there’s even an official utility to convert a CentOS installation to RHEL. Going back has to be done manually, but it’s totally doable. They aren’t literally one to one as RHEL has a few extra features and CentOS makes a small number of extra changes, but they’re basically 99.9% similar. For a hypothetical desktop user, the main difference is the change in branding.

- Lars

April 18, 2020 at 7:58 am

Unfortunately, Phil Katz was not quite the idealist regarding patents, there’s a screenshot of PKZIP here:

https://en.wikipedia.org/wiki/PKZIP#/media/File:Pkzip-2.04g-dos.png

At least one other PKWare product was patented too (by virtue of using the same algorithms).

- Jimmy Maher

April 18, 2020 at 8:12 am

I believe these patents apply to the algorithms used to implement the compression format, not to the format itself, which Katz explicitly chose to leave legally clear and well-documented. You weren’t allowed to reverse-engineer PKZIP itself in other words — but, thanks to the format’s documentation, you wouldn’t need to in order to figure it out. His motivations even here may not have been entirely altruistic — it could benefit his own products if the format spread to platforms he couldn’t reach — but nevertheless…

(The question of whether he *could* have patented the format itself and had it survive legal challenge is one I don’t feel qualified to answer. Until the recent absurd legal victory of Oracle over Google, it was established that APIs at least could not be patented or copyrighted. I don’t whether there’s a clear precedent for the case of a data format.)

- Aula

April 18, 2020 at 11:16 am

“the our first pioneer”

shouldn’t have both “the” and “our”

- Jimmy Maher

April 18, 2020 at 11:19 am

Thanks!

- doctorcasino

April 18, 2020 at 12:07 pm

One of your best articles, thank you! Super informative to someone like me, a ten-year-old in ’92 who therefore associated shareware primarily with games and had always figured that it was dreamed up by someone at Apogee circa 1989. Whoops!

- Brandon Staggs

April 18, 2020 at 12:38 pm

Very good article, thanks. I was a member of the ASP during its latter years. It was often said by some of us that “we won the war.” After winning the war we became less relevant and slowly faded away. Your Microsoft example is a good one (Microsoft was a member for a while, if I recall correctly). I’ve been “doing shareware” for 25 years, even if not in name anymore. Looking forward to the next part of this article. I have a feeling you are working up to Apogee and Id. :-)

- scruss

April 18, 2020 at 4:54 pm

I worked for a few of the UK shareware magazines in the early 1990s. They were effectively doomed to fail: the recession meant that no-one had any money, and glossy magazines depended on high-spending advertisers to survive. Since the magazines had a very thrifty (read: skint) readership, they all had a race to the bottom to see who could be the most cheap ‘n cheerful.

There wasn’t the culture of BBSs and downloading in the UK as the US, as calls were metered and modems had an expensive licensing process. The US Robotics Courier Dual Standard modem I bought in 1991 cost the equivalent of nearly $1100 US …

- Wolfeye M.

April 19, 2020 at 6:59 am

I think it’s ironic that the guys who were using the “shareware” name were fine with people sharing it, while the one who came up with “freeware” said people weren’t free to use it.

Shareware started a bit before my time, but I did play a few shareware games.

Castle of the Winds was one of my favorites. First episode was free, but you had to pay to get the whole game, if I remember right. These days, it’s public domain freeware, thanks to the guy who made the game.

I haven’t seen the word “shareware” much these days, even though a lot of software could technically be called that.

And, “freeware” tends to be used for games/software that is free, as in whoever made it isn’t expecting any money, not even in the form of donations.

- Sniffnoy

April 19, 2020 at 7:42 pm

Yes, when I was a kid in the 90s I remember “freeware” was used to mean entirely free and “shareware” was used to mean crippleware or nagware. Interesting to see how the terms didn’t start out that way.

- Harry McCracken

May 1, 2020 at 9:11 pm

Great piece. I never met Andrew Fluegelman, but eventually had his job (as editor of PC World). He remains an inspiration to me, and I’ve always been sorry that there isn’t more stuff on the web about him other than items I’ve had some involvement with. So I hope this post has great Googlejuice.

Small correction: Jeremy Joan Hewes is a her, not a “his.” Also, while Bob Wallace sold Quicksoft, he remained involved and I’m pretty sure was still with the company for some time after 1991. I started writing about computers in the middle of that year and met with Bob multiple times as new versions of PC-Write came out.

- Jimmy Maher

May 2, 2020 at 7:28 am

Thanks! The “his” you pointed out actually references Andrew Fluegelman, so all is in order there. ;)

- Harry McCracken

May 3, 2020 at 6:26 am

It mentions “each working on his own machine from his own office,” which seems to refer to both Fluegelman and Hewes. Thanks!

- Jimmy Maher

May 3, 2020 at 7:03 am

Ah, okay. Was just looking at “his coauthor.”

- Thomas Tempelmann

April 19, 2020 at 2:05 pm

I thought I had heard of shareware already on the Apple ][ around 1982, but I guess I misremember that.

I had a similar but unplanned experience with voluntary payment for my own developer software: I had tried to sell a program for the C-64 in ’82. Sold only a few dozen copies, but the software was so popular that in a few months ten thousands had a copy of it – unpaid of course. Jim Butterfield, an author for a Canadian magazine, heard of it and offered to ask his readers to help me out. And so he collected several hundreds of ~$5 checks from Canada and the US for me, a total of $2k, IIRC – which was a lot of money for me back then. That taught me that shareware can work if people value your work, and I’ve sold many shareware titles since, though none of them nearly as successful (in counts of total users) as this first one which wasn’t even trying to be one.

The “worst” I do nowadays is show a prominent “please pay me” button or notice, but not cripple the features of the app in any other way. I also make the message very personal, asking them nicely to support my work, while not forcing them to pay if they want to continue use it.

One could argue that whoever can affored a Mac can also afford to pay a small shareware fee ($6-$20 in my cases), but I’ve been cheap myself, and I don’t want to be a hypocrite asking others to pay when I wasn’t always that forthcoming myself in the 40 years I’ve used computers.

I also put a lot of effort into responding to every support email, taking the user’s needs seriously and sometimes even implement a “secret” special feature for their needs, without me having to update the docs etc. (which always takes more effort than implementing these small features).

My customers value this with 5-star reviews. People looking at the reviews in the Mac App Store even told they think I’ve paid for fake reviews because they can’t believe I could have only fully satisfied customers :-D

- Lt. Nitpicker

April 20, 2020 at 1:09 am

As an additional wrinkle, ARC was also shareware for most of its life, including when Phil Katz created (and was sued over) PKARC.

http://www.esva.net/~thom/arclicense.html

- Chris Snyder

April 20, 2020 at 3:41 pm

My dad’s company (MVP Software) was one of the shareware publishers that was strongly against distributors selling unauthorized shareware collections on floppies/CD-ROMs. Mainly because it was such a hassle for us: lots of “customers” called to complain about a “crippled” product after purchasing a $5 CD at Walgreens. Our company took quite a few distributors to court for violating the terms of the shareware license (which had distribution restrictions, even for the “free” versions). I think almost every case was settled with us getting some small amount of cash along with the entire stock of their offending product.

- Corey Edwards

April 21, 2020 at 4:15 pm

I’m pretty sure that’s Paul Allen on the right in the front row of the Microsoft picture. I think Bob Wallace is in the center of the back row.

- Jimmy Maher

April 21, 2020 at 7:43 pm

Right you are. Thanks!

- Michael Haizlip

April 23, 2020 at 6:54 pm

According to Business Insider https://www.businessinsider.com/microsoft-1978-photo-2016-10. Bob Wallace is back center. Easy mistake to make when over 1/3 of the employees pictured are bearded hippies.

- Tim Kaiser

April 21, 2020 at 6:48 pm

I also have never associated shareware with anything other than the vast amounts of “crippleware” that flooded the market in the 90s and beyond. Interesting to see how it started off much more altruistically.

- ZUrlocker

April 22, 2020 at 1:09 am

Good article. I remember using many of those early PC shareware programs, buying disks that scooped up lots of shareware etc. By the standards of the time, PC-Talk and PC-Write were decent, but always with the caveat of “considering the price.” (To be fair, a lot of commercial software at that time was also fairly clunky.)

Not surprisingly, within a couple of years, most of the software coming out of the shareware scene didn’t live up to the ease of use of products from companies that were better staffed like Microsoft, PFS, Lotus etc.

I had my own foray into the shareware scene releasing a couple of BlackJack and 5 Card Stud video poker games for Windows and DOS in the early 90s. Surprisingly, people did send me checks for $5 and some publishers included them in some books. I didn’t make much money, but it paid for a few dinners and it was a good experiment.

- Jason Snell

May 1, 2020 at 5:44 pm

This is a delightful story. Thank you for writing it. Andrew Fluegelman’s legacy loomed large over Macworld even through the 1990s and into the 2000s.

As someone who worked at Macworld for nearly twenty years, I do have to break it to you that it’s “Macworld” and not “MacWorld.”

- Jimmy Maher

May 1, 2020 at 6:49 pm

Fair enough. Thanks!

- Herr Ärmel

May 3, 2020 at 9:10 am

Jim Knopf is a character from a popular childrens book series from Michael Ende. There are, as it is the case with most popular books, TV series, movies and plays of the material.

- Jimmy Maher

May 3, 2020 at 9:25 am

Thanks! My German wife remembered him from television. ;)

- Scott Gardner

May 4, 2020 at 2:30 pm

I thoroughly enjoyed this article. Thank you!

One minor typo: “quasi-public doman” be “quasi-public domain”

- Jimmy Maher

May 4, 2020 at 2:41 pm

Thanks!

- Scott Gardner

May 4, 2020 at 2:45 pm

You’re welcome, and I have to laugh at my message which also contained a typo. Wish I could have an editor sit next to me all day!

The Shareware Scene, Part 2: The Question of Games
May 1, 2020

In one of the last interviews he gave before his death, shareware pioneer Jim Button said that he “had written off the idea of shareware games” prior to the beginning of the 1990s. At the time, it seemed a reasonable position to take, one based on quite a bit of evidence. While any number of people had tried to sell their games this way, there had been no shareware success stories in games to rival those of Andrew Fluegelman, Jim Button, or Bob Wallace.

Naturally, many pondered why this should be so. The answers they came up with were often shot through with the prejudices of the period, which held that programming or playing frivolous games was a less upstanding endeavor than that of making or using stolid business software. Still, even the prejudiced answers often had a ring of truth. You had a long-term relationship with your telecommunications program, database, or word processor, such that sending its author a check in order to join the mailing list, acquire a printed manual, and be assured of access to updates felt as much like a wise investment as merely “the honest thing to do.” But you had a more transient relationship with games; you played a game only until you beat it or got tired of it, then moved on to the next one. Updates and other forms of long-term support just weren’t a factor at all. No one could seem to figure out how to untangle this knot of motivation and contingency and make shareware work for games.

Luckily, there was an alternative to the shareware model for those game programmers who lacked the right combination of connections, ambitions, and talents to go the traditional commercial route — an alternative that offered a better prospect than shareware during the 1980s of getting paid at least a little something for one’s efforts. It was the odd little ghetto of the disk magazines, and so it’s there that we must start our story today.

The core idea behind the disk magazines is almost as old as personal computing itself. In February of 1978, Ralph McElroy of Goleta, California, published the first issue of CLOAD, a monthly collection of software for the Radio Shack TRS-80, the first pre-assembled microcomputer to rack up really impressive sales numbers. “To join the somewhat elite club of computer users,” wrote McElroy in his introductory editorial, “one [previously] had to learn the mysterious art of speaking in a rather obscure tongue” — i.e., one had to learn to program. Before any commercial software industry to speak of existed, CLOAD proposed to change that by offering “vast quantities of software to be shared.” It was actually distributed on cassette tape rather than floppy disk — a disk drive was still a very exotic piece of hardware in 1978 — but otherwise it put all the pieces into place.

By 1981, the TRS-80’s early momentum was beginning to flag and the more capable Apple II was coming on strong. Jim Mangham, a programmer at the Louisiana State University Medical Center in Shreveport, decided that the market was ready for a CLOAD equivalent for the Apple II — albeit published not on cassettes but on floppy disks, which were now steadily gaining traction. He recruited a buddy named Al Vekovius to join him in the venture, and the two prepared the first issue of something they called The Harbinger. They called up Softalk magazine, the journal of record for early Apple II users, to discuss placing an advertisement, whereupon said magazine’s founder and editor Al Tommervik got so excited by their project that he asked to become an investor and official marketing partner. Thus The Harbinger acquired the rather less highfalutin name of Softdisk to connote its link with the print magazine.

Starting with just 50 subscribers, Mangham and Vekovius built Softdisk into a real force in Apple II computing. Well aware that they couldn’t possibly write enough software themselves to fill a disk every single month, they worked hard from the beginning to foster a symbiotic relationship with their readership; most of the programs they published came from the readers themselves. In the early days, the spirit of reciprocity extended to the point of expecting readers to mail their disks back each month; this both allowed Mangham and Vekovius to save money on media and provided a handy way for readers to send in their programs and comments. Even after this practice was abandoned in the wake of falling disk prices, Softdisk subscribers felt themselves to be part of a real digital community, long before the rise of modern social media made such things par for the course. At a time when telecommunications was a slow, difficult, complicated endeavor, Softdisk provided an alternative way of feeling connected with a larger community of people who were as passionate as oneself about a hobby which one’s physical neighbors might still regard as hopelessly esoteric.

Thus Mangham and Vekovius’s little company Softdisk Publishing slowly turned into a veritable disk-magazine empire. In time, Mangham stepped back from day-to-day operations, becoming a nearly silent partner to Vekovius, always the more business-focused of the pair. He expanded Softdisk to two disks per issue in August of 1983; started reaching retail stores by January of 1984; launched a companion disk magazine called Loadstar for the Commodore 64 in June of 1984. Softdisk survived the great home-computer bust of the second half of 1984, which took down Softalk among many other pioneering contemporaries, then got right back to expanding. In November of 1986, Vekovius launched a third disk magazine by the name of Big Blue Disk, for MS-DOS-based computers; it soon had a monthly circulation of 15,000, comparable to that of Softdisk and Loadstar. A fourth disk magazine, for the Apple Macintosh this time, followed in 1988. At least a dozen competitors sprang up at one time or another with their own disk magazines, but none seriously challenged the cross-platform supremacy of the Softdisk lineup.

In order to encourage software submissions, all of the Softdisk magazines ran a periodic programming competition called CodeQuest. Readers were encouraged to send in programs of any type, competing for prizes of $1000 for the top submission, $500 for second place, and $250 for third place, on top of the money Softdisk would pay upon eventually publishing the winning software. Big Blue Disk’s second incarnation of the contest ended on January 31, 1988, yielding two winners that were fairly typical disk-magazine fare: the gold-winning The Compleat Filer was a file-management program to replace the notoriously unfriendly MS-DOS command line, while the bronze-winning Western was a sort of rudimentary text-based CRPG set in, you guessed it, the Old West. But it was the silver winner — a game called Kingdom of Kroz, submitted by one Scott Miller from a suburb of Dallas, Texas — that interests us today.

At the time of the contest, Miller didn’t seem to be going much of anywhere in life. In his late twenties, he was still attending junior college in a rather desultory fashion whilst working dead-end gigs at the lower end of the data-processing totem pole, such as babysitting his college’s computer lab. His acquaintances hardly expected him to ever move out of his parents’ house, much less change an industry. Yet this seeming slacker had reserves of ambition, persistence, marketing acumen, and sheer dogged self-belief that would in the end prove a stick in the eye to every one of his doubters. Scott Miller, you see, wanted to make money from videogames — make a lot of money. And by God, he was going to find a way to do it.

The young Scott Miller.

Before entering the CodeQuest contest, he’d written a column on games for the local newspaper, written a book on how to beat popular arcade games, and, last but not least, tested the early shareware market for games: he’d written and distributed a couple of shareware text adventures under the name of Apogee Software — a name which would later become very, very famous among a certain segment of gamers. But on this occasion he was disappointed by the response, just like everyone else making shareware games at the time. Unlike most of those others, though, Miller didn’t give up. If shareware text adventures wouldn’t do the trick, he’d just try something else.

Put crudely, Kingdom of Kroz was a mash-up of the old mainframe classic Rogue and the arcade game Gauntlet — or, if you like, a version of Rogue that played in real time and had handcrafted levels instead of procedurally-generated ones. It wasn’t much to look at — like classic Rogue, it was rendered entirely in ASCII graphics — but many people found it surprisingly addictive once they got into it. It went over very well indeed with Big Blue Disk’s subscribers when it appeared in the issue dated June 1988 — went over so well that Miller provided two sequels, called Dungeons of Kroz and Caverns of Kroz, almost immediately, although the magazine wouldn’t find an opening for them in its editorial calendar until the issues dated March and September of 1989.

While he waited on Big Blue Disk to release those sequels, Miller started to explore a new idea for marketing games outside the traditional publishing framework. In fact, this latest idea would eventually prove his greatest single stroke of marketing genius, even if its full importance would take some time yet to crystallize. He would later sum up his insight in an interview: “People aren’t willing to pay for something they’ve already got in their hands, but they are willing to pay if it gets them something new.” Call it a cynical notion if you must, but, in the context of games at least, it would prove the only way to make shareware pay on a scale commensurate with Scott Miller’s ambitions.

Miller and George Broussard, his longtime best friend and occasional partner in the treacherous world of shareware, made an engine for multiple-choice trivia games — not exactly a daunting programming challenge after the likes of Kroz. They compiled sets of questions dealing with different topics: general trivia, vocabulary, the original Star Trek and Star Trek: The Next Generation. They created “volumes” in each category consisting of 100 questions. Then they released the first volume of each category online, accompanied by an advertisement for additional volumes for the low, low price of $4 each.

Alas, the scheme proved not to be a surefire means of selling trivia games; the economics of getting just 100 questions for $4 were perhaps a bit dodgy even in the late 1980s, when just about everything involving computers cost exponentially more than it does today. But a seed had been planted; the next time Miller tried something similar, he would finally hit pay dirt.

The next time in question came in the second half of 1989, just after Big Blue Disk published the last Kroz game. The magazine’s contract terms were far more generous than those of any traditional software publisher: Miller had retained the Kroz copyright throughout, and the magazine’s license to it became non-exclusive as soon as it published the third and last game of the trilogy. Miller, in other words, could now do whatever he wished with his three Kroz games, while still benefiting from the buzz their appearance in Big Blue Disk had caused in some quarters.

Kingdom of Kroz

So, he decided to try the same scheme he had used with his trivia games: release the first part of the trilogy for free, but ask people to send him $7.50 each for the second and third parts. A tactic that had prompted an underwhelming response the first time around worked out much better this time. Unlike those earlier exercises in multiple choice, the Kroz trilogy was made up of real games — or, perhaps better said, was actually one real game artificially divided into three. After you’d played the first part of said game, you wanted to see the rest of it through.

In short, Scott Miller — and shareware gaming in general — finally got their equivalent to that day when Jim Button returned home from a Hawaiian vacation to find his basement drowning in paid registrations. Suddenly Miller as well was drowning in mail, making thousands of dollars every month. He’d done it; his dogged persistence had paid off. He’d found a way around the machinations of the big publishers, found a way to sell games on his own terms, cracked the code of shareware gaming. His sense of vindication after so many years of struggle must defy description.

From here, things happened very, very quickly. Miller whipped up a second trilogy of Kroz games to sell under the same model — first part free, second and third must be paid for — and was rewarded with more checks in the mail. Most people at this point would have been content to continue writing lone-wolf games and reaping huge rewards — but Miller was, as I’ve already noted, a man of unusual ambition. At heart, he was more passionate about marketing games than programming them; in fact, he would never program another game at all after the second Kroz trilogy.

Already before 1989 was over, he had reached out to a Silicon Valley youth named Todd Replogle, who had created and uploaded to various bulletin-board systems a little action-adventure called Caves of Thor that was similar in spirit to the Kroz games. Miller convinced Replogle to re-release his free game under the Apogee imprint, and to make two paid sequels to accompany it. Replogle followed that trilogy up with a tetralogy called Monuments of Mars. Meanwhile George Broussard returned on the scene to make two more four-volume series, called Pharaoh’s Tomb and Arctic Adventure.

By 1991, Apogee was off and running as a real business. Miller quit his dead-end day jobs, moved out of his parents’ house, convinced Broussard to join him as a full-time partner, found an accountant, leased himself an office, and started hiring helpline attendants and clerical help to deal with a workload that was mushrooming for all the right reasons. His life had undergone a head-spinning transformation in the span of less than two years.

At this point, then, we might want to ask ourselves in a more holistic way just why Apogee became so successful so quickly. Undoubtedly, a huge part of the equation is indeed the much-vaunted “Apogee model” of selling shareware: hook them with a free game, then reel them in with the paid sequels. Yet that wasn’t a silver bullet in and of itself, as Miller’s own early lack of success with his trivia games illustrates. It had to be executed just right — which tells us that Miller got it just right the second time around. The price of $7.50 was enough to make the games extremely profitable for Apogee in relation to the negligible amounts of money it took to create and market them, but cheap enough that customers could take the plunge without feeling guilty about it or needing to justify it to a significant other. Likewise, each game was perfectly calibrated to be just long enough for the customer not to feel cheated, but not so long that she spent hours playing it which she could have sunk into another Apogee game.

If all of this sounds a bit mercenary, so be it; Miller was as hard-nosed as capitalists come, and he certainly wasn’t running Apogee as a charity. Yet it’s seldom good business, at least in the long run, to sell junk, and this too Miller understood. Apogee maintained a level of quality control that was often lacking even from the big publishers, who often felt compelled to release a game before its time to meet the Christmas market or to pump up the quarterly numbers. Apogee games, on the other hand, seldom appeared under a Christmas tree, and Miller had no shareholders other than his best friend to placate. “Our philosophy is never to let an arbitrary date dictate when we release a game,” said Miller in an interview. As a result, their games were small but also tight: bug-free, stable, consistent. They evinced a sense of care, felt like creations worth paying a little something for. Soon enough, people learned that they could trust Apogee. If none of Apogee’s early games were revolutionary advances within the medium, there were few to no complete turkeys among them either.

I’ll be the first to admit that the Apogee style of game does little for me. Still, my personal tastes in no way blind me to the reality that these unprepossessing but well-crafted little games filled a space in the market of the early 1990s that the big publishers were missing entirely as they rushed to cement a grand merger of Silicon Valley and Hollywood and begin the era of the “interactive movie.” While the boxed-games industry went more and more high-concept, with prices and system requirements to match, Apogee kept things simple and fun, as befit their slogan: “Apogee means action!” Apogee games were quick to play, quick to get in and out of; they had some of the same appeal that the earliest arcade games had, albeit implemented in a more user-friendly way, with the addictive addition of a sense of progression through their levels. The traditional industry regarded this sort of thing as hopelessly passé on a personal computer, suitable only for videogame consoles like the Nintendo Entertainment System. But, as the extraordinary success of Nintendo and the only slightly less extraordinary success of Apogee both demonstrated, people still wanted these sorts of games. Their near-complete absence from the boxed-computer-game market left a massive hole which Scott Miller was happy to fill. Younger people with limited disposable income found Apogee particularly appealing; they could buy six or seven Apogee games for the price of one boxed production that would probably just bore them anyhow.

But of course a business model as profitable as Miller’s must soon attract rivals who hope to execute it even better. Already in 1992, a company called Epic MegaGames appeared to challenge Apogee for the title of King of Shareware; they as well employed Scott Miller’s episodic approach, and also echoed Apogee’s proven action-first design aesthetic. Shareware gaming was becoming a thriving shadow industry of its own, right under the noses of the big boys who were still chasing after their grand cinematic fantasias. They would have gotten the shock of their lives if they had ever bothered to compare their slim profit margins to the fat ones of Apogee and Epic. As it was, though, they felt nary an inkling in their ivory towers that a proletarian revolution in ludic aesthetics was in the offing out there on the streets. But even they wouldn’t be able to ignore it for much longer.

This shareware sales chart from July of 1993 shows how dominant Apogee was at that time. Seven out of the top ten games are theirs, with a further two going to Epic MegaGames, their only remotely close competitor. Although the fast-and-simple design aesthetic in which those companies specialized ruled the charts, they pulled with them a long tail of many other types of shareware games, as we’ll see in the next part of this article. The very fact that there existed a sales chart like this one at all says much about how quickly shareware had exploded in a very short time.

Many of you doubtless have an inkling already of where this series of articles must go from here — of how not only the story of Apogee Software but also that of Softdisk Publications will feed directly into that of the most transformative computer game in history. And never fear, I’ll get to all of that — but in my next article rather than this one.

For in addition to that other story which threatens to suck all the oxygen out of the room, there are a thousand other, smaller ones of individual creators being inspired to program all kinds of games and sell them as shareware in the wake of Apogee’s success. Exactly none of them made as much money from their endeavors as did Scott Miller, but some became popular enough to still be remembered today. Indeed, many of us who were around back then still have our obscure little hobby horses from the shareware era that we like to take out and ride from time to time. My personal favorite of the breed might just be Pyro II, a thunderously non-politically-correct puzzle game in which you play a pyromaniac who must burn down famous buildings all over the world. Truly, though, the list of old shareware games that come up in any given discussion is guaranteed to be almost as long as the list of old-timers reminiscing about them. The shareware gaming scene in the aggregate which took off after Apogee’s success touched a lot of people’s lives, regardless of how much money this or that individual game might have earned.

Like the Apogee games, many other shareware titles identified holes in the market which the big publishers, who all seemed to be rushing hell-bent in the exact same direction, were failing to fill. In many cases, these were genres from which the traditional industry had actually done very well in the past, but which it had now judged to no longer be worth its while. For example, the years between the collapse of Infocom in 1989 and the beginning of the Internet-based Interactive Fiction Renaissance circa 1995 were marked by quite a number of shareware text adventures. Likewise, as boxed CRPGs got ever more plot- and multimedia-heavy at the expense of the older spirit of free-form exploration, other shareware programmers rushed to fill that gap. Still others mimicked the look and feel of the old ICOM Simulations graphic adventures, while lots more catered to the eternal need just to blow some stuff up after a long, hard day. There were shareware card games, board games, strategy games, fighting games, action puzzlers, proto-first-person shooters of various stripes, and even ballistics simulators.

In terms of presentation, most of these shareware games were dead ringers for the games that had been sold on store shelves five to ten years earlier. And by the same token, the people who made them in the 1990s were really not all that different from the bedroom programmers who had built the boxed-games industry in the 1980s. Just as many creators of non-game shareware were uncomfortable with time-limited or otherwise crippled software, not all creators of shareware games embraced the Apogee model — not even after it had so undeniably demonstrated its efficacy. Even then, some idealistic souls were still willing to place their faith in people sending in checks simply because it was the right thing to do. All of which is to say that shareware gaming encompassed a vast swath of motivations, styles, and approaches. Apogee, Epic, and that other company which we’ll get to in my next article tend to garner all the press when the early 1990s shareware scene is remembered today, but they were by no means the sum total of its personality.

By way of illustration, I’d like to conclude this article with a short case study of a shareware partnership that didn’t make its principals rich, that didn’t even allow them to quit their day jobs. In fact, neither partner ever really even tried to achieve either of those things. They just made games in two unfashionable styles which they still happened to love, and said games made some other people with the same tastes very happy. And that was more than enough for Daniel Berke and Matthew Engle.

Excelsior Phase I: Lysandia

Matthew remembers his best childhood Christmas ever as the one in 1983, when he was twelve years old and his family got an Apple IIe computer. A sheet of Apple-logo stickers came in the box that housed the computer, and Matthew stuck one of them on his notebook. Soon Daniel, another student at his Los Angeles-area school, noticed the sticker and came over to chat. “I’ve got an Apple II also!” he said. Just like that, a lifelong friendship was born.

The two joined an informal community of fellow travelers, the likes of which could be found in school cafeterias and playgrounds all over the country, swapping tips and exploits and most of all games. Their favorites of the games they traded were the text adventures of Infocom and the Ultima CRPGs of Origin Systems; if the pair’s friendship was born over the Apple II, it was cemented during the many hours they spent plumbing the depths of Zork together. Matthew and Daniel eventually joined the minority of kids like them who took the next step beyond playing and trading games: they started to experiment with making them. Their roles broke down into a classic game-development partnership: the analytical Daniel took to programming like a duck takes to water, while the more artistically-minded Matthew was adept at drawing and storytelling.

So many things in life are a question of timing — not least the careers of game developers. One story which Matthew Engle shared with me when I interviewed him in preparation for this article makes that point disarmingly explicit. In 1986, Daniel, Matthew, and another friend created a BASIC text adventure called Zapracker, which they attempted to sell through their local software stores. Matthew:

We made our own boxes and packaged the game with the floppy disk and the manual, just like Richard Garriott did back in the day. Our box was designed to hang on a peg in a software store. We got on a bus with 25 or so copies and visited a few different stores. We’d say, “Hey, would you like to sell this on consignment? You get half the money and we get half.” A few stores took us up on it, and we sold a few copies.

Zapracker (A Lost Classic?)

This tale is indeed almost eerily similar of that of Richard Garriott selling a Ziploc-bagged Akalabeth through his local Computerland just six years earlier; if anything, our heroes in 1986 would appear to have put more effort into their packaging, and perhaps into their game as well, than Garriott did into his. But in the short span of barely half a decade, the possibility of parlaying a homemade game hanging on a rack in a local computer store into an iconic franchise had evaporated. Instead Daniel and Matthew would have to go another route.

Their game-making efforts were growing steadily more sophisticated, as evinced by Daniel’s choice of programming languages: after starting off in Apple II BASIC, he moved on to an MS-DOS C compiler. Adopting unknowingly the approach that had already been used by everyone from Scott Adams to Infocom, from Telarium to Polarware to Magnetic Scrolls, Daniel wrote an interpreter in C which could present a text adventure written in a domain-specific language of his own devising. Matthew then wrote most of the text for what became Skyland’s Star, a science-fiction scenario.

During the pair’s last year in high school, the Los Angeles school district and the manufacturing conglomerate Rockwell International co-sponsored a contest for interesting student projects in computer science. Once Daniel and Matthew decided to enter it, it gave them a thing which many creators find invaluable: a deadline. They finished up their game, and submitted it alongside the technological framework that enabled it. They were soon informed that their project was among the finalists, and were invited to a dinner and awards ceremony at a fancy hotel. Matthew:

All of the finalists were there, demonstrating their entries. We did a couple of interviews for a local TV station. Then the dinner started. They started running down the list of winners, and before we knew it, it was down to two finalists: my and Dan’s project and another one. Then they announced the other one as second place; we had won. It was quite a night!

Matthew Engle and Daniel Berke win the contest with Skyland’s Star in 1989. That’s Daniel’s Apple II GS running the game; he wrote it on that machine in MS-DOS via a PC Transporter emulator card.

Daniel and Matthew gave little initial thought to monetizing their big win. After finishing high school in 1989, they went their separate ways, at least in terms of physical location: Daniel moved to New York to study computer science, while Matthew stayed in Los Angeles to study film. But they kept in touch, and soon started talking about making another game, this time in the spirit of their other favorite type from the 1980s: an old-school Ultima.

It was 1991 by now, and, fed by the meteoric success of Apogee, shareware games of many different stripes were appearing. Daniel and Matthew as well finally caught the fever. They belatedly released Skyland’s Star as shareware for $15, using it as a sort of test case for the eventual marketing of their Ultima-alike. They were among those noble or naïve souls who eschewed the Apogee model in favor of releasing their whole game at once. Instead of offering the rest of the game as an enticement, Daniel and Matthew offered a printed instruction manual, hint book, and map — nice things to have, to be sure, but perhaps not things that played on the psychological compulsions of gamers so powerfully as the literal rest of a game which they dearly wanted to finish. Daniel and Matthew weren’t overwhelmed with registrations.

Progress on the Ultima-like game, which was to be called Excelsior Phase I: Lysandia, was inevitably slowed by their respective university studies; the biggest chunk of the work got done in the summers of 1991, 1992, and 1993, when Daniel came back to Los Angeles and they both had more free time. Then they would sit for hours many days at their favorite pizza restaurant, sketching out their plans. Matthew did most of the scenario design, graphics, and writing, while Daniel did all of the programming.

Calling themselves by now 11th Dimension Entertainment, they finished and released Excelsior in 1993 as shareware, with a registration price of $20. Once again, they relied on a manual, a hint book, and a map alongside players’ consciences to convince them to register. Although it certainly didn’t become an Apogee-sized success story, Excelsior did garner more attention and registrations than had Skyland’s Star. It was helped not only by its being in a (marginally) more commercially viable genre, but also by its coming into a world that was just on the cusp of the Internet Revolution, with the additional distribution possibilities which that massive change to the way that everyday people used their computers brought with it.

As they were finishing Excelsior, Daniel and Matthew had also been finishing their degree programs. Daniel got a programming job at Electronic Arts after a few false starts, while Matthew started a career in Hollywood that would put him, ironically given the retro nature of Excelsior, on teams making cutting-edge CD-ROM-enabled multimedia products at companies like Disney Interactive. Despite their busy lives, they were both still excited enough by independent game development, and gratified enough by the response to Excelsior I, that they embarked on a sequel in 1994. Whereas Excelsior I had aimed for a point somewhere between Ultima IV and Ultima V, Excelsior II took Ultima VI as its model, with all of the increased graphics sophistication that would imply. For this reason not least, the partners wound up spending fully five years making it, communicating almost entirely electronically.

The sheer quantity of labor which Matthew in particular put into this retro-game with limited commercial prospects could have been motivated only by love. Matthew:

We went all out. I ultimately made about 3800 16 X 16-pixel tiles. It was an exhausting process. For every tile, I had to specify whether you could walk on it or it would block you. There was also transparency; we had layers of tiles, overlaid upon one another. There might be a grass tile, then the player-character tile. Then, if you’re walking through a doorway, for example, the arch at the top of the doorway.

Then, after that exhausting process, began the arduous process of putting the tiles down to create the map, which was 500 X 500 tiles if I’m not mistaken — so, 250,000 tiles to place. Plus all of the town and castle and dungeon maps had to be created.

By the time they released Excelsior Phase II: Errondor in 1999, software distribution had changed dramatically from what it had been six years before. It was now feasible to accept credit-card registrations online, and to offer registrants the instant satisfaction of downloadable PDF documents and the like. The motivating ethic of the original shareware movement was alive and well in its way, but, just as with other types of software, the phrase “shareware games” was soon to fall out of use. The more tactile, personal side of the shareware experience, entailing mailed checks, documents, and disks, had already mostly faded into history. Excelsior II did reasonably well for a niche product in this brave new world, but even before its release Daniel and Matthew knew that it would be their last game together. “We realized we just didn’t have it in us to do an Excelsior III,” says Matthew.

In the end, the two of them sold roughly 500 copies each of Excelsior I and II — “small potatoes” by any standard, as Matthew freely admits. He believes that they made perhaps $5000 to $10,000 in all on their games, after the cost of postage and all those printed manuals was subtracted.

I must confess that I personally have some reservations about the 11th Dimension games. It seems to me that Skyland’s Star’s scenario isn’t quite compelling enough to overcome the engine’s limited parser and lack of player conveniences, and that the Excelsior games, while certainly expansive and carefully put-together, rely a bit too much on needle-in-the-haystack hunting over their enormous maps. Then again, though, I have the exact same complaints about the Ultima games which Excelsior emulates, which would seem to indicate that Daniel and Matthew actually achieved their goal of bringing old-school Ultima back to life. If you happen to like those Ultima games a little more than I do, in other words, you’ll probably be able to say the same about the Excelsior games. One thing that cannot be denied is that all of the 11th Dimension games reflect the belief on the part of their makers that anything worth doing at all is worth doing well.

Shareware gave a place for games like those of Daniel and Matthew to live and breathe when the only other viable mode of distribution was through the boxed publishers, who interested themselves only in a fairly small subset of the things that games can do and be. Long before the likes of Steam, the shareware scene was the indie-games scene of its time, demonstrating all of the quirky spirit which that phrase has come to imply. While the big boys were all gazing fixedly at the same few points in the middle distance, shareware makers dared to look in other directions — even, as in the case of Daniel and Matthew, to look behind them. In the face of a mainstream industry which seemed hell-bent on forgetting its history, that was perhaps the most radically indie notion of them all.

(Sources: the books Masters of Doom by David Kushner, Rocket Jump: Quake and the Golden Age of First-Person Shooters by David L. Craddock, and Sophistication & Simplicity: The Life and Times of the Apple II Computer by Steven Weyhrich; Computer Gaming World of December 1992, January 1993, March 1993, May 1993, June 1993, July 1993, September 1993, January 1994, February 1994, and June 1994; Game Developer of January/February 1995; PC Powerplay of May 1996; Questbusters of November 1991; Los Angeles Times of February 6 1987; the tape magazine CLOAD of February 1978; the disk magazine Big Blue Disk of January 1988, May 1988, June 1988, March 1989, April 1989, September 1989, and August 1990. Online sources include the archives on the old 3D Realms site, the M & R Technologies interview with Jim Knopf, Samuel Stoddard’s Apogee FAQ, Al Vekovius’s old faculty page at Louisiana State University Shreveport, Stephen Vekovius’s appearance on All Y’all podcast, “Apogee: Where Wolfenstein Got Its Start” at Polygon, Benj Edwards’s interview with Scott Miller for Gamasutra, and Matt Barton’s interview with Scott Miller. Most of all, I owe a warm thank you to Matthew Engle for giving me free registered copies of the 11th Dimension games and talking to me at length about his experiences in shareware games.

In the interest of full disclosure as well as a full listing of sources, I have to note that a small part of this article is drawn from lived personal experience. I actually knew Scott Miller and George Broussard in the late 1980s and early 1990s, albeit only in a very attenuated, second-hand sort of way: Scott dated my sister for several years. Scott and George came by my room from time to time to see the latest Amiga games when I was still in high school. Had I known that my sister’s lovelife had provided me with a front-row seat to gaming history, and that I would later become a gaming historian among other things, I would doubtless have taken more interest in them. As it was, though, they were just a couple of older guys with uncool MS-DOS computers wanting to see what an Amiga could do.

A year and a half to two years after finishing high school, I interviewed for a job at Apogee, which was by then flying high. Again, had I known what my future held I would have paid more attention to my surroundings; I retain only the vaguest impression of a chaotic but otherwise unremarkable-looking office. Scott and George were perceptive enough to realize that I would never have fit in with them, and didn’t hire me. For this I bear them no ill will whatsoever, given that their choice not to do so was the best one for all of us; I would have been miserable there. I believe that the day of that interview in 1992 was the last time I ever saw Scott and George; Scott and my sister broke up permanently shortly thereafter if not before.

The company once known as Apogee, which is now known as 3D Realms, has released all of their old shareware games for free on their website. Daniel Berke and Matthew Engle continue to maintain their old games in updated versions that work with modern incarnations of Windows; you can download them and purchase registrations on the 11th Dimension Entertainment home page.)

Comments
33 Responses

- Steve McCrea

May 1, 2020 at 5:56 pm

This is a lovely article with an unexpected focus! Thanks!
I well remember downloading a lot of these shareware games, many of which I remember only vaguely and without titles.
Scorched Earth doesn’t look so description-defying: it’s from a long tradition of artillery games:
https://en.wikipedia.org/wiki/Artillery_game
Typo: provided my with -> provided me with

- Jimmy Maher

May 1, 2020 at 6:52 pm

Thanks!

- Keith Palmer

May 1, 2020 at 6:44 pm

Starting this article off with “CLOAD magazine” was a pleasant surprise for me, given my family had a subscription to its tapes (as well as its Color Computer spinoff, “Chromasette.”) They did keep being released into 1984 (I have to admit to once before challenging a comment here similar to “By 1981, the TRS-80’s early momentum was beginning to flag,” although certainly I’m aware Radio Shack’s computers seemed off in their own isolated world by then and looking at the thickness of 80 Micro magazines I can suppose things softened through 1983, then deflated fast in 1984). There was a different “disk magazine” for the Color Computer that made it into the 1990s, by which point plenty of family friends were showing off Apogee games on their MS-DOS boxes (although I don’t remember anyone showing off the sequels you had to pay for).

- David

May 1, 2020 at 7:23 pm

I have fond memories of Scorched Earth tournaments with my friends. It plays a lot like the long-lived commercial game series Worms, but with shareware production values for graphics and sound.

- David Boddie

May 1, 2020 at 11:30 pm

A nice trip down memory lane. I only really experienced the PC shareware scene second hand, mostly via my university’s PC labs.

And just a couple of typos:

“disposal” -> “disposable”
“judged to no longer to be” -> “judged to no longer be”

- Jimmy Maher

May 2, 2020 at 7:30 am

Thanks!

- Michael Graf

May 2, 2020 at 1:59 am

I remember when I was a kid there were these kiosks where you could buy software on 3.5″ floppy disks. My friend had a tandy (1000?) and we sold a bunch of lemonade on the corner to buy hero’s quest. We couldnt figure out how to make it work though.

- Jeremy Penner

May 2, 2020 at 2:00 am

Very, very happy to see some in-depth research into some of shareware’s non-success stories! I have always been inspired by the existence of so many shareware games clearly made as clumsily-marketed labours of love by individual people; it was a beacon that showed me that I could make things too.

Typos:
It’s Todd Replogle, not Raplogle
long tale -> long tail

- Jimmy Maher

May 2, 2020 at 7:31 am

Thanks!

- Jacen aka Jaina

May 2, 2020 at 2:02 am

them a long tale of many other types of shareware games”, tail

Ahhh, Jill of the jungle. Truly the best game on the list

- ZUrlocker

May 2, 2020 at 3:52 am

Small world! What a fun story.

- tametick

May 2, 2020 at 4:48 am

Great read!

And after the epilogue I now want to read a series of articles about the adventures of young Jimmy, stumbling Forrest-Gump-like in the periphery of notable game industry personalities without realizing who they are :D

- Jimmy Maher

May 2, 2020 at 7:35 am

:) I’m afraid that was my one and only personal encounter with gaming history on anything but the ultra-niche level. I got a job at a record store instead of Apogee.

- tametick

May 2, 2020 at 3:25 pm

I imagined it would be more historical fiction than auto-biographical.

If that’s not too much prying, why did you feel you would have been a bad fit at apogee? My vague recollection of Tom Hall’s blogging/tweeting of his experience working there post-Id made it sound like quite a fun workplace (for a young man with no dependents, anyway).

- Jimmy Maher

May 2, 2020 at 3:59 pm

Yeah… I don’t want to say too much. Just people I wouldn’t have gotten on with, making games which, while they were as valid as any other type, I just didn’t care about personally.

- Christian

May 2, 2020 at 5:37 am

Today I learned the word “highfalutin”. :-)

Thank you for your articles, always a delight to read.

- Wolfeye M.

May 2, 2020 at 7:44 am

Huh, I didn’t know Wolfenstein 3D was originally shareware. But, I played it many years after it first came out, because that game is considered a “classic”. Doesn’t have a lot of the features I’m used to in more recent FPS games, but it was still a blast to play.

Turns out I’ve played a lot of the Apogee/3D Realms games, partly because I’m interested in the history of video games, but mostly because I think if a game is fun when it first came out, it’s probably still fun now.

- ,Lt. Nitpicker

May 2, 2020 at 4:45 pm

There’s an exception that proves the rule regarding non-crippleware games being unsuccessful: Jeff Minter’s Llamatron, a ‘minterized’ take/update on the Robotron arcade game. While I don’t have any sales figures for it (Maybe ask Paul “dokk” Docherty, an 80s game artist turned film-maker making a documentary on Jeff and might be able to shed more detail here through quotes from his interviews), in a 2008 talk Minter said it had “thousands and thousands” of registrations by the time he decided to stop accepting them. Of course, this game had the factors of Minter’s reputation for high-quality arcade-y action games (especially in his homeland, the U.K), and the fact it was released on multiple platforms, which was a rarity for most shareware games, going for it.

- Lt. Nitpicker

May 2, 2020 at 4:46 pm

Also, the 2008 talk in question is here, and it’s called “Llamasoft and the Space Giraffe”

https://www.youtube.com/watch?v=GRHJMf_jY8A

- Aula

May 2, 2020 at 5:30 pm

“but which which it”

That would be grammatically correct if the second one was spelled “witch” but you probably didn’t mean that.

- Jimmy Maher

May 2, 2020 at 5:45 pm

Thanks!

- Rowan Lipkovits

May 2, 2020 at 5:40 pm

You stress the value of low-cost shareware purchases as a factor in their success, but to a kid with a modem-equipped computer in the basement and no income, it’s worth noting that among a certain subset of computing youth, shareware presented their only avenue forward for access to _free games_ (at least, the first episodes).

The parallelism between Apogee and Epic Megagames was eerie at times. Though Epic had no answer to Supernova or Trek Trivia, their ZZT clearly echoed Kroz, Jill of the Jungle shouting back to Commander Keen, Ken’s Labyrinth showing they could keep up with Wolf 3-D, Unreal to Quake II (increasingly maintaining parity with iD, not Apogee)… about the only time the innovation to imitator relationship was inverted was when Epic got to pinball with Silverball before Apogee threw its hat in the ring with Balls of Steel.

I bet you could get an amazing shareware case study out of MoraffWare.

- M. Casey

May 4, 2020 at 1:39 am

Wow, while reading through this article I was trying to remember the name of that shareware shop that had all the psychedelic-colored games with giant text. I couldn’t think of it, until I came down to your comment. MoraffWare!

The games themselves were largely mediocre, as I remember, but they looked like nothing else out there.

- Wouter Lammers

May 3, 2020 at 3:17 pm

I saw a “parnership“.

Also, what was the name of the fourth magazine? The Macintosh one. You called the first three by name, I like the Big Blie Disk name and was wondering what they’d call the Mac one!

- Jimmy Maher

May 4, 2020 at 8:16 am

Thanks!

The Macintosh magazine was called DiskWorld. Not terribly clever, I’m afraid.

- Wouter Lammers

May 5, 2020 at 4:40 am

Bummer :)

- Saint Podkayne

May 4, 2020 at 1:04 am

I wonder how many legal avenues for obtaining these games there were compared to semi-legal/illegal. I played many of these first episodes of games as a kid, because my dad would buy disks, usually with several games on them, from local dollar stores. The disks came in disk-sized pockets, professionally printed but with no accompanying documentation. These shareware disks certainly cost a bit of money– they were cheap but not free.

(He NEVER agreed to pay for the rest of the games, sadly, so there are several I only got to finish years later as a teenager.)

- Lt. Nitpicker

May 4, 2020 at 5:14 pm

I’m betting there were more legal methods than illegal or even semi-legal ones, especially if you count online methods. Apogee’s (and a few other “major” shareware companies, the minor ones or single-mans had even better terms for most “shovelware” companies) “vendor” terms as of 1994 or so were pretty flexible. Basically just distribute the most up-to-date version as unaltered as possible, if it’s physical make it clear that it’s “our” game (this includes mail-order PD/shareware collections which were popular BiTD), and additionally if it’s at retail/in a hardware bundle/on a CD-ROM, contact us to work out some kind of (generally small) deal to cut us in. Pretty much the only thing completely illegal was distributing the full game. Id notably used much looser terms for Doom, which may have factored in to why the game sold like wildfire, even compared to a major shareware release at the time.

- Adam Goode

May 4, 2020 at 12:04 pm

Love the 1986 Dark Mode in BIG BLUE DISK.

- dsparil

May 7, 2020 at 7:10 pm

I have quite a strong fondness for shareware games and software as that was all my family had from about 1990 to 1994 which was when we got a CD drive, but it was still a major source even after that from the veritable bonanza share CDs provided. My parents still have the collection of shareware that came with our first computer! It was something like two or three dozen 5.25″ floppies. I don’t think we ever actually registered anything from that initial set, but we did get a few things here and there later on.

One of the problems with the shareware model though is that the first episode was sometimes the best one. This of course doesn’t always apply, but I do feel like they could be quite a bait and switch. The worst I ever encountered personally was Epic’s Solar Winds. The first episode was pretty good, but the second one was just such garbage. My main experience though was having additional episodes just be more of the same. I really loved Raptor: Call of the Shadows as a kid, but it is such a boring slog to play through all three episodes. Even something legitimately good like Tyrian had weapon upgrades balanced around the shareware episode in both its modes.

- Josh Martin

May 7, 2020 at 9:06 pm

God of Thunder (which has been freeware for awhile and was open-sourced a couple of months ago) was a similar experience for me. Most of the first episode plays like a less polished but serviceable PC riff on Zelda, with a mix of fast combat, simple puzzles, fetch quests, shops, friendly NPCs, and so on. But by the end of the first episode it leans increasingly on more complicated puzzles that involve pushing blocks and boulders in specific patterns to get past invulnerable enemies that kill you instantly if you step directly in front of them. Basically, it goes from a Zelda clone to an Eggerland/Adventures of Lolo clone, which is fine if that’s what you’re into, but it wasn’t what I’d signed up for. After struggling through these last few sections, I moved on to episode 2, which starts off immediately with more sliding block puzzles. I set the game aside and never came back.

- moving sound

May 15, 2020 at 2:02 pm

This just has me wondering if/when ZZT will be discussed.

- Nipsky

May 19, 2020 at 12:51 am

I’m curious to know if there were any notable differences between the shareware scene in the US and Europe, with the latter still lagging behind technology-wise and the market still being dominated by cheaper home computers. Here in Germany, my main contact point with shareware as a kid in mid to late 90s was games on the dying Amiga, which still seemed the perfect machine for hobby developers. I know there were dozens of shareware and public domain disk series out there, and there was the Aminet and later magazine cover CDs often came with lots of shareware titles. Anyway, all that had a certain spirit of unpolished creativity that had it’s own charm, even if there was a lot of rubbish in-between of course. Still, thinking about it warms my heart. I’d love to read more about that scene on the Amiga but I guess we’re firmly on IBM PC ground now ;)

The Shareware Scene, Part 3: The id Boys
May 15, 2020

On December 14, 1990, Scott Miller of Apogee Software uploaded the free first installment of his company’s latest episodic game. He knew as he did so that this release would be, if you’ll pardon the pun, a game changer for Apogee. To signal that this was truly a next-generation Apogee game, he doubled his standard paid-episode asking price from $7.50 to $15.

Rather than relying on the character graphics or blocky visual abstractions of Apogee’s previous games, Commander Keen 1: Marooned on Mars was an animated feast of bouncy color. Rather than looking like a typical boxed game of five to ten years earlier, it looked quite literally like nothing that had ever been seen on an MS-DOS-based computer before. In terms of presentation at least, it was nothing less than computer gaming’s answer to Super Mario Bros., the iconic franchise that had done so much to help Nintendo sell more than 30 million of their videogame consoles in the United States alone.

Yet even Miller, who has been so often and justly lauded for his vision in recognizing that many computer owners were craving something markedly different from what the big game publishers were offering them, could hardly have conceived of the full historical importance of this particular moment. For it introduced to the world a small group of scruffy misfits with bad attitudes and some serious technical chops, who were living and working together at the time in a rundown riverfront house in Shreveport, Louisiana. Within a few months, they would begin to call themselves id Software, and under that name they would remake the face of mainstream gaming during the 1990s.

I must admit that I find it a little strange to be writing about humble Shreveport for the second time in the course of two articles. It’s certainly not the first place one would look for a band of technological revolutionaries. The perpetually struggling city of 200,000 people has long been a microcosm of the problems dogging the whole of Louisiana, one of the poorest states in the nation. It’s a raggedly anonymous place of run-down strip malls and falling-down houses, with all of the crime and poverty of New Orleans but none of that city’s rich cultural stew to serve as compensation.

Life in Shreveport has always been defined by the Red River which flows through town. As its name would imply, the city was founded to serve as a port in the time before the nation’s rivers were superseded by its railroads and highways. When that time ended, Shreveport had to find other uses for its river: thanks to a quirk of Louisiana law that makes casinos legal on waterways but not on dry land, residents of northeastern Texas and southern Arkansas have long known it primarily as the most convenient place to go for legal gambling. The shabbily-dressed interstate gamblers who climb out of the casino-funded buses every day are anything but the high rollers of Vegas lore. They’re just ordinary working-class folks who really, really should find something more healthy to do with their time and money than sitting behind a one-armed bandit in a riverboat casino, dropping token after token into the slot and staring with glazed eyes at the wheels as they spin around and around. This image rather symbolizes the social and economic condition of Shreveport in general.

By 1989, Al Vekovius of Shreveport’s Softdisk Publications was starting to fear that the same image might stand in for the state of his business. After expanding so dramatically for much of the decade, Softdisk was now struggling just to hold onto its current base of subscribers, much less to grow their numbers. The original Softdisk and Loadstar, their two earliest disk magazines, catered to aged 8-bit computers that were now at the end of their run, while Big Blue Disk and Diskworld, for MS-DOS computers and the Apple Macintosh respectively, were failing to take up all of their slack. Everything seemed to be turning against Softdisk. In the summer of 1989, IBM, whose longstanding corporate nickname of “Big Blue” had been the source of the name Big Blue Disk, threatened a lawsuit if Softdisk continued to market a disk magazine under that name. Knowing better than to defy a company a thousand times their size, Softdisk felt compelled to rename Big Blue Disk to the less catchy On Disk Monthly.

While the loss of hard-won brand recognition always hurts, Softdisk’s real problems were much bigger and more potentially intractable than that of one corporate behemoth with an overgrown legal department. The fact was, the relationship which people had with the newer computers Softdisk was now catering to tended to be different from the one they had enjoyed with their friendly little Apple II or Commodore 64. Being a computer user in the era of Microsoft’s ascendancy was no longer a hobby for most of them, much less a lifestyle. People had less of a craving for the ramshackle but easily hackable utilities and coding samples which Softdisk’s magazines had traditionally published. People were no longer interested in rolling up their sleeves to work with software in order to make it work for them; they demanded more polished programs that Just Worked right off the disk. But this was a hard field for Softdisk to compete on. Programmers with really good software had little motivation to license their stuff to a disk magazine for a relative pittance when they could instead be talking to a boxed-software publisher or testing the exploding shareware market.

With high-quality submissions from outside drying up just as he needed them most, Vekovius hired more and more internal staff to create the software for On Disk. Yet even here he ran up against many of the same barriers. The programmers whom he could find locally or convince to move to a place like Shreveport at the salaries which Softdisk could afford to pay were generally not the first ones he might have chosen in an ideal world. For all that some of them would prove themselves to be unexpectedly brilliant, as we’ll see shortly, virtually every one of them had some flaw or collection thereof that prevented him from finding gainful employment elsewhere. And the demand that they churn out multiple programs every month in order to fill up the latest issue was, to say the least, rather inimical to the production of quality software. Vekovius was spinning his wheels in his little programming sweatshop with all the energy of those Shreveport riverboat gamblers, but it wasn’t at all clear that it was getting him any further than it was getting them.

Thus he was receptive on the day in early 1990 when one of his most productive if headstrong programmers, a strapping young metalhead named John Romero, suggested that Softdisk start a new MS-DOS disk magazine, dedicated solely to games — the one place where, what with Apogee’s success being still in its early stages, shareware had not yet clearly cut into Softdisk’s business model. After some back-and-forth, the two agreed to a bi-monthly publication known as Gamer’s Edge, featuring at least one — preferably two — original games in each issue. To make it happen, Romero would be allowed to gather together a few others who were willing to work a staggering number of hours cranking out games at an insane pace with no resources beyond themselves for very little money at all. Who could possibly refuse an offer like that?

The id boys: John Carmack, Kevin Cloud, Adrian Carmack, John Romero, Tom Hall, and Jay Wilbur.

The team that eventually coalesced around Romero included programmer Tom Hall, artist Adrian Carmack, and business manager and token adult-in-the-room Jay Wilbur. But their secret weapon, lured by Wilbur to Shreveport from Kansas City, Missouri, was a phenomenal young programmer named John Carmack. (In a proof that anyone who says things like “I don’t believe in coincidences” is full of it, John is actually unrelated to Adrian Carmack despite having the same not-hugely-common last name.) John Carmack would prove himself to be such a brilliant programmer that Romero and Hall, no slouches themselves in that department by most people’s standards, would learn to leave the heavy lifting to his genius, coding themselves only the less important parts of the games along with the utilities that they used to build them — and they would also design the games, for Carmack was in reality vastly more interested in the mathematical abstraction of code as an end unto itself than the games it enabled.

But all of these young men, whom I’ll call the id boys from here on out just because the name suited them so well even before they started id Software, will be more or less important to our story. So, we should briefly meet each of them.

Jay Wilbur was by far the most approachable, least intimidating member of the group. Having already reached the wise old age of 30, he brought with him a more varied set of life experiences that left him willing and able to talk to more varied sorts of people. Indeed, Wilbur’s schmoozing skills were rather legendary. While attending university in his home state of Rhode Island, he’d run the bar at his local TGI Friday’s, where his ability to mix drinks with acrobatic “flair” made him one of those selected to teach Tom Cruise the tricks of the trade for the movie Cocktail. But his love for the Apple II he’d purchased with an insurance settlement following a motorcycle accident finally overcame his love for the nightlife, and he accepted a job for a Rhode Island-based disk magazine called UpTime. When that company was bought out by Softdisk in 1988, he wound up in Shreveport, working as an editor there. The people skills he’d picked up tending bar would never desert him; certainly his new charges at Gamer’s Edge had sore need of them, for they were an abrasive collection of characters even by hacker standards.

These others loved heavy metal and action movies, and aimed a well-sharpened lance of contempt at anything outside their narrow range of cultural and technical interests. Their laser focus on their small collection of obsessions would prove one of their greatest strengths, if perhaps problematic for gaming writ large in the long run, in the way that it diminished the scope of what games could do and be.

Yet even this band of four, the ones who actually made the games for Gamer’s Edge under Wilbur’s benevolent stewardship, was not a monolith. Once one begins to look at them as individuals, the shades of difference quickly emerge.

Like Wilbur, the 25-year-old Wisconsinite Tom Hall was a middle-class kid with a university degree, but he had none of his friend and colleague’s casual bonhomie with the masses. He lived in a fantasy world drawn from the Star Wars movies, the first of which he’d seen in theaters 33 times, and the Hitchhiker’s Guide to the Galaxy novels, which he could all but recite from heart. At Softdisk, to which he’d come after deciding that he couldn’t stand the idea of a job in corporate data processing, he ran around talking in a cutsey made-up alien language: “Bleh! Bleh! Bleh!” He was the kind of guy you either found hilarious or were irritated out of your mind by.

The 21-year-old Adrian Carmack also lived in a world of fantasy, but his fantasies had a darker hue. Growing up right there in Shreveport, he had spent many hours at arcades, attracted not so much by the games themselves as by the lurid art on their cabinets. He worked for a time as an aide at a hospital, then went home to sketch gunshot wounds, severed limbs, and festering bedsores with meticulous accuracy. Instead of a cat or a dog, he chose a scorpion as a pet. He’d come to Softdisk on a university internship after telling his advisor he wanted to work in “fine art” someday.

Still, and with all due respect to these others, the id boys would come to be defined most of all by their two Johns. The 22-year-old John Romero was pure id, a kettle of addled energy that was perpetually spilling over, sending F-bombs spewing every which way; David Kushner, author of the seminal history Masters of Doom, memorably describes him as “a human exclamation point.” The not-quite-20-year-old John Carmack was as quiet and affectless as Romero was raucous, often disturbingly so; Sandy Petersen, a game designer who will come to work with him later in our story, remembers musing to himself after first meeting Carmack that “he doesn’t know anything about how humans think or feel.”

Yet for all their surface differences, the two Johns had much in common. Both were brought up in broken homes: Romero was physically abused by his stepfather while growing up in the Sacramento area, while Carmack suffered under the corporeal and psychological rigors of a strict private Catholic school in Kansas. Both rebelled by committing petty crimes among other things; Carmack was sentenced to a year in a boys’ detention center at age 14 after breaking into his school using a homemade bomb. (The case notes of the police officer who interviewed him echo the later impressions of Sandy Petersen: “Boy behaves like a walking brain… no empathy for other human beings.”)

Both found escape from their circumstances through digital means: first via videogames at the local arcades, then via the Apple II computers they acquired by hook or by crook. (Carmack’s first computer was a stolen one, bought off the proverbial back of a truck.) They soon taught themselves to program well enough to put professionals to shame.

Romero got his games published regularly by print magazines as type-in listings, then parlayed that into a job with the disk magazine UpTime, where he became friends with Jay Wilbur. After that, he got a job as a game porter for Origin Systems of Ultima fame. Meanwhile Wilbur moved on to Softdisk while Romero was at Origin. When Romero found himself bored by the life of a porter, he came to Shreveport as well to join his friend.

John Carmack, being more than two years younger than Romero and much more socially challenged, brought a shorter résumé with him to Shreveport when he became the only id boy to be hired specifically to work on Gamer’s Edge rather than being transferred there from another part of Softdisk. He had mostly sold his games for $1000 apiece to a little mom-and-pop company near his home called Nite Owl Productions, who had made them a sideline to their main business of supplying replacement batteries for Apple II motherboards. But he had also sold one or two games to Jay Wilbur at Softdisk. Finding these to be very impressive, the id boys asked Wilbur to deploy his considerable charm to recruit the new kid for Gamer’s Edge. After a concerted effort, he succeeded.

Gamer’s Edge was far more than just a new job or a workplace transfer for the young men involved. It was a calling; they spent virtually all day every day in one another’s company. Pooling all of their meager salaries, Wilbur rented them a rambling old four-bedroom house on the Red River, complete with a Jacuzzi and a swimming pool and a boat deck which he soon complemented with a battered motorboat. It was an Animal House lifestyle of barbecuing, skiing, and beer drinking in between marathon hacking sessions, fueled by pizza and soda. Wilbur — in many ways the unsung hero of this story — acted as their doting den mother, keeping the lights on, the basement beer keg filled, the refrigerator stocked with soda and junk food, and the pizza deliveries coming at all hours of the day and night.

Inside the riverfront house in Shreveport. John Carmack sits near center frame, while John Romero is to his left, mostly hidden behind a pillar.

For the first issue of Gamer’s Edge, the two Johns agreed to each port one of their old Apple II games to MS-DOS. Romero chose a platformer called Dangerous Dave, while Carmack chose a top-down action-adventure called Catacomb. They raced one another to see who could finish first; it was after losing rather definitively that Romero realized he couldn’t hope to compete with Carmack as a pure programmer, and should probably leave the most complicated, math-intensive aspects of coding to his friend while he concentrated on all the other things that make a good game. For the second issue, the two Johns pooled their talents with that of the others to make a completely original shoot-em-up called Slordax: The Unknown Enemy. So far, so good.

And then came John Carmack’s first great technical miracle — the first of many that would be continually upending everything the id boys were working on in the best possible way. To fully explain this first miracle, a bit of background is necessary.

Although they were making games for MS-DOS, the id boys had little use for the high-concept themes of most other games that were being made for that platform in 1990; neither complicated simulations nor elaborate interactive movies did anything for them. They preferred games that were simple and visceral, fast-paced and above all action-packed. Tellingly, most of the games they preferred to play these days lived on the Nintendo Entertainment System rather than a personal computer.

Much of the difference between the two platforms’ design aesthetics was cultural, but there was also more to it than that. As I’ve often taken pains to point out in these articles, the nature of games on any given platform is always strongly guided by that platform’s technical strengths and weaknesses.

When first looking at the NES and an MS-DOS personal computer of 1990 vintage, one might assume that the latter so thoroughly outclasses the former as to make further comparison pointless. The NES was built around a version of the MOS 6502, an 8-bit CPU dating back to the 1970s, running at a clock speed of less than 2 MHz; a state-of-the-art PC had a 32-bit CPU running at 25 MHz or more. The NES had just 2 K of writable general-purpose memory; the PC might have 4 MB or more, plus a big hard drive. The NES could display up to 25 colors from a palette of 48, at a resolution of 256 X 240; a PC with a VGA graphics card could display up to 256 colors from a palette of over 262,000, at a resolution of 320 X 200. Surely the PC could effortlessly do anything the NES could do. Right?

Well, no, actually. The VGA graphics standard for PCs had been created by IBM in 1987 with an eye to presenting crisp general-purpose displays rather than games. In the hands of a talented team of pixel artists, it could present mouth-watering static illustrations, as adventure-game studios like Sierra, LucasArts, and Legend were proving. But it included absolutely no aids for fast animation, no form of graphical acceleration whatsoever. It just gave the programmer a big chunk of memory to work with, whose bytes represented the pixels on the screen. When she wanted to change said pixels, she had to sling all those bytes around by main force, using nothing but the brute power of the CPU. All animation on a PC was essentially page-flipping animation, requiring the CPU to redraw every pixel of every frame in memory, at the 20 or 30 frames per second that were necessary to create an impression of relatively fluid motion, and all while also finding cycles for all of the other aspects of the game.

The graphics system of the NES, on the other hand, had been designed for the sole purpose of presenting videogames — and in electrical engineering, specialization almost always breeds efficiency. Rather than storing the contents of the screen in memory as a linear array of pixels, it operated on the level of tiles, each of which was 8 X 8 or 8 X 16 pixels in size. After defining the look of each of a set of tiles, the programmer could mix and match them on the screen as she wished, at a fairly blazing speed thanks to the console’s custom display circuitry; this enabled the smooth scrolling of the Super Mario Bros. games among many others. She also had up to 64 sprites to work with; these were little 8 X 8 or 8 X 16 images that were overlaid on the tiled background by the display hardware, and could be moved about almost instantaneously, just by changing a couple of numbers in a couple of registers. They were, in other words, perfect for showing Super Mario bouncing around on a scrolling background, at almost no cost in CPU cycles. Freed from the heavy lifting of managing the display, the little 6502 could concentrate almost entirely on the game logic.

The conventional wisdom of 1990 held that the PC, despite all its advantages in raw horsepower, simply couldn’t do a game like Super Mario Bros. The problem rankled John Carmack and his friends particularly, given how much more in tune their design aesthetic was with the NES than with the current crop of computer games. And so Carmack turned the full force of his giant brain on the problem, and soon devised a solution.

As so often happens in programming, said solution turned out to be deceptively simple. It hinged on the fact that one could define a virtual screen in memory that was wider and/or taller than the physical screen. In this case, Carmack made his virtual screen just eight pixels wider than the physical screen. This meant that he could scroll the background with silky smoothness through eight “frames” by changing just two registers on the computer — the ones telling the display hardware where the top left corner of the screen started in the computer’s memory. And this in turn meant that he only had to draw the display anew from scratch every eighth frame, which was a manageable task. Once he had the scrolling background working, he added some highly optimized code to draw and erase in software alone bouncing sprites to represent his pseudo-Mario and enemies. And that was that. His technique didn’t even demand VGA graphics; it could present a dead ringer for the NES Super Mario Bros. 3 — the latest installment in the franchise — using the older MS-DOS graphics standard of EGA.

I should note at this point that the scrolling technique which John Carmack “invented” was by no means entirely new in the abstract; programmers on computers like the Commodore 64 and Commodore Amiga had in fact been using it for years. (I point readers to my article on the techniques used by the Commodore 64 sports games of Epyx and particularly to my book-length study of the Amiga for more detailed explanations of it than the one I’ve provided here.) A big part of the reason that no one had ever done it before on an MS-DOS computer was that no one had ever been hugely motivated to try, in light of the types of games that were generally accepted as “appropriate” for that platform; technological determinism is a potent force in game development, but it’s never the only force. And I should also note a certain irony that clings to all this. As we’ll see, John Carmack would soon toll the death knell for the era of bouncing sprites superimposed over scrolling 2D backgrounds. How odd that his first great eureka moment should have come in imitation of just that classic videogame style.

Carmack first showed his innovation to Tom Hall, the biggest Super Mario fan of all among the id boys, late in the afternoon of September 20, 1990. Hall recognized its significance immediately, and suggested that he and Carmack recreate some of the first level of Super Mario Bros. 3 right then and there as a proof of concept. They finally stumbled off to bed at 5:30 the following morning.

A few hours later, John Romero woke up to find a floppy disk sitting on his keyboard. He popped it into the drive, and his jaw hit the floor when he saw a Nintendo game playing there on his computer monitor. He went off to find Jay Wilbur and Adrian Carmack. They all agreed that this was big — way too big for the likes of Softdisk.

In one 72-hour marathon, the id boys recreated all of the first level of Super Mario Bros. 3, along with bits and pieces of those that followed. Then Wilbur typed up a letter to Nintendo of America and dropped it in the mail along with the disk; it said that the id boys were ready and willing to license their PC port of Super Mario Bros. 3 back to the Nintendo mother ship. This was a profoundly naïve thing to do; virtually anyone in the industry could have told them that Nintendo never let any of their intellectual property escape from the walled garden of their own console. And sure enough, the id boys would eventually receive a politely worded response saying no thank you. Given Nintendo’s infamous ruthlessness when it came to matters of intellectual property, they were probably lucky that a rejection letter was all they received, rather than a lawsuit.

At any rate, the id boys weren’t noted for their patience. Long before Nintendo’s response arrived, they would be on to the next thing: an original game using John Carmack’s scrolling technique.

For some time now, John Romero had been receiving fawning fan mail care of Softdisk, not a usual phenomenon at all. His gratification was lessened somewhat, however, by the fact that the letters all came from the same address near Dallas, Texas, all asked him to call the fan in question at the same phone number, and were all signed with suspiciously similar names: “Byron Muller,” “Scott Mulliere,” etc.

It was in fact our old friend Scott Miller. His attention had been captured by Romero’s games for On Disk and Gamer’s Edge; they would be perfect for Apogee, he thought. But how to get in touch? The only contact information he had was that of Softdisk’s main office. He could hardly write them a letter asking if he could poach one their programmers. His solution was this barrage of seemingly innocent fan mail. Maybe, just maybe, Romero really would call him…

Romero didn’t call, but he did write back, and included his own phone number. Miller rang it up immediately. “Fuck those letters!” he said when Romero started to ask what kind of prank he thought he was pulling. “We can make a ton of money together selling your games as shareware.”

“Dude, those old games are garbage compared to the stuff we can make now,” said Romero, with John Carmack’s new scrolling technique firmly in mind. They struck a deal: Miller would send the id boys an advance of $2000, and they would send him a brand-new three-part game as soon as possible.

The Gamer’s Edge magazine, which just six months ago had seemed like the perfect job, now fell to the back burner in light of the riches Miller was promising them. Since they were making a Nintendo-like game in terms of action, it seemed logical to copy Nintendo’s bright and cheerful approach in the new game’s graphics and fiction as well. This was Tom Hall’s moment to shine; he already seemed to live every day in just such a primary-colored cartoon fantasy. Now, he created an outline for Commander Keen, blending Nintendo with The Hitchhiker’s Guide to the Galaxy and old science-fiction serials — the last being perfect for an episodic game.

Billy Blaze, eight-year-old genius, working diligently in his backyard clubhouse, has created an interstellar spaceship from old soup cans, rubber cement, and plastic tubing. While his folks are out on the town and the babysitter is asleep, Billy sneaks out to his backyard workshop, dons his brother’s football helmet, and transforms into… Commander Keen, Defender of Justice! In his ship, the Bean with Bacon Megarocket, Keen dispenses justice with an iron hand!

In this episode, aliens from the planet Vorticon VI find out about the eight-year-old genius and plan his destruction. While Keen is out exploring the mountains of Mars, the Vorticons steal his ship and leave pieces around the galaxy! Can Keen recover all the pieces of his ship and repel the Vorticon invasion? Will he make it back before his parents get home? Stay tuned!

Commander Keen

When Miller received the first Commander Keen trilogy in the post barely two months later, he was thrilled beyond his wildest dreams. He had known that the id boys were talented, but this… he had never imagined this. This wasn’t a throwback to the boxed games of yore, wasn’t even on a par with the boxed games of current times. It was something entirely different, something never seen on an MS-DOS computer at all before, as visually striking and technically innovative within its chosen sphere as any of the latest boxed games were within theirs. Just like that, shareware games had come of age.

All of Apogee’s games together had been earning about $7000 per month. Commander Keen alone made $20,000 in the first month of its availability. It caused such a stir online that the established industry took a casual notice for the first time of this new entity called Apogee with this odd new way of selling games. Computer Gaming World magazine even deigned to give Commander Keen a blurb in the new-releases section. It was “of true commercial quality,” they noted, only slightly condescendingly.

Despite their success in shareware and the big checks that started coming in the mail from Apogee as a result, the id boys continued to make games for Gamer’s Edge throughout 1991. Betwixt and between, they provided Miller with a second Commander Keen trilogy, which did every bit as well as the first. No one could ever accuse them of being lazy.

But making a metaphorical name for themselves outside of Softdisk meant that they needed a literal name for the world to know them by. When they had sent their Super Mario Bros. 3 clone to Nintendo, they had called themselves “Ideas from the Deep.” Deciding that was too long-winded, they became “ID” when they started releasing games with Apogee — short for “In Demand.” The only one of their number who cottoned onto the Freudian implications of the acronym was Jay Wilbur; none of the other id boys knew Sigmund Freud from Siegmund the Norse hero. But when Wilbur explained to them how Freud’s id was the seat of a person’s most basic, impulsive desires, they were delighted. By this happenstance, then, id Software got a name which a thousand branding experts could never have bettered. It encapsulated perfectly their mission to deconstruct computer gaming, to break it down into a raw essence of action and reaction. The only ingredient still missing from the eventual id Software formula was copious violence.

And that too was already in the offing: Tom Hall’s cheerful cartoon aesthetic had started to wear thin with John Romero and Adrian Carmack long before they sent the first Commander Keen games to Scott Miller. Playing around one day with some graphics for the latest Gamer’s Edge production, Adrian drew a zombie clawing out the eyes of the player’s avatar, sending blood and gore flying everywhere. Romero loved it: “Blood! In a game! How fucking awesome is that?”

Adrian’s reply was weirdly pensive. “Maybe one day,” he said in a dreamy voice, “we’ll be able to put in as much blood as we want.”

In September of 1991, the id boys’ lease on their riverside frat house expired, and they decided that it was time to leave the depressing environs of Shreveport, with its crime, its poverty, and its homeless population who clustered disturbingly around the Softdisk offices. Their contract stipulated that they still owed Gamer’s Edge a few more games, but Al Vekovius had long since given up on trying to control them. The id boys decamped for Madison, Wisconsin, at the suggestion of Tom Hall, who had attended university there. He promised them with all of his usual enthusiasm that it was the best place ever. Instead they found the Wisconsin winter to be miserable. Cooped up inside their individual apartments, missing keenly their big old communal house and their motorboat, they threw themselves more completely than ever into making games. Everyone, with the exception only of Tom Hall, was now heartily sick and tired of Commander Keen. It was time for something new.

Whilst working at Origin Systems in the late 1980s, John Romero had met Paul Neurath, who had since gone on to start his own studio known as Blue Sky Productions. During their occasional phone calls, Neurath kept dropping hints to his friend about the game his people were working on: an immersive first-person CRPG, rendered using texture-mapped 3D graphics. When Romero mentioned it to John Carmack, his reply was short, as so many of them tended to be: “Yeah, I can do that.”

Real-time 3D graphics in general were hardly a new development. Academic research in the field stretched back to well before the era of the microchip. Bruce Artwick had employed them in the original Radio Shack TRS-80 Flight Simulator in 1980, and Ian Bell and David Braben had used them in Elite in 1984; both games were among the best sellers of their decade. Indeed, the genre of vehicular simulations, one of the most popular of them all by the late 1980s, relied on 3D graphics almost exclusively. All of which is to say that you didn’t have to look very hard in your local software store to find a 3D game of some stripe.

And yet, according at least to the conventional wisdom, the limitations of 3D graphics made them unsuitable for the sort of visceral, ultra-fast-paced experience which the id boys preferred. All of the extra affordances built into gaming-oriented platforms like the NES to enable 2D sprite-based graphics were useless for 3D graphics. 3D required radical compromises in speed or appearance, or both: those early versions of Flight Simulator were so slow that it could take the program a full second or two to respond to your inputs, which made flying their virtual airplanes perversely more difficult than flying the real thing; Elite managed to be more responsive, but only by drawing its 3D world using wire-frame outlines instead of filled surfaces. The games-industry consensus was that 3D graphics had a lot of potential for many types of games beyond those they were currently being used for, but that computer hardware was probably five to ten years away from being able to realize most of it.

John Carmack wasn’t that patient. If he couldn’t make true 3D graphics run at an acceptable speed in the here and now, he believed that he could fake it in a fairly convincing way. He devised a technique of presenting a fundamentally 2D world from a first-person perspective. Said world was a weirdly circumscribed place to inhabit: all angles had to be right angles; all walls had to stretch uniformly from floor to ceiling; all floors and ceilings had to be colored in the same uniform gray. Only interior scenes were possible, and no stairways, no jumping, no height differences of any kind were allowed; in this egalitarian world, everything and everyone had to stay permanently on the same level. You weren’t even allowed to look up or down. But, limited though it was, it was like nothing anyone had ever seen.

“You know,” said John Romero one day when they were all sitting around discussing what to do with the new technology, “it’d be really fucking cool if we made a remake of Castle Wolfenstein and did it in 3D.” With those words, id’s next game was born, one that would make all the success of Commander Keen look like nothing.

The original Castle Wolfenstein.

Written by Silas Warner, one of the Apple II scene’s early superstar programmers, and published by the long-defunct Muse Software, Castle Wolfenstein was an established classic from 1981, a top-down action-adventure that cast you as a prisoner of the Nazis who must escape, preferably taking his captors’ secret war plans with him. It remains historically notable today for incorporating a significant stealth component; ammunition was scarce and your enemies tough, which often made avoidance a better strategy than confrontation.

But avoidance wasn’t the id boys’ style. Very early on, they jettisoned everything beyond the core theme of the original Castle Wolfenstein. Wolfenstein 3D was to be, as Romero put it, “a totally shocking game. There should be blood, lots of blood, blood like you never see in games. When the player gets really low in health, at like 10 percent, he could run over the bloody guts of a dead Nazi soldier and suck those up for extra energy. It’s like human giblets. You can eat up their gibs!” In other words, Tom Hall’s aesthetic vision was out; John Romero and Adrian Carmack’s was in. “Hey, you know what we should have in here? Pissing! We should make it so you can fucking stop and piss on the Nazi after you mow him down! That would be fucking awesome!”

In early 1992, the id boys came face to face with the gaming establishment for the first time thanks to Wolfenstein 3D. They sent an early demo of the game to Sierra, and that company’s founder and CEO Ken Williams invited them to fly out to California and have a chat. Sierra was one of the three biggest computer-game publishers in the world, and was at the forefront of the interactive-movie trend which the id boys loathed. King’s Quest VI, the upcoming new installment in Sierra’s flagship series, would be so weighted down with multimedia that most reviewers, hopelessly dazzled, could spare only a few sentences for the rather rote little adventure game underneath it all. Williams himself was widely recognized as one of the foremost visionaries of the new era, proclaiming that by the end of the decade much or most of the Hollywood machine would have embraced interactivity. A meeting between two more disparate visions of gaming than his and that of the id boys can scarcely be imagined.

And yet the meeting was a cordial one on the whole. Williams had been quick to recognize when he saw Wolfenstein 3D that id had some remarkable technology, while the id boys remembered the older Apple II games of Sierra fondly. Williams took them on a tour of the offices where many of those games had come from, and then, after lunch, offered to buy id Software for $2.5 million in Sierra stock. The boys discussed it for a bit, then asked for an additional $100,000 in cash. Williams refused; he was willing to move stock around to pay for the Wolfenstein 3D technology, but he wasn’t willing to put his cash on the table. So, the negotiation ended. Instead Williams bought Bright Star Technologies, a specialist in educational software, for $1 million in cash later that year — for educational software, he believed, would soon be bigger than games. Time would prove him to be as wrong about that as he was about the future of Hollywood.

Not long after the Sierra meeting, the id boys left frigid Wisconsin in favor of Dallas, Texas, home of Scott Miller, who had been telling them about the warm weather, huge lakes, splendid barbecue, and nonexistent state income tax of the place for more than eighteen months now. One Kevin Cloud, who had held the oft-thankless role of being the id boys’ liaison with Softdisk but also happened to be a talented artist, joined them in Dallas as a sixth member of their little collective, thereby to relieve some of the burden on Adrian Carmack.

After making the move, they broke the news to Softdisk that they wouldn’t be doing Gamer’s Edge anymore. Al Vekovius was disappointed but not devastated. Oddly given how popular Commander Keen had become, the gaming disk magazine had never really taken off; it still only had about 3000 subscribers.

And so Softdisk Publications of Shreveport, Louisiana, that unlikely tech success story in that most unlikely of locales, finally exits our story permanently at this point. Nothing if not a survivor, Vekovius would keep the company alive through the 1990s and beyond by transitioning into the next big thing in computing: he turned it into an Internet service provider. He was bought out circa 2005 by a larger regional provider.

Wolfenstein 3D

This screenshot of the Wolfenstein 3D map editor illustrates why the game’s name is a misnomer: the environment is really a 2D maze much like that of the original game, albeit shown from a first-person perspective. At bottom, the engine understands just two dimensions rather than three.

If the id boys were worried about how Scott Miller would react to the ultra-violence of Wolfenstein 3D, they needn’t have been. Apogee had already been moving in this direction with considerable success; their only game to rival Commander Keen in sales during 1991 had been Duke Nukem by Todd Replogle, whose titular protagonist was a cigar-chomping Arnold Schwarzenegger facsimile with a machine gun almost as big around as his biceps. When Miller saw Wolfenstein 3D for the first time, he loved the violence as much as he did John Carmack’s pseudo-3D graphics engine. He knew what his customers craved, and he knew that they would swoon over this. He convinced the id boys to make enough levels to release a free episode followed by five paid ones rather than the usual two. On May 5, 1992 — the very same day on which the boys had handed the final version to Miller — the free installment appeared on Software Creations, Apogee’s new online service.

As it happened, Paul Neurath’s Blue Sky Productions had released their own immersive first-person 3D game, which had spent roughly five times as long in production as Wolfenstein 3D, just two months before. It was called Ultima Underworld, and was published as a boxed product by Origin Systems. It boasted a far more complete implementation of a 3D world than did id’s creation. You could look up, down, and all around; could jump and climb ledges; could sneak around corners and hide in shadows; could swim in rivers or fly through the air by means of a levitation spell. But Ultima Underworld was cerebral, old school — dull, as the id boys and many of their fan base saw it. Combat was only a part of its challenge. You also had to spend your time piecing together clues, collecting spells, solving puzzles, annotating maps, leveling up and assigning statistics and skills to your character. Even the combat happened at a speed most kindly described as “stately” if you didn’t have a cutting-edge computer.

Wolfenstein 3D, by contrast, ran like greased lightning on just about any computer, thanks to John Carmack’s willingness to excise any element from his graphics engine that he couldn’t render quickly. After all, the id boys really only wanted to watch the blood spurt as they mowed down Nazis; “just run over everything and destroy” was their stated design philosophy. And many others, it seemed, agreed with their point of view.

For, while Ultima Underworld became a substantial hit, Wolfenstein 3D became a phenomenon. It made $200,000 in the first month, then kept selling at that pace for the next eighteen months. It was, as Scott Miller would later put it, a “paradigm shift” in shareware games. Whatever that elusive “it” was that so many gamers found to be missing in the big boxed offerings — immediacy? simplicity? violence? id in the Freudian sense? all of the above? — Wolfenstein 3D had it in spades.

The shareware barbarians were truly at the gates now; they could no longer be ignored by the complacent organs of the establishment. This time out, id got a feature review in Computer Gaming World to go along with the full-page color advertisements which Apogee was now able to pay for. “I can’t remember a game making such effective use of perspective and sound and thereby evoking such intense physiological responses from its player,” the review concluded. “I recommend gamers take a look at this one, if only for a cheap peek at part of interactive entertainment’s potential for a sensory-immersed ‘virtual’ future.”

Yet, as that “if only” qualifier intimates, the same magazine was clearly bothered by all of the gleefully gory violence of the game. An editorial by editor-in-chief Johnny Wilson, the former pastor who had built Computer Gaming World into the most thoughtful and mature journal in the industry, drove the point home: “What are we saying when we depict lifelike carnage in a game where the design is geared for you to kill nearly everyone you encounter?”

If Wilson thought id’s first 3D shooter was disturbing, he hadn’t seen anything yet. Their next game would up the ante on the violence and gore even as their first competitors jumped into the act, starting a contest to see who could be most extreme. Everyone working in games or playing them would soon have to reckon with the changes — distributional, technical, and cultural — which a burgeoning new genre, born on the streets instead of in the halls of power, was wreaking.

Crashing the halls of power: Tom Hall, Jay Wilbur, and John Romero in black tie for the Shareware Industry Awards of 1992.

(Sources: the books Masters of Doom by David Kushner, Game Engine Black Book: Wolfenstein 3D by Fabien Sanglard, Principles of Three-Dimensional Computer Animation by Michael O’Rourke, Sophistication & Simplicity: The Life and Times of the Apple II Computer by Steven Weyhrich, and I Am Error by Nathan Altice; PC Magazine of September 12 1989; InfoWorld of June 12 1989; Retro Gamer 75; Game Developer premiere issue and issues of June 1994 and February/March 1995; Computer Gaming World of August 1991, January 1992, August 1992, and September 1992; The Computist 88; inCider of November 1989. Online sources include “Apogee: Where Wolfenstein Got Its Start” by Chris Plante at Polygon, “Rocket Jump: Quake and the Golden Era of First-Person Shooters” by David L. Craddock at Shack News, Samuel Stoddard’s Apogee FAQ, Benj Edwards’s interview with Scott Miller for Gamasutra, Jeremy Peels’s interview with John Romero for PC Games N, Lode Vandevenne’s explanation of the Wolfenstein 3D rendering engine, and Jay Wilbur’s old Usenet posts, which can now be accessed via Google Groups.

The company once known as Apogee, which is now known as 3D Realms, has released many of their old shareware games for free on their website, including Commander Keen. All of the Wolfenstein 3D installments are available as digital purchases at GOG.com.)

Comments
34 Responses

- Keith Palmer

May 15, 2020 at 7:06 pm

Back in Part 2 of this series, I commented about becoming familiar with shareware games on the PCs of family friends at the beginning of the 1990s; Commander Keen and Wolfenstein 3D were both familiar standouts (although I was always curious about the later instalments you had to pay for, which nobody had…) These days, I am a bit conscious of “whimsy” seeming to vanish between the two titles; I suppose I’m not as widely cultured as I could be, but I’m not exactly enthralled with that “small collection of obsessions” you allude to. Doom, anyway, I didn’t quite come across first-hand until a few years into its phenomenon.

- Jimmy Maher

May 15, 2020 at 7:12 pm

You and me both, brother.

- Molly

May 15, 2020 at 7:20 pm

> Life in Shreveport has always been defined by the Red River which flows through the center of the town.

To be really exceptionally pedantic (I’m from Shreveport, so I notice these details), the Red River doesn’t run through the middle of Shreveport, it forms the eastern border of Shreveport and divides it from another town called Bossier City. But since the two cities are right across one river from each other, they largely function as one. The majority of those riverboat casinos happen to be on the Bossier side.

The rest of your characterization of the city is completely correct.

- Jimmy Maher

May 16, 2020 at 7:11 am

Slight edit made. (As I hope you’ll appreciate, I don’t want to get too far into the weeds on the geography of Shreveport.) Glad to hear I captured the sense of the place. I haven’t been to Shreveport in many years, but it strikes me as a place that doesn’t change much.

- Joshua Barrett

May 15, 2020 at 8:10 pm

I’d like to take a moment to talk John Carmack’s work. Because as often as people praise his technical expertise, I think people usually grasp firmly ahold of the wrong end of the stick.

Carmack is often praised for coming up with new ideas and techniques. As you yourself have noted, this isn’t really always (or even often) true—other developers on other platforms had already used the approaches Carmack did to redraw in Commander Keen. Likewise, though we haven’t gotten to it yet, Carmack didn’t invent the BSP either, or anything of the sort.

What sets Carmack apart is not just an extreme technical talent, but also a real willingness to look beyond himself and continue to grow and develop as a programmer. Carmack didn’t invent the BSP, but he was one of the few in the game industry who would have dug through a bunch of academic computer graphics papers to find it. This willingness to look beyond himself is also reflected in Carmack’s extreme willingness to *actively share knowledge*, both in the id software source releases and in other forms, such as .planfiles, tool and documentation releases for his games, and allowing Michael Abrash to release a book discussing many of the techniques used to make Quake’s blazing fast 3D rendering possible just under a year after Quake’s release.

The result of all of this is that Carmack’s code reads like poetry. It’s beautiful and brilliant, not because it is complex, but because it is simple and clear, easy to read and understand.

This is hardly unique to Carmack (there are others who possessed these attributes), but it stands in sharp contrast to many of his peers: programmers who were brilliant and whose technical innovations pushed the bounds of what was possible on the hardware, but who were far less willing to look beyond themselves for knowledge. I’ve been in some of *that* code, too (what little of it was released to the public) and it is not pretty.

- Jimmy Maher

May 16, 2020 at 7:17 am

An interesting perspective that’s made me consider augmenting some of what I’ve written for the next article! Carmack was profoundly influenced by the hacker ethic as described in Steven Levy’s book Hackers, which he read at an impressionable age. (I even suspect that some of id’s interest in Sierra may have been prompted by Levy’s colorful depiction of the early days of that company.)

- Jeff Thomas

May 17, 2020 at 2:58 pm

I was fortunate to get to step through the Quake code before the game was released because I worked for a small development house who was bidding on the Quake Macintosh conversion. Part of the bidding process id demanded was to submit a working copy of the game on the target platform, it didn’t have to be perfect of course, but as close to perfect as you could get within the bidding window didn’t hurt.

I was a talented (I like to think) but green programmer at the time, nowhere near Carmack’s level and without any knowledge of BSP or the theories behind them, yet as I stepped through the rendering engine one of my main thoughts was, “wow, this is really well laid out, and I understand how it works!” To build something so optimized and specialized as the Quake engine yet also make it so well architected that a newbie such as myself could learn how BSP’s work just by stepping through the code, that’s truly the sign of a gifted developer.

As Joshua touched on, to be able to tackle complex problems with simplicity and clarity is deceptively hard and not often achieved (or even attempted, to be honest). I gained incredible respect for John Carmack by working with his code, it’s still the kind of gold standard I aim for in my own cod,e with varying degrees of success.

Sadly we lost the bid to a small development house in Texas who underbid us by more than 50%, but that’s a different story.

- Jason Dyer

May 15, 2020 at 8:19 pm

I realize the article was too long to talk about it, but any thoughts on Catacomb 3D? (The id game the year before Wolfenstein 3D?)

- Jimmy Maher

May 16, 2020 at 6:13 am

I’ve streamlined the story here somewhat for the sake of readability and narrative drive and because, though it is certainly interesting as a story, it’s not one I want to devote more than a few articles to, given how copiously it’s been documented elsewhere. So, Catacomb 3D rather fell into the dustbin of history — as did a deeper discussion of Slordax, which presaged some of the innovations of Commander Keen in a way similar to how Catacomb 3D did those of Wolfenstein 3D.

Also, I’ve glossed over some of the back-and-forth of personnel between Softdisk and the id boys, which continued even after they left Shreveport. (Jay Wilbur, for example, didn’t join id permanently until they moved to Dallas.)

My biggest interest is what Wolfenstein 3D and especially DOOM meant to the culture of gaming as a whole — something the book Masters of Doom doesn’t address very well at all, and thus the best place for me to make a contribution.

But no, nothing particularly clever leaps to mind about Catacomb 3D. Just the conventional wisdom: a sort of proto-Wolfenstein 3D.

- Jason B Dyer

May 18, 2020 at 10:34 pm

Aye, I would’ve skipped Catacomb 3D myself, just was curious if there was something interesting from your research that didn’t make it in.

- Brian

May 15, 2020 at 8:21 pm

Very interesting reading! I have to admit that by 1993-4 I was deep into heading to med school and never really played Doom. I preferred Ultima in any case!

For those interested in a side offshoot, CRPG Addict has played and reviewed the Dark Designs trilogy by John Carmack that was published by Softdisk. They programmed some pretty decent games.

- Lt. Nitpicker

May 15, 2020 at 9:48 pm

>In one 72-hour marathon, the id boys recreated all of Super Mario Bros. 3, level by level.

Despite what Masters of Doom says, a version of this demo was shown by John Romero (who has proven to be a habitual hoarder over the years, to the benefit of many game historians) in 2015 or so (as a video) and it peters out after the first level, with the rest of the levels being incomplete “level scraps” showing off the engine and the graphics they did complete. (which weren’t enough for all of the levels in the first world) While it’s possible that they did more than this, it’s unlikely they completed much more than the first world. (World = set of levels and overworld for those who haven’t played a semi-recent Mario platformer) Still, even completing a reasonable clone of the first level that included most of Mario 3’s key gameplay trappings is pretty impressive, especially since it was done in a couple of days. (going from the “Dangerous Dave in Copyright Infringement” demo, which was a barebones recreation of the first level that couldn’t even scroll in more than one direction at a time)
The video of the Mario demo in question:
https://www.youtube.com/watch?v=1YWD6Y9FUuw

- Jimmy Maher

May 16, 2020 at 6:41 am

Thanks for this! I did find it surprising that they could have recreated the entire game in 72 hours, but I went with it for lack of evidence otherwise. It strikes me that Masters of Doom, while entertaining and well-written, suffers from being drawn virtually entirely from interviews conducted by a credulous author with no experience in game development or knowledge of the games industry, which allows hyperbole like this to sneak in.

- Gnoman

May 28, 2020 at 9:22 am

That video also shows some of the platform differences. The iffy sprites and animation (Mario looks nothing like Mario, no animation for the tail powerup, etc) were probably the result of it being a slapdash product, as is the lack of music and poor sound effects, but what really stands out is the color, which is all wrong.

That’s not something that time would effect, and is almost certainly a platform limitation – another case where the inferior-on-paper NES turned out not to be quite so inferior after all.

- Carl Grace

May 15, 2020 at 9:52 pm

I’m not sure it’s so strange that you wrote about Shreveport twice. Often things happen due to a convergence of factors or a renassiance. It’s no coincidence, of course, that the Commodore PET, Apple II, Atari 400/800, Amiga, Macintosh, and Atari ST were all designed within a 10 mile radius of each other in Silicon Valley, because that was the center of the world for that kind of thing at the time.

Likewise, iD software was only in Shreveport because Softdisk was in Shreveport. I’m sure if Softdisk were in Lubbock, for instance, you’d be musing about writing about Lubbock twice in a row.

- Eric Nyman

May 15, 2020 at 10:50 pm

I find it fascinating that John Romero worked with Infocom on the Apple II disk operating system (InfoDOS) for their graphical games. That seems a rather unlikely pairing.

- Jimmy Maher

May 16, 2020 at 6:06 am

Scott Miller retained a real fondness for Infocom; even in fairly recent interviews he’s mentioned Enchanter as one of his favorite games. It wouldn’t surprise me if Romero has a similar nostalgic regard for Infocom’s early work at least. But I suspect the project you’re referring to was just a technical challenge and a paying gig, both of which he was more than up for at the time.

- Nathan

May 19, 2020 at 8:59 pm

John Romero had a lot say about Infocom in his GET LAMP interview.

- anon

May 15, 2020 at 11:19 pm

Jimmy,
Where you write “They were, in other words, perfect for showing a Super Mario or a Zelda bouncing around on a scrolling background, at almost no cost in CPU cycles.”

I suppose you’re writing in a breezy style here, but you really mean Link. Zelda doesn’t do a hell of a lot in most of the Legend of Zelda games, especially the two on the NES. (She’s a prisoner in the first one, asleep in the second)

- Jimmy Maher

May 16, 2020 at 5:58 am

My experience with Nintendo games is limited at best, as this makes abundantly clear. Thanks!

- Pingback: Pixel Scroll 5/15/20 Hey, Scrollers! Watch Me Pull a Pixel Out of My Hat! | File 770

- Casey Muratori

May 16, 2020 at 7:55 am

Maybe it’s just a turn of phrase, but “Wolfenstein 3D, by contrast, ran like greased lightning on just about any computer because it didn’t waste time on any of that other stuff” makes it sound like somehow the gameplay code of Ultima Underworld was why it ran at lower framerates than Wolfenstein 3D, even though that is not the case. Ultima Underworld was slower because it had full 3D rotation, which of course is more expensive to render. Spells, flying, armor classes, jumping, whatever else you want is not going to tank the framerate. Being able to tilt your view, on the other hand, is :)

– Casey

- Jimmy Maher

May 16, 2020 at 8:26 am

Rewrote that part slightly. Thanks!

- Aula

May 16, 2020 at 9:02 am

“more completely then ever”

should be “than”

- Jimmy Maher

May 16, 2020 at 9:30 am

Thanks!

- Jbot

May 17, 2020 at 2:23 am

Loving these articles! Also had a flashback when I cost my parents $300 in long distance charges calling up Software Creations via dial-up modem. I needed to get my hands on the latest shareware, apparently.

Psuedo should be pseudo.

- Jimmy Maher

May 17, 2020 at 8:01 am

Thanks!

- Lisa H.

May 17, 2020 at 2:56 am

Whatever that illusive “it” was that so many gamers found to be missing in the big boxed offerings

Elusive, unless you really do mean “illusory”.

- Jimmy Maher

May 17, 2020 at 8:03 am

Thanks!

- Wolfeye M.

May 17, 2020 at 9:07 pm

You’re getting pretty close to the time when I started gaming on a PC (2000), and are mentioning games I’ve played.
Wolfenstein 3D was one of the first FPS games I played. I don’t think I realized at the time that it wasn’t really 3D. It was a bit frustrating not to have basic FPS machanics like being able to look up and down, but it’s nice to know now why that game didn’t have them.

- glorkvorn

May 19, 2020 at 7:28 pm

“while Carmack suffered under the corporeal and psychological rigors of a strict private Catholic school in Kansas”

I don’t think that’s true. He grew up in a pretty wealthy suburb of Kansas City and went to public schools. They must have been pretty compassionate, since they didn’t prosecute him for breaking in to steal computers when he was 14.

- Jimmy Maher

May 19, 2020 at 7:57 pm

He did go to a private Catholic elementary school. When he was twelve, his parents got divorced, apparently quite acrimoniously. He lived most of the time after that with his mother and soon his stepfather, by no means in a state of poverty, but under considerably worsened financial circumstances. This seems to have precipitated the switch to public schools.

I believe Carmack was only fourteen at the time of the break-in incident, and thus the school couldn’t have “pressed charges” in the sense they could have if he was an adult. But he did spend a year in a boys’ detention home, so obviously somebody’s compassion had limits…

- Josh Martin

May 21, 2020 at 10:32 pm

One side benefit of the accelerated development cycles dictated by the publication schedule of Gamer’s Edge is that the public got to see id’s progress towards Wolfenstein 3-D step by step. First there’s the barebones Hovertank: flat-shaded surfaces, no strafing, no items, no ammo, no weapons except what you start with. Catacomb 3-D added texture-mapped walls, hidden doors, collectable items, and multicolored keys to open new areas of the level. Wolfenstein itself brought in VGA graphics (though it was still an EGA game when Adrian Carmack started on the art, which accounts for the very EGA-ish cast of certain elements like the cyan doors) and moveable sectors (allowing for the implementation of pushwalls, which John Carmack resisted and only included at the repeated insistence of Tom Hall). This progression also clarifies why Wolfenstein was such a revelation to so many players, even though it was arguably less of a technological leap over Catacomb 3-D than the latter was over Hovertank. Hovertank has the requisite shooting action, but the environments are just too abstract to provide a real sense of place, and there’s none of the thrill of discovery that comes with finding a secret passage or a cache of items. (There are hostages to be found and rescued, but a handy radar pinpoints their location—an implicit admission of what a slog it would be to navigate the barren, indistinguishable levels without one.) The game’s nuclear war theme is also entirely invisible outside the mission text given in between levels, and the post-apocalyptic mutant enemies would be more at home in an AD&D monster manual (a source of inspiration that the id guys would plunder more successfully in Doom).

Catacomb 3-D has a more cohesive fantasy theme, with environments that actually resemble the places they’re supposed to be. It also gave better incentives for exploring those environments beyond just getting to the end of the level. But it’s still a fundamentally combat-oriented game, and it falls down there: id added item pickups that function like super-powered weapons, but there’s really only one “proper” weapon, and that’s the player character’s ability to effortlessly summon fireballs through the static sprite of his outstretched hand. There’s no real weight or kick to it, and using a room-clearing “nuke” spell lacks the primal satisfaction of picking up a chaingun and mowing down ten Nazis in five seconds. As far as bullet-point features go, Wolfenstein was in some ways a step back from Catacomb 3-D, which offered an inventory and a non-linear hub system for selecting levels, but it was the game where id really lived up to its name and went straight for the lizard brain.

- ZUrlocker

May 25, 2020 at 5:26 pm

Great post! I remember getting sucked into Wolfeinstein 3D and before I was finished ordering the next set of levels from Apogee. It was the most compelling piece of shareware I’d ever seen because you told everyone about it and you went and bought the follow-on episodes.

The Shareware Scene, Part 4: DOOM
June 5, 2020

The full extent of Wolfenstein 3D’s popularity during 1992 and 1993 is difficult to quantify with any precision due to the peculiarities of the shareware distribution model. But the one thing we can say for sure is that it was enormously popular by any standard. Apogee sold roughly 200,000 copies of the paid episodes, yet that number hardly begins to express the game’s real reach. Most people who acquired the free episode were content with it alone, or couldn’t afford to buy the other installments, or had friends who had bought them already and were happy to share. It thus seems reasonable to assume that the total number of Wolfenstein 3D players reached well into seven digits, putting the game’s exposure on a par with The 7th Guest, the boxed industry’s biggest hit of 1993, the game generally agreed to have put CD-ROM on the map. And yet Wolfenstein 3D’s impact would prove even more earthshaking than that of The 7th Guest in the long run.

One telling sign of its influence — and of the way that it was just a fundamentally different type of game than The 7th Guest, that stately multimedia showpiece — is the modding scene that sprang up around it. The game’s levels were stored in a rather easily decipherable format: the “WAD” file, standing for “Where’s All the Data?” Enterprising hackers were soon writing and distributing their own level editors, along with custom levels. (The most popular of them all filled the corridors of the Nazi headquarters with facsimiles of the sickly sweet, thuddingly unclever, unbelievably grating children’s-television character Barney the Dinosaur and let you take out your frustrations with an automatic weapon.) The id boys debated fiercely among themselves whether they should crack down on the modders, but John Carmack, who had read Steven Levy’s landmark book Hackers at an impressionable age and thoroughly absorbed its heroes’ ethos of openness and transparency, insisted that people be allowed to do whatever they wished with his creation. And when Carmack put his foot down, he always got his way; at the end of the day, he was the one irreplaceable member of the id collective, and every one of the others knew it.

With Wolfenstein 3D’s popularity soaring, the id boys started eyeing the territory of the boxed publishers greedily. They struck a deal with a company called FormGen to release a seventh, lengthier installment of the game exclusively as a boxed retail product; it appeared under the name of Spear of Destiny in September of 1992. Thus readers of magazines like Computer Gaming World could scratch their heads that fall over two separate luridly violent full-page advertisements for Wolfenstein 3D games, each with a different publisher’s name at the bottom. Spear of Destiny sold at least 100,000 copies at retail, both to hardcore Wolfenstein 3D addicts who couldn’t get enough and to many others, isolated from the typical means of shareware distribution, who came upon the game for the first time in this form.

Even Nintendo came calling with hat in hand, just a couple of years after summarily rejecting id’s offer to make a version of Super Mario Bros. 3 that ran on computers. The id boys now heeded Nintendo’s plea to port Wolfenstein 3D to the new Super Nintendo Entertainment System, whilst also grudgingly agreeing to abide by the dictates of Nintendo’s infamously strict censors. They had no idea what they had signed up for. Before they were through, Nintendo demanded that they replace blood with sweat, guard dogs with mutant rats, and Adolf Hitler, the game’s inevitable final boss, with a generic villain named the “Staatmeister.” They hated this bowdlerization with a passion, but, having agreed to do the port, they duly saw it through, muttering “Never again!” to themselves all the while. And indeed, when they were finished they took a mutual vow never to work with Nintendo again. Who needed them? The world was id’s oyster.

By now, 1992 was drawing  to a close, and they all felt it was high time that they moved on to the next new thing. For everyone at id, and most especially John Carmack, was beginning to look upon Wolfenstein 3D with a decidedly jaundiced eye.

The dirty little secret that was occluded by Wolfenstein 3D’s immense success was that it wasn’t all that great a game once it was stripped of its novelty value. Its engine was just too basic to allow for compelling level design. You glided through its corridors as if you were on a branching tram line running past a series of fairground shooting galleries, trying to shoot the Nazis who popped up before they could shoot you. The lack of any sort of in-game map meant that you didn’t even know where you were most of the time; you just kept moving around shooting Nazis until you stumbled upon the elevator to the next level. Anyone who made it through seven episodes of this — and make no mistake, there were plenty of players who did — either had an awful lot of aggression to vent or really, really loved the unprecedented look and style of the game. The levels were even boring for their designers. John Romero:

Tom [Hall] and I [designed] levels [for Wolfenstein 3D] fast. Making those levels was the most boring shit ever because they were so simple. Tom was so bored; I kept on bugging him to do it. I told him about Scott Miller’s 300ZX and George Broussard’s Acura NSX. We needed cool cars too! Whenever he got distracted, I’d tell him, “Dude, NSX! NSX!”

Tom Hall had it doubly hard. The fact was, the ultra-violence of Wolfenstein 3D just wasn’t really his thing. He preferred worlds of candy-apple red, not bloody scarlet; of precocious kids and cuddly robots, not rabid vigilantes and sadistic Nazis. Still, he was nothing if not a team player. John Romero and Adrian Carmack had gone along with him for Commander Keen, so it was only fair that he humored them with Wolfenstein 3D. But now, he thought, all of that business was finally over, and they could all start thinking about making a third Commander Keen trilogy.

Poor Tom. It took a sweetly naïve nature like his to believe that the other id boys would be willing to go back to the innocent fun of their Nintendo pastiches. Wolfenstein 3D was a different beast entirely than Commander Keen. It wasn’t remarkable just for being as good as something someone else had already done; it was like nothing anyone had ever done before. And they owned this new thing, had it all to themselves. Hall’s third Commander Keen trilogy just wasn’t in the cards — not even when he offered to do it in 3D, using an updated version of the Wolfenstein 3D engine. Cute and whimsical was id’s yesterday; gritty and bloody was their today and, if they had anything to say about it, their tomorrow as well.

Digging into their less-than-bulging bag of pop-culture reference points, the id boys pulled out the Alien film franchise. What a 3D game those movies would make! Running through a labyrinth of claustrophobic corridors, shooting aliens… that would be amazing! On further reflection, though, no one wanted the hassle that would come with trying to live up to an official license, even assuming such a thing was possible; id was still an underground insurgency at heart, bereft of lawyers and Hollywood contacts. Their thinking moved toward creating a similar effect via a different story line.

The id boys had a long-running tabletop Dungeon & Dragons campaign involving demons who spilled over from their infernal plane of existence into the so-called “Prime Material Plane” of everyday fantasy. What if they did something like that, only in a science-fiction context? Demons in space! It would be perfect! It was actually John Carmack, normally the id boy least engaged by these sorts of discussions, who proposed the name. In a scene from the 1986 Martin Scorsese movie The Color of Money, a young pool shark played by Tom Cruise struts into a bar carrying what looks like a clarinet case. “What you got in there?” asks his eventual patsy with an intimidating scowl. As our hero opens the case to reveal his pool cue, he flashes a 100-kilowatt Tom Cruise smile and says a single word: “Doom.”

Once again, Tom Hall tried to be supportive and make the best of it. He still held the official role of world-builder for id’s fictions. So, he went to work for some weeks, emerging at last with the most comprehensive design document which anyone at id had ever written, appropriately entitled The DOOM Bible. It offered plenty of opportunity for gunplay, but it also told an earnest story, in which you, as an astronaut trapped aboard a space station under assault by mysterious aliens, gradually learned to your horror that they were literal demons out of Hell, escaping into our dimension through a rift in the fabric of space-time. It was full of goals to advance and problems to solve beyond that of mowing down hordes of monsters, with a plot that evolved as you played. The history of gaming would have been markedly different, at least in the short term, if the other id boys had been interested in pursuing Hall’s path of complex storytelling within a richly simulated embodied virtual reality.

As it was, though, Hall’s ambitions landed with a resounding thud. Granted, there were all sorts of valid practical reasons for his friends to be skeptical. It was true enough that to go from the pseudo-3D engine of Wolfenstein 3D to one capable of supporting the type of complex puzzles and situations envisioned by Hall, and to get it all to run at an acceptable speed on everyday hardware, might be an insurmountable challenge even for a wizard like John Carmack. And yet the fact remains that the problem was at least as much one of motivation as one of technology. The other id boys just didn’t care about the sort of things that had Tom Hall so juiced. It again came down to John Carmack, normally the least articulate member of the group, to articulate their objections. “Story in a game,” he said, “is like story in a porn movie. It’s expected to be there, but it’s not that important.”

Tom Hall held out for several more months, but he just couldn’t convince himself to get fully onboard with the game his friends wanted to make. His relationship with the others went from bad to worse, until finally, in August of 1993, the others asked him to leave: “Obviously this isn’t working out.” By that time, DOOM was easily the most hotly anticipated game in the world, and nobody cared that it wouldn’t have a complicated story. “DOOM means two things,” said John Carmack. “Demons and shotguns!” And most of its fans wouldn’t have it any other way, then or now.

Tom Hall doesn’t look very happy about working on DOOM. Note the computer he works with: a NeXT workstation rather than an MS-DOS machine. John Carmack switched virtually all development to these $10,000 machines in the wake of Wolfenstein 3D’s success, despite their tiny market footprint. The fact that the DOOM code was thus designed to be cross-platform from the beginning was undoubtedly a factor in the plethora of ports that appeared during and after its commercial heyday — that in fact still continue to appear today any time a new platform reaches a critical mass.

Making DOOM wound up requiring more than three times as many man-hours as anything the id boys had ever done before. It absorbed their every waking hour from January of 1993 to December of that year. Early on in that period, they decided that they wouldn’t be publishing it through Apogee. Cracks in the relationship between the id boys and Scott Miller had started forming around the latter’s business practices, which were scrupulously honest but also chaotic in that way dismayingly typical of a fast-growing business helmed by a first-time entrepreneur. Reports kept reaching id of people who wanted to buy Wolfenstein 3D, but couldn’t get through on the phone, or who managed to give Apogee their order only to have it never fulfilled.

But those complaints were perhaps just a convenient excuse. The reality was that the id boys just didn’t feel that they needed Apogee anymore. They had huge name recognition of their own now and plenty of money coming in to spend on advertising and promotion, and they could upload their new game to the major online services just as easily as Scott Miller could. Why keep giving him half of their money? Miller, for his part, handled the loss of his cash cow with graceful aplomb. He saw it as just business, nothing personal. “I would have done the same thing in their shoes,” he would frequently say in later interviews. He even hired Tom Hall to work at Apogee after the id boys cast him adrift in the foreign environs of Dallas.

Jay Wilbur now stepped into Miller’s old role for id. He prowled the commercial online services, the major bulletin-board systems, and the early Internet for hours each day, stoking the flames of anticipation here, answering questions there.

And there were lots of questions, for DOOM was actually about a bit more than demons and shotguns: it was also about technology. Whatever else it might become, DOOM was to be a showcase for the latest engine from John Carmack, a young man who was swiftly making a name for himself as the best game programmer in the world. With DOOM, he allowed himself to set the floor considerably higher in terms of system requirements than he had for Wolfenstein 3D.

System requirements have always been a moving target for any game developer. Push too hard, and you may end up releasing a game that almost no one can play; stay too conservative, and you may release something that looks like yesterday’s news. Striking precisely the right point on this continuum requires knowing your customers. The Apogee shareware demographic didn’t typically have cutting-edge computers; they tended to be younger and a bit less affluent than those buying the big boxed games. Thus id had made it possible to run Wolfenstein 3D on a two-generations-behind 80286-based machine with just 640 K of memory. The marked limitations of its pseudo-3D engine sprang as much from the limitations of such hardware as it did from John Carmack’s philosophy that, any time it came down to a contest between fidelity to the real world and speed, the latter should win.

He still held to that philosophy as firmly as ever when he moved on to DOOM, but the slow progression of the market’s trailing edge did give him more to work with: he designed DOOM for at least an 80386-based computer — 80486 recommended — with at least 4 MB of memory. He was able to ignore that bane of a generation of programmers, MS-DOS’s inability to seamlessly address memory beyond 640 K, by using a relatively new piece of software technology called a “DOS extender,” which built upon Microsoft’s recent memory-management innovations for their MS-DOS-hosted versions of Windows. DOS/4GW was included in the latest versions of what had heretofore been something of an also-ran in the compiler sweepstakes: the C compiler made by a small Canadian company known as Watcom. Carmack chose the Watcom compiler because of DOS/4GW; DOOM would quite literally have been impossible without it. In the aftermath of DOOM’s prominent use of it, Watcom’s would become the C compiler of choice for game development, right through the remaining years of the MS-DOS-gaming era.

Rational Systems, the makers of DOS/4GW, were clever enough to stipulate in their licensing terms that the blurb above must appear whenever a program using it is started. Thus DOOM served as a prominent advertisement for the new software technology as it exploded across the world of computing in 1994. Soon you would have to look far and wide to find a game that didn’t mention DOS/4GW at startup.

Thanks not only to these new affordances but also — most of all, really — to John Carmack’s continuing evolution as a programmer, the DOOM engine advanced beyond that of Wolfenstein 3D in several important ways. Ironically, his work on the detested censored version of Wolfenstein 3D for the Super NES, a platform designed with 2D sprite-based games in mind rather than 3D graphics, had led him to discover a lightning-fast new way of sorting through visible surfaces, known as binary space partitioning, in a doctoral thesis by one Bruce Naylor. It had a well-nigh revelatory effect on the new engine’s capabilities.

That said, the new engine did remain caught, like its predecessor, in a liminal space between 2D and true 3D; it was just that it moved significantly further on the continuum toward the latter. No longer must everything and everyone exist on the same flat horizontal plane; you could now climb stairs and walk onto desks and daises. And walls must no longer all be at right angles to one another, meaning the world needed no longer resemble one of those steel-ball mazes children used to play with.

The DOOM level editor was a much more complicated tool than its Wolfenstein 3D equivalent, reflecting the enhanced capabilities of John Carmack’s latest engine. Most notably, the designer now had variable height at his disposal.

On the other hand, walls must still all be exactly vertical, and floors and ceilings must all be exactly horizontal; DOOM allowed stairs but not hills or ramps. These restrictions made it possible to map textures onto the environment without the ugly discontinuities that had plagued Blue Sky Productions’s earlier but more “honest” 3D game Ultima Underworld. DOOM makes such a useful study in game engineering because it so vividly illustrates that faking it convincingly for the sake of the player is better than simulating things which delight only the programmer of the virtual world. Its engine is perfect for the game it wants to be.

In a telling sign of John Carmack’s march toward a more complete 3D engine, the monsters in DOOM were sculpted as three-dimensional physical models by Adrian Carmack and Greg Punchatz, an artist hired just for the task. (The former is shown above.) The id boys then took snapshots of the models from eight separate angles for insertion into the game.

The value of the simple addition of height to the equation was revealed subtly — admittedly not an adverb often associated with DOOM! — as soon as you started the game. Instead of gliding smoothly about like a tram, your view now bobbed with uncanny verisimilitude as you ran about. You might never consciously notice the effect, but it made a huge difference to your feeling of really being in the world; if you tried to go back to Wolfenstein 3D after playing DOOM, you immediately had the feeling that something was somehow off.

But the introduction of varying height was most important for what it meant in terms of the game’s tactical possibilities. Now monsters could stand on balconies and shoot fireballs down at you, or you could do the same to them. Instead of a straightforward shooting gallery, the world of DOOM became a devious place of traps and ambushes. Carmack’s latest engine also supported variable levels of lighting for the first time, which opened up a whole new realm of both dramatic and tactical possibility in itself; entering an unexplored pitch-dark room could be, to say the least, an intimidating prospect.

This outdoor scene nicely showcases some of the engine’s capabilities. Note the fireball flying toward you. It’s implemented as a physical object in the world like any other.

In addition, the new engine dramatically improved upon the nearly non-existent degree of physics simulation in Wolfenstein 3D. Weight and momentum were implemented; even bullets were simulated as physical objects in the world. A stereo soundscape was implemented as well; in addition to being unnerving as all get-out, it could become another vital tactical tool. Meanwhile the artificial intelligence of the monsters, while still fairly rudimentary, advanced significantly over that of Wolfenstein 3D. It was even possible to lure two monsters into fighting each other instead of you.

John Carmack also added a modicum of support for doing things other than killing monsters, although to nowhere near the degree once envisioned by Tom Hall. The engine could be used to present simple set-piece interactions, such as locked doors and keys, switches and levers for manipulating parts of the environment: platforms could move up and down, bridges could extend and retract. And in recognition of this added level of complexity, which could suddenly make the details of the geography and your precise position within it truly relevant, the engine offered a well-done auto-map for keeping track of those things.

The DOOM automap, an impressive technical achievement in itself.

Of course, none of these new affordances would matter without level designs that took advantage of them. The original plan was for Tom Hall and John Romero to create the levels. But, as we’ve seen, Hall just couldn’t seem to hit the mark that the id boys were aiming for. After finally dismissing him, they realized that Romero still needed help to shoulder the design burden. It arrived from a most unlikely source — from a fellow far removed from the rest of the id boys in age, experience, and temperament.

Sandy Petersen was already a cult hero in certain circles for having created a tabletop RPG called Call of Cthulhu in 1981. Based on the works of the horror writer H.P. Lovecraft, it was the first RPG ever to convincingly transcend the kill-monsters-to-level-up-so-you-can-kill-bigger-monsters dynamic of Dungeons & Dragons. But Call of Cthulhu remained a cult game even when the tabletop-RPG boom was at its height, and by the early 1990s Petersen was serving as an in-house design consultant at the computer-game publisher MicroProse. Unhappy in this role, he sent his résumé to the upstart id.

The résumé was greeted with considerable skepticism. It’s doubtful whether any of the id boys fully grasped the significance of Petersen’s achievement with Call of Cthulhu; while they were hardcore tabletop-RPG players, they were perfectly happy with the traditional power-gaming approach of Dungeons & Dragons, thank you very much. Still, the résumé was more impressive than any other they had received, and they did urgently need a level designer… they called him in for an interview.

Their initial skepticism wasn’t lessened by the man himself. Petersen was pudgy and balding, looking even older than his already ancient 38 years, coming across rather like a genial university professor. And he was a devout Mormon to boot, washed up among this tribe of atheists and nihilists. Surely it could never work out.

Nevertheless, they decided to grant him the favor of a test before they rejected him; he had, after all, flown all the way from Baltimore to Dallas just to meet with them. They gave him a brief introduction to the DOOM engine and its level editor, and asked him to throw something together for them. Within minutes, Petersen produced a cunningly dramatic trap room, featuring lights that suddenly winked out when the player entered and a demon waiting in ambush behind a hidden door. He was hired.

Romero and Petersen proved to complement each other very well, with individual design aesthetics that reflected their personalities. Romero favored straight-up carnage — the more demon blood the better — while Petersen evinced a subtler, more cerebral approach in levels that could almost have a puzzle-like feel, where charging in with shotgun blazing was usually not the best tactic. Together the two approaches gave the game a nice balance.

Indeed, superb level design became DOOM’s secret weapon, one that has allowed it to remain relevant to this day, when its degree of gore and violence seems humdrum, its pixels look as big as houses, and the limitations of its engine seem downright absurd. (You can’t even look up or down, for Pete’s sake. Nor is there a “jump” command, meaning that your brawny super-soldier can be stopped in his tracks by an inconveniently high curb.)

It’s disarmingly easy to underestimate DOOM today on your first encounter with it, simply because its visual aesthetic seems so tossed-off, so hopelessly juvenile; it’s the same crude mixture of action movies, heavy-metal album covers, and affected adolescent nihilism that defined the underground game-cracking scene of the 1980s. And yet behind it all is a game design that oozes as much thought and care as it does blood. These levels were obsessed over by their designers, and then, just as importantly, extensively critiqued by the other id boys and their immediate hangers-on, who weren’t inclined to pull their punches. Whatever your opinion of DOOM as a whole and/or the changes it wrought to the culture of gaming — I for one have thoroughly mixed feelings at best on both of those subjects — one cannot deny that it’s a veritable clinic of clever level design. In this sense, it still offers lessons for today’s game developers, whether they happen to be working inside or outside of the genre it came to define.

Subtle DOOM isn’t…

DOOM’s other, not-so-secret weapon went by the name of “deathmatch.”

There had been significant experimentation with networked gaming on personal computers in the past: the legendary designer Dani Bunten Berry had spent the last half-decade making action-strategy games that were primarily or exclusively intended to be played by two humans connected via modem; Peter Molyneux’s “god game” Populous and its sequels had also allowed two players to compete on linked computers, as had a fair number of others. But computer-to-computer multiplayer-only games never sold very well, and most games that had networked multiplayer as an option seldom saw it used. Most people in those days didn’t even own modems; most computers were islands unto themselves.

By 1993, however, the isolationist mode of computing was slowly being nibbled away at. Not only was the World Wide Web on the verge of bursting into the cultural consciousness, but many offices and campuses were already networked internally, mostly using the systems of a company known as Novell. In fact, the id boys had just such a system in their Dallas office. When John Carmack told John Romero many months into the development of DOOM that multiplayer was feasible, the latter’s level of excitement was noteworthy even for him: “If we can get this done, this is going to be the fucking coolest game that the planet Earth has ever fucking seen in its entire history.” And it turned out that they could get it done because John Carmack was a programming genius.

While Carmack also implemented support for a modem connection or a direct computer-to-computer cable, it was under Novell’s IPX networking protocol that multiplayer DOOM really shined. Here you had a connection that was rock-solid and lightning-fast — and, best of all, here you could have up to four players in the same world instead of just two. You could tackle the single-player game as a team if you wanted to, but the id boys all agreed that deathmatch — all-out player-versus-player anarchy — was where the real fun lived. It made DOOM into more of a sport than a conventional computer game, something you could literally play forever. Soon the corridors at id were echoing with cries of “Suck it down!” as everyone engaged in frenzied online free-for-alls. Deathmatch was, in the diction of the id boys, “awesome.” It wasn’t just an improvement on what Wolfenstein 3D had done; it was something fundamentally different from it, something that was genuinely new under the sun. “This is the shit!” chortled Romero, and for once it sounded like an understatement.

The excitement over DOOM had reached a fever pitch by the fall of 1993. Some people seemed on the verge of a complete emotional meltdown, and launched into overwrought tirades every time Jay Wilbur had to push the release date back a bit more; people wrote poetry about the big day soon to come (“The Night Before DOOM“), and rang id’s offices at all hours of the day and night like junkies begging for a fix.

Even fuddy-duddy old Computer Gaming World stopped by the id offices to write up a two-page preview. This time out, no reservations whatsoever about the violence were expressed, much less any of the full-fledged hand-wringing that had been seen earlier from editor Johnny Wilson. Far from giving in to the gaming establishment, the id boys were, slowly but surely, remaking it in their own image.

At last, id announced that the free first episode of DOOM would go up at the stroke of midnight on December 10, 1993, on, of all places, the file server belonging to the University of Wisconsin–Parkside. When the id boys tried to log on to do the upload, so many users were already online waiting for the file to appear that they couldn’t get in; they had to call the university’s system administrator and have him kick everyone else off. Then, once the file did appear, the server promptly crashed under the load of 10,000 people, all trying to get DOOM at once on a system that expected no more than 175 users at a time. The administrator rebooted it; it crashed again. They would have a hard go of things at the modest small-town university for quite some time to come.

Legend had it that when Don Woods first uploaded his and Will Crowthers’s game Adventure in 1977, all work in the field of data processing stopped for a week while everyone tried to solve it. Now, not quite seventeen years later, something similar happened in the case of DOOM, arguably the most important computer game to appear since Adventure. The id boys had joked in an early press release that they expected DOOM to become “the number-one cause of decreased productivity in businesses around the world.” Even they were surprised by the extent to which that prediction came true.

Network administrators all over the world had to contend with this new phenomenon known as deathmatch. John Carmack had had no experience with network programming before DOOM, and in his naïveté had used a transmission method known as a broadcast packet that forced every computer on the network, whether it was running DOOM or not, to stop and analyze every packet which every DOOM-playing computer generated. As reports of the chaos that resulted poured in, Carmack scrambled to code an update which would use machine-to-machine packets instead.

In the meantime, DOOM brought entire information-technology infrastructures to their knees. Intel banned the game; high-school and university computers labs hardly knew what had hit them. A sign posted at Carnegie Mellon University before the day of release was even over was typical: “Since today’s release of DOOM, we have discovered [that the game is] bringing the campus network to a halt. Computing Services asks that all DOOM players please do not play DOOM in network mode. Use of DOOM in network mode causes serious degradation of performance for the players’ network, and during this time of finals network use is already at its peak. We may be forced to disconnect the PCs of those who are playing the game in network mode. Again, please do not play DOOM in network mode.” One clever system administrator at the University of Louisville created a program to search the hard drives of all machines on the network for the game, and delete it wherever it was found. All to no avail: DOOM was unstoppable.

But in these final months of the mostly-unconnected era of of personal computing — the World Wide Web would begin to hit big over the course of 1994 — a game still needed to reach those without modems or network cards in their computers in order to become a hit on the scale that id envisioned for DOOM. Jay Wilbur, displaying a wily marketing genius that went Scott Miller one better, decided that absolutely everyone should be allowed to distribute the first episode of DOOM on disk, charging whatever they could get for it: “We don’t care if you make money off this shareware demo. Move it! Move it in mass quantities.” For distribution, Wilbur realized, was the key to success. There are many ways to frame the story of DOOM, but certainly one of them is a story of guerrilla marketing at its finest.

The free episode of DOOM appeared in stores under many different imprints, but most, like this Australian edition, used the iconic cover id themselves provided. John Romero claims that he served as the artist’s model for the image.

The incentives for distribution were massive. If a little mom-and-pop operation in, say, far-off Australia could become the first to stick that episode onto disks, stick those disks in a box, and get the box onto store shelves, they could make a killing, free and clear. DOOM became omnipresent, inescapable all over the world. When you logged into CompuServe, there was DOOM; when you wandered into your local software store, there was DOOM again, possibly in several different forms of packaging; when you popped in the disk or CD that came with your favorite gaming magazine, there it was yet again. The traditional industry was utterly gobsmacked by this virulent weed of a game.

As with Wolfenstein 3D, a large majority of the people who acquired the first episode of DOOM in one way or another were perfectly satisfied with its eight big levels and unlimited deathmatch play; plenty of others doubtless never bothered to read the fine print, never even realized that more DOOM was on offer if they called 1-800-IDGAMES with their credit card in hand. And then, of course, there was the ever-present specter of piracy; nothing whatsoever stopped buyers of the paid episodes from sharing them with all of their DOOM-loving friends. By some estimates, the conversion rate from the free to the paid episodes was as low as 1 percent. Nevertheless, it was enough to make the id boys very, very rich young men.

Sometimes $100,000 worth of orders would roll in on a single day. John Carmack and John Romero each went out and bought a new Ferrari Testarossa; now it was the turn of Scott Miller and George Broussard to look on the id boys’ cars with envy. Glossy magazines, newspapers, and television news programs all begged to visit the id offices, where they wondered over the cars in the parking lot and the unkempt young men inside screaming the most horrid scatological and sexual insults at one another as they played deathmatch. If nothing else, the id boys were certainly a colorful story.

The id boys’ cars got almost as much magazine coverage as their games. Here we see John Carmack with his Ferrari, which he had modified to produce 800 horsepower: “I want dangerous acceleration.”

Indeed, the id story is as close as gaming ever came to fulfilling one of its most longstanding dreams: that of game developers as rock stars, as first articulated by Trip Hawkins in 1983 upon his founding of Electronic Arts. Yet if Hawkins’s initial stable of developers, so carefully posed in black and white in EA’s iconic early advertisements, resembled an artsy post-punk band — the interactive version of Talking Heads — the id boys were meat-and-potatoes heavy metal for the masses — Metallica at their Black Album peak. John Romero, the id boy who most looked the part of rock star, particularly reveled in the odd sort of obsequious hero worship that marks certain corners of gamer culture. He almost visibly swelled with pride every time a group of his minions started chanting “We’re not worthy!” and literally bowed down in his presence, and wore his “DOOM: Wrote It!” tee-shirt until the print peeled off.

The impact DOOM was having on the industry had become undeniable by the time of the Summer Consumer Electronics Show in June of 1994. Here everyone seemed to want in on id’s action. The phrase “first-person shooter” had yet to be invented, so the many soon-to-be-released games of the type were commonly referred to as “DOOM clones” — or, as Computer Gaming World preferred, “DOOM toos.” The same magazine, still seeming just a trifle ambivalent about it all, called it the “3D action fad.” But this was no fad; these games were here to stay. The boxed publishers who had scoffed at the shareware scene a year or two before were now all scrambling to follow id’ lead. LucasArts previewed a DOOM clone set in the Star Wars universe; SSI, previously known for their complicated strategic war games and licensed Dungeons & Dragons CRPGs, dipped a toe into these very different waters with something called CyClones.

And then, inevitably, there was id’s own DOOM II: Hell on Earth. As a piece of game design, it evinced no sign of the dreaded sophomore slump that afflicts so many rock groups — this even though it used the exact same engine as its predecessor, and even though John Romero, id’s rock-star-in-chief, was increasingly busy with extracurriculars and contributed only a handful of levels. His slack was largely taken up by one American McGee, the latest scruffy rebel to join the id boys, a 21-year-old former auto mechanic who had suffered through an even more hardscrabble upbringing than the two Johns. After beginning at id as a tester, he had gradually revealed an uncanny talent for making levels that combined the intricacy of Sandy Petersen’s with the gung-ho flair of John Romero’s. Now, he joined Petersen and, more intermittently, Romero to create a game that was if anything even more devious than its predecessor. The id boys had grown cockier than ever, but they could still back it up.

John Romero in 1994, doing something the other id boys wished he would do a bit more of: making a level for DOOM II.

They were approached by a New York City wheeler-and-dealer named Ron Chaimowitz who wanted to publish DOOM II exclusively to retail. His was not an established name in the gaming world; he had come of age in the music industry, where he had broken big acts like Gloria Estefan and Julio Iglesias during the previous decade, and he was now publishing Jane Fonda’s workout videos through a company called GoodTimes Entertainment. But he had distribution connections — and, as Jay Wilbur has so recently proved, distribution often means everything. GoodTimes sold millions of videotapes through Wal-Mart, the exploding epicenter of heartland retail, and Chaimowitz promised that the new software label he had in mind would be able to leverage those connections. He further promised to spend $2 million on advertising. He would prove as good as his word in both respects. The new GT Interactive manufactured an extraordinary 600,000 copies of DOOM II prior to its release, marking by far the largest initial production run in the history of computer gaming to date.

In marked contrast to the simple uploading of the first episode of the original DOOM, DOOM II was launched with all the pomp and circumstance that a $2 million promotional budget could provide. A party to commemorate the event took place on October 10, 1994, at a hip Gothic night club in New York City which had been re-decorated in a predictably gory manner. The party even came complete with protesters against the game’s violence, to add that delicious note of controversy that any group of rock stars worth their salt requires.

At the party, a fellow named Bob Huntley, owner of a small Houston software company, foisted a disk on John Romero containing “The Dial-Up Wide-Area Network Games Operation,” or “DWANGO.” Using it, you could dial into Huntley’s Houston server at any time to play a pick-up game of four-player DOOM deathmatch with strangers who might happen to be on the other side of the world. Romero expressed his love for the concept in his trademark profane logorrhea: “I like staying up late and I want to play people whenever the fuck I want to and I don’t want to have to wake up my buddy at three in the morning and go, ‘Hey, uh, you wanna get your skull cracked?’ This is the thing that you can dial into and just play!” He convinced the other id boys to give DWANGO their official endorsement, and the service went live within weeks. For just $8.96 per month, you could now deathmatch any time you wanted. And thus another indelible piece of modern gaming culture, as well as a milestone in the cultural history of the Internet, fell into place.

DOOM was becoming not just a way of gaming but a way of life, one that left little space in the hearts of its most committed adherents for anything else. Some say that gaming became better after DOOM, some that it became worse. One thing that everyone can agree on, however, is that it changed; it’s by no means unreasonable to divide the entire history of computer gaming into pre-DOOM and post-DOOM eras. Next time, then, in the concluding article of this series, we’ll do our best to come to terms with that seismic shift.

(Sources: the books Masters of Doom by David Kushner, Game Engine Black Book: Wolfenstein 3D and Game Engine Black Book: DOOM by Fabien Sanglard, and Principles of Three-Dimensional Computer Animation by Michael O’Rourke; Retro Gamer 75; Game Developer premiere issue and issues of June 1994 and February/March 1995; Computer Gaming World of July 1993, March 1994, July 1994, August 1994, September 1994. Online sources include “Apogee: Where Wolfenstein Got Its Start” by Chris Plante at Polygon, “Rocket Jump: Quake and the Golden Era of First-Person Shooters” by David L. Craddock at Shack News, Benj Edwards’s interview with Scott Miller for Gamasutra, Jeremy Peels’s interview with John Romero for PC Games N, and Jay Wilbur’s old Usenet posts, which can now be accessed via Google Groups. And a special thanks to Alex Sarosi, better known in our comment threads as Lt. Nitpicker, for pointing out to me how important Jay Wilbur’s anything-goes approach to distribution of the free episode of DOOM was to the game’s success.

The original Doom episodes and Doom II are available as digital purchases on GOG.com.)

Comments
50 Responses

- Sean Barrett

June 5, 2020 at 6:08 pm

I’m not sure what your source is for the claim that walls-with-windows in Doom aren’t real walls but rather free-standing objects, but it’s not true. Walls with windows in Doom are just walls with a hole in them, much like doorways between two spaces, or corridors between rooms. Even the partially transparent pseudo-walls in Doom (e.g. at the end of E1M1) are part of the BSP geometry, not free-standing objects.

Indeed, Doom is notable for being something of the opposite: where openable doors in most 3D games are free-standing objects, the moving doors in Doom are BSP geometry, indistinguishable from elevators and rooms with collapsing ceilings–they’re just door-sized rooms with collapsing ceilings.

(Source: I was a 3D graphics programmer in the game industry from 1994-2001. I was paid to know this stuff.)

- Jimmy Maher

June 5, 2020 at 6:24 pm

I was extrapolating from what I read in The Doom Black Book, but evidently mistakenly. The error was certainly mine. Thanks!

- Steve McCrea

June 5, 2020 at 6:25 pm

To back this up – a window is just another region of the map with the floor height set to the windowsill height and the ceiling height set to the window head jamb height.
(Source – I designed maps for Doom and contributed to Final Doom).

- Jeff Thomas

June 6, 2020 at 5:17 pm

Steve is right, it’s not accurate to say a window is a hole in the wall either. There aren’t really walls in the doom engine, just floor and ceiling heights for areas of the map. A wall is created where a section of the maps floor height is higher than it’s neighboring sections floor height. A solid wall block is created by setting that sections floor and ceiling height to the same value.

It’s both simple, economical and versatile, as so many of John Cormac’s designs are.

- Josh Martin

June 7, 2020 at 11:42 pm

This is also why doors in Doom only open vertically, in contrast to the horizontal doors of Wolfenstein 3-D: sectors in Doom can have changing ceiling and floor heights, but their (x,y) positions must remain fixed to avoid breaking the BSP tree. (This is also why Wolf 3-D‘s pushwalls disappeared from Doom and the recreated Wolf levels in Doom II replaced them with standard Doom-style hidden doors.)

There’s actually unfinished code in the engine for horizontally-sliding doors, implemented as an animated texture applied to a linedef (essentially, a sector boundary) that’s flagged as impassable until the animated texture is “open,” at which point the impassable flag is switched off. I assume these didn’t make it into the actual game because 1) the door’s visual representation is nothing more than a texture map, so it has no depth and doesn’t fit in very well with the standard vertical doors, and 2) the door isn’t an actual part of the geometry, so it can be fired through as though it weren’t even there, and enemies can see right through it. Strife (one of the last commercial games using the Doom engine) fixed up the horizontal-door code and got around the second problem by placing a ceiling on the linedef that instantly rises when the door is opened and instantly lowers when it’s closed.

- Joshua Barrett

June 19, 2020 at 3:14 pm

Hexen, the most *advanced* game on the Doom engine, added PolyObjects, which permitted proper moving level geometry without the sliding door hack. However this was sharply limited to retain BSP integrity. It wouldn’t be until a later release of the GZDoom engine that all the restrictions would be removed.

Hexen is really a great technical accomplishment, in terms of its pushing of the engine. Such a pity there wasn’t a better game there…

- Andrew Pam

June 5, 2020 at 6:11 pm

Typo: “full-fledged hang-wringing”

- Jimmy Maher

June 5, 2020 at 6:24 pm

Thanks!

- Sniffnoy

June 5, 2020 at 6:47 pm

You could tackle the single-player game as a team if you wanted to, but the id boys all agreed that deathmatch — all-out anarchy, where the last man standing won — was where the real fun lived.

“Deathmatch” normally refers to a competition for most kills, not a last-man-standing contest with a fixed number of lives. Is it different in Doom? Looking it up it doesn’t appear to be…

The game’s levels were stored in a rather easily decipherable format: the “WAD” file, standing for “Where’s All the Data?”

Huh, interesting. Shamus Young remarks here that there was a trend in the 90s of giving game file formats and data structures names like “wad”, “blob”, and “lump” (playing off the existing term “binary blob” to some extent, I would imagine). I’d assumed that “wad” was just an instance of this, but it’s interesting if it was an acronym that was later reinterpreted that way.

- Jimmy Maher

June 5, 2020 at 6:57 pm

Thanks!

The WAD was actually named by Tom Hall. It’s always been described as an acronym, but I do suspect that the crude sexual connotation — “shoot your wad” — wasn’t lost on the id boys and probably pleased them.

- Joshua Barrett

June 5, 2020 at 8:57 pm

IIRC, the story goes that that the WAD was named by Tom when Carmack asked what to call a bunch of lumps (I think that was in the Doom Postmortem?). The acronym came after.

According to John Romero (https://rome.ro/news/2016/12/10/happy-23rd-birthday-doom), the WADLINK tool that was used to build the wads did in fact have a shootwad command, so it definitely wasn’t lost on them.

IIRC, the term “WAD” only started being used in Doom’s development. While Wolf3D had WADs conceptually, they weren’t called that. They were also encrypted: Of course, as a result of Carmack’s “open game” decision, the Doom WAD format (as well as the Doom level format itself) was publically documented on Day 1.

- Peter De Wachter

June 5, 2020 at 9:05 pm

I think you miss the point somewhat about the WAD system. With Wolfenstein, the only way to mod it was to edit its data files and then distribute those modified files. This limited the spread of those mods, as it was generally considered piracy.

What Carmack designed for Doom, and what was truly novel, was a system that allowed modders to create ‘patch WADs’, that contained just the new levels and art. And this made mass distribution of those mods possible. So wherever you got your copy of Doom from, you’d soon find lots of custom WADs plus the tools to make your own.

- Joshua Barrett

June 5, 2020 at 11:40 pm

Custom WADs were essentially the birth of PC game modding as something that developers would actually encourage. And the fact that id were so eager to provide fans with the tools and information they needed (even going so far as a full source release) is what has kept Doom relevant for so long. I can state with confidence that someone probably released a really high-quality set of levels for Doom this week. There are very few games as old as that for which I can say the same. Maybe Thief (as the years go on they’re comparatively closer together) and Quake, but that’s about it. Save perhaps the Z-Machine, which technically is not a game.

- Laertes

June 6, 2020 at 5:02 pm

And not only levels. To this day all kinds of mods are still developed and maintained, try Brutal Doom if you haven’t, it enhances so much the game and rises the level of violence:

https://youtu.be/VkoxHX7N6yw

In Spain there was a very infamous mod that changed all the sounds with the antics of Chiquito de la calzada, a very famous spanish comedian of the time:

https://youtu.be/lXepPTAekiU

- Joshua Barrett

June 6, 2020 at 8:02 pm

Not a big fan of Brutal Doom. Aside from the over the top spectacle there… isn’t a lot there. Guncaster, Psychic, Hideous Destructor, Mister Friendly, and others have done much more interesting things.

And the level design side of the Doom community has been killing it for a while. Ancient Aliens is sheer brilliance, and REKKR is probably the single most impressive 100% vanilla-compatible effort I’ve seen. And TCs like Simon’s Destiny, Sonic Robo Blast 2, Doom: The Golden Souls, The Adventures of Square, Inquisitor, and others have pushed the limits of the engine or simply added fun mechanics that make them worthy of attention.

- Martin

June 7, 2020 at 11:43 am

Just watched the video. There were certainly some times when you really were ‘knee deep in the dead’ there!

- Ido Yehieli

June 5, 2020 at 7:02 pm

Not sure what connects ShadowCaster to SSI – your own link says it was developed by Raven and published by Origin.

- Jimmy Maher

June 5, 2020 at 7:19 pm

Thanks!

- Alex Smith

June 5, 2020 at 7:27 pm

I have always maintained that you can divide computer game history into BD and AD, before and after Doom. It really is one of the most earth-shaking video games ever created.

Just a couple of minor notes on Ron Chaimowitz and GT Interactive. First, Ron actually did have a little known foray into video games before GT: when he ran the Latin American division of CBS Records in the early 1980s, he was responsible for distributing Activision games, for which CBS had certain international distribution rights, in the region.

Second, while Chaimowitz was the CEO of GT Interactive, it was not his company, nor was its videocassette parent. They were established and owned by the Cayre Brothers, with whom Ron had a long history in the music business, and he served at their pleasure.

- Jimmy Maher

June 5, 2020 at 7:47 pm

Thanks!

- sam

June 5, 2020 at 8:02 pm

> broadcast package

Probably should be ‘packet’.

- Nate

June 8, 2020 at 5:59 am

I agree. Jimmy?

- Jimmy Maher

June 8, 2020 at 6:07 am

Sorry, missed that one. Thanks, Sam!

- Keith Palmer

June 5, 2020 at 8:12 pm

The early plans for an “Aliens game” and Tom Hall’s hopes for more elaborate gameplay turned my thoughts towards self-indulgent personal memories of Bungie Software’s “Marathon,” which might have kept at least a few Macintosh users from biting the DOS bullet (although I can’t ignore Doom eventually being ported). Still, I understand that anyone who makes a point of “remembering Marathon” is outnumbered by those who “remember Doom.” (As another personal footnote, I looked up “Watcom” and nodded briefly at confirmation it had emerged from the University of Waterloo’s computer science program…)

- Joshua Barrett

June 5, 2020 at 11:49 pm

Marathon has a lot going for it, but on pure game design terms it just isn’t as solid as Doom. It feels rough around the edges—some levels are baffling, or just flat-out cruel, mechanics aren’t always perfectly explained, and the physics don’t feel as good. And none of the guns are all that satisfying…

This would be smoothed out quite a bit in Marathon 2, and both of those games did a lot of interesting things that Doom didn’t (friendly NPCs, alt-fires, a more sophisticated physics model, underwater sections in Marathon 2, and a story that I really really like), but they never quite clicked with me because that gameplay always felt off.

- ZUrlocker

June 7, 2020 at 1:05 am

Watcom was a spinoff founded by University of Waterloo profs and staff from the university’s Computer Systems Group. Coincidentally, I went to UW for grad school and interviewed with Watcom founder Wes Graham around 1985. However, this was before they had any focus on DOS or microcomputers in general. In later years, they did focus on x86 and DOS and the Watcom C compiler was particularly good at code optimization, which mattered greatly for games. A few years later, I was a product manager at Borland. I always liked and respected the Watcom team. The Watcom compiler took longer to compile, but the resulting code ran faster than Microsoft or Borland C compilers, so they did very well with commercial software developers (Games, CAD, etc) though Borland and Microsoft had a much larger share of the mainstream market.

- Dan Mastriani

June 5, 2020 at 9:13 pm

Speaking of Wolfenstein mods, that was my first encounter with the game. Someone had installed a version that replaced the bosses with Mortal Kombat characters on one of the computers in my high school’s computer lab.

- Rowan Lipkovits

June 5, 2020 at 9:49 pm

So many stories to tell about the making of Doom, you could write a book about it. Indeed, some people already did! One of my favorite bizarre responses to the hype was the UseNet bombast for a Doom-killer named Smashing Pumpkins Into Small Piles Of Putrid Debris, whose acronym was immortalized as an id cheat code, and which wound up leading Doom sound effects to be sampled on a Smashing Pumpkins band recording.

I still have a very clear memory of firing up the Doom pre-release tech demo, which had players gamelessly wander the corridors of the Mars base, the engine at the time no less gobsmacking as a simple walking simulator… culminating in walking through a darkened room to discover… an inanimate enemy sprite. Inert as it was, it still managed to be a powerful and frightening reveal!

- Andrew Plotkin

June 5, 2020 at 11:03 pm

“A sign posted at Carnegie-Mellon University…”

I can’t believe I am bothering to type this, but Carnegie Mellon University hasn’t had a hyphen since the 1980s.

I was working at CMU in 1993; I’d recently graduated and gotten a staff job on some software project rather than head out into the world. I remember everybody talking about Doom and its network problems. I probably saw the sign you mention, although I don’t specifically recall it. Whether Doom supplanted the campus’s dedication to nightly Netrek tournaments — that I’m not sure of at all.

- Jimmy Maher

June 6, 2020 at 11:15 am

Every little bit helps. :) Thanks!

- Nate

June 8, 2020 at 6:13 am

I was at Cal Poly at the time. There were campus Usenet posts about not running Doom on the new dormitory Ethernet and signs in the PC labs as well. The campus network administration spent time with a sniffer to find broadcast packets and would ban your node if you got caught.

We spent a lot of time getting the right NDIS config to enable network mode and then playing with 4 players. (I recall it used SPX, not TCP/IP) It was astounding and immersive and a huge rush coming at the end of finals that year.

We later got our own 10BASE/2 (coax) setup to avoid getting in trouble using the campus switches.

Netrek was a fascinating community I never got involved in but watched from the sidelines. It had a lot of overlap with irc and the battles over cheating and server etiquette were one of the last holdouts to the Eternal September that Netcom and AOL brought on.

- Martin

June 6, 2020 at 1:21 am

One of the interesting things in the shareware release was the last level – E1M8 Phobos Anomaly. By the time you had played the first seven levels, you were starting to get the swing of the game and how best to dispatch the bad guys. And then you come across these two flesh colored satires and you let loose a rocket and they don’t even blink. Fire another and still they just keep on coming. After much more fighting and probably thinking that they were set as un-killable as a last level finally, one goes down. Now the problem is to kill both before you get hit with too much of the green goop.

I think it was a really good way to show you that things are really just getting started and there is plenty more to come if you pay for more.

Yes, DOOM most definely changed computer gaming for me.

- Aula

June 6, 2020 at 1:36 pm

“stoking the the flames”

repeated “the”

“needed helped to shoulder”

should be “help”

“was largely taken up one American McGee”

should be “up by one”

“pointing out to me out how important”

second “out” shouldn’t be there

- Jimmy Maher

June 6, 2020 at 1:45 pm

Thanks!

- Joshua Barrett

June 6, 2020 at 4:43 pm

> Texture mapping in DOOM, while by no means perfectly perspective-correct, was at least closer to that ideal than in the older game.

Actually, Doom *did* have perspective-correct mapping. While technically Doom uses affine mapping, walls are subdivided on scanline so the uv mapping remains the same as what it would be using a full perspective-correct mapping, although at the cost of making slopes impossible (Doom Black Book, p. 212).

- Jimmy Maher

June 6, 2020 at 4:54 pm

I stopped at “affine.” :) Thanks!

- Josh Martin

June 7, 2020 at 6:47 am

A big reason the Sega Saturn port of Doom is so notoriously bad is that Carmack rejected the porting team’s original renderer (which was based around the system’s built-in GPU) because it introduced affine texture mapping. So the renderer had to be rewritten to run entirely in software, resulting in a port that rarely reaches above 15 frames per second. The original renderer supposedly ran at a steady 60.

- John

June 8, 2020 at 12:07 pm

How bizarre. As best as I can recall, Doom ran perfectly adequately on the much less powerful Sega 32x, an add-on for the Genesis/MegaDrive.

- Josh Martin

June 8, 2020 at 5:44 pm

The new renderer for the Saturn version was rushed to meet the deadline and was ported over from the Playstation version, which was designed for a vastly different piece of hardware and didn’t work as well on the Saturn. The Saturn version actually handles the original Doom levels (which had simplified, reduced-detail versions prepared for the console ports) about as well as the 32X version—i.e. around 15-20fps—but running at full-screen and a higher resolution. It’s only once you get to the Ultimate Doom and Doom II levels (which had no simplified console-specific versions, and don’t exist in the 32X port) that the framerate goes through the floor. The invaluable Digital Foundry did a great video comparing and ranking all the old-school Doom ports, with the 32X coming ahead of the Saturn thanks to its more consistent playability.

- Doug Orleans

June 7, 2020 at 6:53 am

Having been at a Silicon Valley job in 1994, I can attest to the productivity hit caused by DOOM when it was ported to Solaris late that year. I remember coworkers using our office phone system’s conference call features to do voice chat while playing (back then, developers had individual offices, not just cubicles). Its impact on work culture was immortalized in this Dilbert cartoon: https://dilbert.com/strip/1995-01-22

- Josh Martin

June 7, 2020 at 7:12 am

Shadowcaster can’t really be considered a “Doom clone” for a few reasons, chief among them that it came out about three months earlier, in September ’93. Another is that its gameplay style is quite different: still mostly combat-driven, but with a hybrid point-and-click interface used in the likes of Ultima Underworld that adds a light dusting of RPG elements while allowing the player to target enemies in different parts of the screen. It also didn’t use the Doom engine but rather a Wolfenstein 3-D engine heavily enhanced by Carmack, which shares some of its limitations (tile-based maps, no non-orthogonal walls) but adds features that ended up in Doom (skyboxes, walls of different heights, variable lighting) and even some that didn’t (sloped floors and ceilings, underwater areas, flight, fog). It’s not a great game—it doesn’t offer enough non-combat gameplay to justify the point-and-click interface, which just feels clunky—but an interesting transitional work for Carmack, plus the first example of the fantasy-FPS genre that Raven was best known for until they became a Call of Duty studio.

- Josh Martin

June 7, 2020 at 7:35 am

(Raven’s first example of the fantasy-FPS genre, not the first altogether.)

- Jimmy Maher

June 7, 2020 at 9:08 am

Okay, let’s try this then. :)

- Carl Grace

June 8, 2020 at 5:55 pm

My first encounter with anything like a deathmatch was with the game Midi Maze on the Atari ST. Before opening the store and after closing on weekends, a computer shop near me used to hook up all their Atari STs (or your could bring your own) and host a big Midi Maze deathmatch tournament.

It didn’t do much for me but it was quite popular. Is it the origin of the “in-person” networked deathmatch?

- Joshua Barrett

June 9, 2020 at 7:10 pm

Actually it’s even older than that. Mazewar was developed at NASA and then expanded at MIT (with some work done by Dave Lebling, later of Infocom), with full network deathmatch coming in the PARC and X11 versions.

- Tronster

June 11, 2020 at 12:40 am

Minor correction: “a young pool sharp” should be “a young pool shark”

A great article! It brings back memories of spending many nights online to obtain all six disks over local Baltimore WWIV BBSs – and a year later making null-modem cables so we could play Deathmatch in our dorm rooms. It was amazing that you could also record an entire Deathmatch and then watch it again… until 4am… missing morning classes. Yes, Doom most definitely impacted productivity after its release.

- Jimmy Maher

June 11, 2020 at 8:42 am

Card sharp, pool shark. I have to learn to remember that. Thanks!

- Wolfeye M.

June 14, 2020 at 10:33 pm

Doom definitely had a huge impact on the games industry. And the original is still reasonably popular today.

I’ve got this app on my phone called Delta Touch, which has various modified engines for running Doom, so all I had to do to play the game was copy the files from the Steam version on my computer to my phone. I play it with a Bluetooth controller. There’s not many games like that, which have stood the test of time to the point there’s fan made apps and engine mods dedicated just to making them run on phones.

- Josh Martin

June 18, 2020 at 7:28 pm

The running joke for pretty much any device with a screen is “Can it run Doom?” And chances are the answer is “yes,” even if you’re talking about a 1998 digital camera, a printer, or a thermostat. There’s even a blog dedicated entirely to this sort of thing.

- Joshua Barrett

June 19, 2020 at 3:21 pm

Although saying that Doom holds up can be a bit revisionist…

Almost nobody plays Doom as it was played back in the day. A lot of people play with vertical aiming, and almost everyone plays with a proper wasd setup and eliminates the “lookspring” from the original doom where the mouse would move you forward.

I would say that some minor control issues (keymappings) are all that keeps Doom in its original form from being a pleasant and modern experience today, but some players insist that the game is rubbish without vertical aim and a mod like Brutal Doom.

The Shareware Scene, Part 5: Narratives of DOOM
June 19, 2020

Let me begin today by restating the obvious: DOOM was very, very popular, probably the most popular computer game to date.

That “probably” has to stand there because DOOM’s unusual distribution model makes quantifying its popularity frustratingly difficult. It’s been estimated that id sold 2 to 3 million copies of the shareware episodes of the original DOOM. The boxed-retail-only DOOM II may have sold a similar quantity; it reportedly became the third best-selling boxed computer game of the 1990s. But these numbers, impressive as they are in their own right, leave out not only the ever-present reality of piracy but also the free episode of DOOM, which was packaged and distributed in such an unprecedented variety of ways all over the world. Players of it likely numbered well into the eight digits.

Yet if the precise numbers associated with the game’s success are slippery, the cultural impact of the game is easier to get a grip on. The release of DOOM marks the biggest single sea change in the history of computer gaming. It didn’t change gaming instantly, mind you — a contemporaneous observer could be forgiven for assuming it was still largely business as usual a year or even two years after DOOM’s release — but it did change it forever.

I should admit here and now that I’m not entirely comfortable with the changes DOOM brought to gaming. In fact, for a long time, when I was asked when I thought I might bring this historical project to a conclusion, I pointed to the arrival of DOOM as perhaps the most logical place to hang it up. I trust that most of you will be pleased to hear that I no longer feel so inclined, but I do recognize that my feelings about DOOM are, at best, conflicted. I can’t help but see it as at least partially responsible for a certain coarsening in the culture of gaming that followed it. I can muster respect for the id boys’ accomplishment, but no love. Hopefully the former will be enough to give the game its due.

As the title of this article alludes, there are many possible narratives to spin about DOOM’s impact. Sometimes the threads are contradictory — sometimes even self-contradictory. Nevertheless, let’s take this opportunity to follow a few of them to wherever they lead us as we wrap up this series on the shareware movement and the monster it spawned.

3D 4EVA!

The least controversial, most incontrovertible aspect of DOOM’s impact is its influence on the technology of games. It was nothing less than the coming-out party for 3D graphics as a near-universal tool — this despite the fact that 3D graphics had been around in some genres, most notably vehicular simulations, almost as long as microcomputer games themselves had been around, and despite the fact that DOOM itself was far from a complete implementation of a 3D environment. (John Carmack wouldn’t get all the way to that goal until 1996’s Quake, the id boys’ anointed successor to DOOM.) As we’ve seen already, Blue Sky Productions’s Ultima Underworld actually offered the complete 3D implementation which DOOM lacked twenty months before the latter’s arrival.

But as I also noted earlier, Ultima Underworld was complex, a little esoteric, hard to come to terms with at first sight. DOOM, on the other hand, took what the id boys had started with Wolfenstein 3D, added just enough additional complexity to make it into a more satisfying game over the long haul, topped it off with superb level design that took full advantage of all the new affordances, and rammed it down the throat of the gaming mainstream with all the force of one of its coveted rocket launchers. The industry never looked back. By the end of the decade, it would be hard to find a big boxed game that didn’t use 3D graphics.

Many if not all of these applications of 3D were more than warranted: the simple fact is that 3D lets you do things in games that aren’t possible any other way. Other forms of graphics consist at bottom of fixed, discrete patterns of colored pixels. These patterns can be moved about the screen — think of the sprites in a classic 2D videogame, such as Nintendo’s Super Mario Bros. or id’s Commander Keen — but their forms cannot be altered with any great degree of flexibility. And this in turn limits the degree to which the world of a game can become an embodied, living place of emergent interactions; it does no good to simulate something in the world model if you can’t represent it on the player’s screen.

3D graphics, on the other hand, are stored not as pixels but as a sort of architectural plan of an imaginary 3D space, expressed in the language of mathematics. The computer then extrapolates from said plan to render the individual pixels on the fly in response to the player’s actions. In other words, the world and the representation of the world are stored as one in the computer’s memory. This means that things can happen there which no artist ever anticipated. 3D allowed game makers to move beyond hand-crafted fictions and set-piece puzzles to begin building virtual realities in earnest. Not for nothing did many people refer to DOOM-like games in the time before the term “first-person shooter” was invented as “virtual-reality games.”

Ironically, others showed more interest than the id boys themselves in probing the frontiers of formal possibility thus opened. While id continued to focus purely on ballistics and virtual violence in their extended series of Quake games after making DOOM, Looking Glass Technologies — the studio which had previously been known as Blue Sky Productions — worked many of the innovations of Ultima Underworld and DOOM alike into more complex virtual worlds in games like System Shock and Thief. Nevertheless, DOOM was the proof of concept, the game which demonstrated indubitably to everyone that 3D graphics could provide amazing experiences which weren’t possible any other way.

From the standpoint of the people making the games, 3D graphics had another massive advantage: they were also cheaper than the alternative. When DOOM first appeared in December of 1993, the industry was facing a budgetary catch-22 with no obvious solution. Hiring armies of artists to hand-paint every screen in a game was expensive; renting or building a sound stage, then hiring directors and camera people and dozens of actors to provide hours of full-motion-video footage was even more so. Players expected ever bigger, richer, longer games, which was intensely problematic when every single element in their worlds had to be drawn or filmed by hand. Sales were increasing at a steady clip by 1993, but they weren’t increasing quickly enough to offset the spiraling costs of production. Even major publishers like Sierra were beginning to post ugly losses on their bottom lines despite their increasing gross revenues.

3D graphics had the potential to fix all that, practically at a stroke. A 3D world is, almost by definition, a collection of interchangeable parts. Consider a simple item of furniture, like, say, a desk. In a 2D world, every desk must be laboriously hand-drawn by an artist in the same way that a traditional carpenter planes and joins the wood for such a thing in a workshop. But in a 3D world, the data constituting the basic form of “desk” can be inserted in a matter of seconds; desks can now make their way into games with the same alacrity with which they roll off of an IKEA production line. But you say that you don’t want every desk in your world to look exactly the same? Very well; it takes just a few keystrokes to change the color or wood grain or even the size of your desk, or to add or take away a drawer. We can arrive at endless individual implementations of “desk” from our Platonic ideal with surprising speed. Small wonder that, when the established industry was done marveling at DOOM’s achievements in terms of gameplay, the thing they kept coming back to over and over was its astronomical profit margins. 3D graphics provided a way to make games make money again.

So, 3D offered worlds with vastly more emergent potential, made at a greatly reduced cost. There had to be a catch, right?

Alas, there was indeed. In many contexts, 3D graphics were right on the edge of what a typical computer could do at all in the mid-1990s, much less do with any sort of aesthetic appeal. Gamers would have to accept jagged edges, tearing textures, and a generalized visual crudity in 3D games for quite some time to come. A freeze-frame visual comparison with the games the industry had been making immediately before the 3D revolution did the new ones no favors: the games coming out of studios like Sierra and LucasArts had become genuinely beautiful by the early 1990s, thanks to those companies’ rooms full of dedicated pixel artists. It would take a considerable amount of time before 3D games would look anywhere near this nice. One can certainly argue that 3D was in some fairly fundamental sense necessary for the continuing evolution of game design, that this period of ugliness was one that the industry simply needed to plow through in order to emerge on the other side with a whole new universe of visual and emergent possibility to hand. Still, people mired in the middle of it could be forgiven for asking whether, from the evidence of screenshots alone, gaming technology wasn’t regressing rather than progressing.

But be that as it may, the 3D revolution ushered in by DOOM was here to stay. People would just have to get used to the visual crudity for the time being, and trust that eventually things would start to look better again.

Playing to the Base

There’s an eternal question in political and commercial marketing alike: do you play to the base, or do you try to reach out to a broader spectrum of people? The former may be safer, but raises the question of how many more followers you can collect from the same narrow slice of the population; the latter tempts you with the prospect of countless virgin souls waiting to embrace you, but is far riskier, with immense potential to backfire spectacularly if you don’t get the message and tone just right. This was the dichotomy confronting the boxed-games industry in the early 1990s.

By 1993, the conventional wisdom inside the industry had settled on the belief that outreach was the way forward. This dream of reaching a broader swath of people, of becoming as commonplace in living rooms as prime-time dramas and sitcoms, was inextricably bound up with the technology of CD-ROM, what with its potential to put footage of real human actors into games alongside spoken dialog and orchestral soundtracks. “What we think of today as a computer or a videogame system,” wrote Ken Williams of Sierra that year, “will someday assume a much broader role in our homes. I foresee a day when there is one home-entertainment device which combines the functions of a CD-audio player, VCR, videogame system, and computer.”

And then along came DOOM with its stereotypically adolescent-male orientation, along with sales numbers that threatened to turn the conventional wisdom about how well the industry could continue to feed off the same old demographic on its head. About six months after DOOM’s release, when the powers that were were just beginning to grapple with its success and what it meant to each and every one of them, Alexander Antoniades, a founding editor of the new Game Developer magazine, more fully articulated the dream of outreach, as well as some of the doubts that were already beginning to plague it.

The potential of CD-ROM is tremendous because it is viewed as a superset not [a] subset of the existing computer-games industry. Everyone’s hoping that non-technical people who would never buy an Ultima, flight simulator, or DOOM will be willing to buy a CD-ROM game designed to appeal to a wider audience — changing the computer into [an] interactive VCR. If these technical neophytes’ first experience is a bad one, for $60 a disc, they’re not going to continue making the same mistake.

It will be this next year, as these consumers make their first CD-ROM purchases, that will determine the shape of the industry. If CD-ROM games are able to vary more in subject matter than traditional computer games, retain their platform independence, and capture new demographics, they will attain the status of a new platform [in themselves]. If not, they will just be another means to get product to market and will be just another label on the side of a box.

The next couple of years did indeed become a de-facto contest between these two ideas of gaming’s future. At first, the outreach camp could point to some notable successes on a scale similar to that of DOOM: The 7th Guest sold over 2 million copies, Myst sold an extraordinary 6 million or more. Yet the reality slowly dawned that most of those outside the traditional gaming demographic who purchased those games regarded them as little more than curiosities; most evidence would seem to indicate that they were never seriously played to a degree commensurate with their sales. Meanwhile the many similar titles which the industry rushed out in the wake of these success stories almost invariably became commercial disappointments.

The problems inherent in these multimedia-heavy “interactive movies” weren’t hard to see even at the time. In the same piece from which I quoted above, Alexander Antoniades noted that too many CD-ROM productions were “the equivalent of Pong games with captured video images of professional tennis players and CD-quality sounds of bouncing balls.” For various reasons — the limitations inherent in mixing and matching canned video clips; the core limitations of the software and hardware technology; perhaps simply a failure of imagination — the makers of too many of these extravaganzas never devised new modes of gameplay to complement their new modes of presentation. Instead they seemed to believe that the latter alone ought to be enough. Too often, these games fell back on rote set-piece puzzle-solving — an inherently niche activity even if done more creatively than we often saw in these games — for lack of any better ideas for making the “interactive” in interactive movies a reality. The proverbial everyday person firing up the computer-cum-stereo-cum-VCR at the end of a long workday wasn’t going to do so in order to watch a badly acted movie gated with frustrating logic puzzles.

While the multimedia came first with these productions, games of the DOOM school flipped that script. As the years went on and they too started to ship on the now-ubiquitous medium of CD-ROM, they too picked up cut scenes and spoken dialog, but they never suffered the identity crisis of their rivals; they knew that they were games first and foremost, and knew exactly what forms their interactivity should take. And most importantly from the point of view of the industry, these games sold. Post-1996 or so, high-concept interactive movies were out, as was most serious talk of outreach to new demographics. Visceral 3D action games were in, along with a doubling-down on the base.

To blame the industry’s retrenchment — its return to the demographically tried-and-true — entirely on DOOM is a stretch. Yet DOOM was a hugely important factor, standing as it did as a living proof of just how well the traditional core values of gaming could pay. The popularity of DOOM, combined with the exercise in diminishing commercial returns that interactive movies became, did much to push the industry down the path of retrenchment.

The minor tragedy in all this was not so much the end of interactive movies, given what intensely problematic endeavors they so clearly were, but rather that the latest games’ vision proved to be so circumscribed in terms of fiction, theme, and mechanics alike. By late in the decade, they had brought the boxed industry to a place of dismaying homogeneity; the values of the id boys had become the values of computer gaming writ large. Game fictions almost universally drew from the same shallow well of sci-fi action flicks and Dungeons & Dragons, with perhaps an occasional detour into military simulation. A shocking proportion of the new games being released fell into one of just two narrow gameplay genres: the first-person shooter and the real-time-strategy game.

These fictional and ludic genres are not, I hasten to note, illegitimate in themselves; I’ve enjoyed plenty of games in all of them. But one craves a little diversity, a more vibrant set of possibilities to choose from when wandering into one’s local software store. It would take a new outsider movement coupled with the rise of convenient digital distribution in the new millennium to finally make good on that early-1990s dream of making games for everyone. (How fitting that shaking loose the stranglehold of DOOM’s progeny would require the exploitation of another alternative form of distribution, just as the id boys exploited the shareware model…)

The Murder Simulator

DOOM was mentioned occasionally in a vaguely disapproving way by mainstream media outlets immediately after its release, but largely escaped the ire of the politicians who were going after games like Night Trap and Mortal Kombat at the time; this was probably because its status as a computer rather than a console game led to its being played in bedrooms rather than living rooms, free from the prying eyes of concerned adults. It didn’t become the subject of a full-blown moral panic until weirdly late in its history.

On April 20, 1999, Eric Harris and Dylan Klebold, a pair of students at Columbine High School in the Colorado town of the same name, walked into their school armed to the teeth with knives, explosives, and automatic weapons. They proceeded to kill 13 students and teachers and to injure 24 more before turning their guns on themselves. The day after the massacre, an Internet gaming news site called Blue’s News posted a message that “several readers have written in reporting having seen televised news reports showing the DOOM logo on something visible through clear bags containing materials said to be related to the suspected shooters. There is no word yet of what connection anyone is drawing between these materials and this case.” The word would come soon enough.

It turned out that Harris and Klebold had been great devotees of the game, not only as players but as creators of their own levels. “It’s going to be just like DOOM,” wrote Harris in his diary just before the massacre. “I must not be sidetracked by my feelings of sympathy. I will force myself to believe that everyone is just a monster from DOOM.” He chose his prize shotgun because it looked like one found in the game. On the surveillance tapes that recorded the horror in real time, the weapons-festooned boys pranced and preened as if they were consciously imitating the game they loved so much. Weapons experts noted that they seemed to have adopted their approach to shooting from what worked in DOOM. (In this case, of course, that was a wonderful thing, in that it kept them from killing anywhere close to the number of people they might otherwise have with the armaments at their disposal.)

There followed a storm of controversy over videogame content, with DOOM and the genre it had spawned squarely at its center. Journalists turned their attention to the FPS subculture for the first time, and discovered that more recent games like Duke Nukem 3D — the Columbine shooters’ other favorite game, a creation of Scott Miller’s old Apogee Software, now trading under the name of 3D Realms — made DOOM’s blood and gore look downright tame. Senator Joseph Lieberman, a longstanding critic of videogames, beat the drum for legislation, and the name of DOOM even crossed the lips of President Bill Clinton. “My hope,” he said, “[is] to persuade the nation’s top cultural producers to call a cease-fire in the virtual arms race, to stop the release of ultra-violent videogames such as DOOM. Several of the school gunmen murderously mimicked [it] down to the choice of weapons and apparel.”

When one digs into the subject, one can’t help but note how the early life stories of John Carmack and John Romero bear some eerie similarities with those of Eric Harris and Dylan Klebold. The two Johns as well were angry kids who found it hard to fit in with their peers, who engaged in petty crime and found solace in action movies, heavy-metal music, and computer games. Indeed, a big part of the appeal of DOOM for its most committed fans was the sense that it had been made by people just like them, people who were coming from the same place. What caused Harris and Klebold, alone among the millions like them, to exorcise their anger and aggression in such a horrifying way? It’s a question that we can’t begin to answer. We can only say that, unfair though it may be, perceptions of DOOM outside the insular subculture of FPS fandom must always bear the taint of its connection with a mass murder.

And yet the public controversy over DOOM and its progeny resulted in little concrete change in the end. Lieberman’s proposed legislation died on the vine after the industry fecklessly promised to do a better job with content warnings, and the newspaper pundits moved on to other outrages. Forget talk of free speech; there was too much money in these types of games for them to go away. Just ten months after Columbine, Activision released Soldier of Fortune, which made a selling point of dismembered bodies and screams of pain so realistic that one reviewer claimed they left his dog a nervous wreck cowering in a corner. After the requisite wave of condemnation, the mainstream media forgot about it too.

Violence in games didn’t begin with DOOM or even Wolfenstein 3D, but it was certainly amplified and glorified by those games and the subculture they wrought. While a player may very well run up a huge body count in, say, a classic arcade game or an old-school CRPG, the violence there is so abstract as to be little more than a game mechanic. But in DOOM — and even more so in the games that followed it — experiential violence is a core part of the appeal. One revels in killing not just because of the new high score or character experience level one gets out of it, but for the thrill of killing itself, as depicted in such a visceral, embodied way. This does strike me as a fundamental qualitative shift from most of the games that came before.

Yet it’s very difficult to have a reasonable discussion on said violence’s implications, simply because opinions have become so hardened on the subject. To express concern on any level is to invite association with the likes of Joe Lieberman, a politician with a knack for choosing the most reactionary, least informed position on every single issue, who apparently was never fortunate enough to have a social-science professor drill the fact that correlation isn’t causation into his head.

Make no mistake: the gamers who scoff at the politicians’ hand-wringing have a point. Harris and Klebold probably were drawn to games like DOOM and Duke Nukem 3D because they already had violent fantasies, rather than having said fantasies inculcated by the games they happened to play. In a best-case scenario, we can even imagine other potential mass murderers channeling their aggression into a game rather than taking it out on real people, in much the same way that easy access to pornography may be a cause of the dramatic decline in incidents of rape and sexual violence in most Western countries since the rise of the World Wide Web.

That said, I for one am also willing to entertain the notion that spending hours every day killing things in the most brutal, visceral manner imaginable inside an embodied virtual space may have some negative effects on some personalities. Something John Carmack said about the subject in a fairly recent interview strikes me as alarmingly fallacious:

In later games and later times, when games [came complete with] moral ambiguity or actual negativity about what you’re doing, I always felt good about the decision that in DOOM, you’re fighting demons. There’s no gray area here. It is black and white. You’re the good guys, they’re the bad guys, and everything that you’re doing to them is fully deserved.

In reality, though, the danger which games like DOOM may present, especially in the polarized societies many of us live in in our current troubled times, is not that they ask us to revel in our moral ambiguity, much less our pure evil. It’s rather the way they’re able to convince us that the Others whom we’re killing “fully deserve” the violence we visit upon them because “they’re the bad guys.” (Recall those chilling words from Eric Harris’s diary, about convincing himself that his teachers and classmates are really just monsters…) This tendency is arguably less insidious when the bad guys in question are ridiculously over-the-top demons from Hell than when they’re soldiers who just happen to be wearing a different uniform, one which they may quite possibly have had no other choice but to don. Nevertheless, DOOM started something which games like the interminable Call of Duty franchise were only too happy to run with.

I personally would like to see less violence rather than more in games, all things being equal, and would like to see more games about building things up rather than tearing them down, fun though the latter can be on occasion. It strikes me that the disturbing association of some strands of gamer culture with some of the more hateful political movements of our times may not be entirely accidental, and that some of the root causes may stretch all the way back to DOOM — which is not to say that it’s wrong for any given individual to play DOOM or even Call of Duty. It’s only to say that the likes of GamerGate may be yet another weirdly attenuated part of DOOM’s endlessly multi-faceted legacy.

Creative Destruction?

In other ways, though, the DOOM community actually was — and is — a community of creation rather than destruction. (I did say these narratives of DOOM wouldn’t be cut-and-dried, didn’t I?)

John Carmack, by his own account alone among the id boys, was inspired rather than dismayed by the modding scene that sprang up around Wolfenstein 3D — so much so that, rather than taking steps to make such things more difficult in DOOM, he did just the opposite: he separated the level data from the game engine much more completely than had been the case with Wolfenstein 3D, thus making it possible to distribute new DOOM levels completely legally, and released documentation of the WAD format in which the levels were stored on the same day that id released the game itself.

The origins of his generosity hearken back once again to this idea that the people who made DOOM weren’t so very different from the people who played it. One of Carmack’s formative experiences as a hacker was his exploration of Ultima II on his first Apple II. Carmack:

To go ahead and hack things to turn trees into chests or modify my gold or whatever… I loved that. The ability to go several steps further and release actual source code, make it easy to modify things, to let future generations get what I wished I had had a decade earlier—I think that’s been a really good thing. To this day I run into people all the time that say, whether it was Doom, or maybe even more so Quake later on, that that openness and that ability to get into the guts of things was what got them into the industry or into technology. A lot of people who are really significant people in significant places still have good things to say about that.

Carmack speaks of “a decade-long fight inside id about how open we should be with the technology and the modifiability.” The others questioned this commitment to what Carmack called “open gaming” more skeptically than ever when some companies started scooping up some of the thousands of fan-made levels, plopping them onto CDs, and selling them without paying a cent to id. But in the long run, the commitment to openness kept DOOM alive; rather than a mere computer game, it became a veritable cottage industry of its own. Plenty of people played literally nothing else for months or even years at a stretch.

The debate inside id raged more than ever in 1997, when Carmack insisted on releasing the complete original source code to DOOM. (He had done the same for the Wolfenstein 3D code two years before.) As he alludes above, the DOOM code became a touchstone for an up-and-coming generation of game programmers, even as many future game designers cut their teeth and made early names for themselves by creating custom levels to run within the engine. And, inevitably, the release of the source code led to a flurry of ports to every imaginable platform: “Everything that has a 32-bit [or better] processor has had DOOM run on it,” says Carmack with justifiable pride. Today you can play DOOM on digital cameras, printers, and even thermostats, and do so if you like in hobbyist-created levels that coax the engine into entirely new modes of play that the id boys never even began to conceive of.

This narrative of DOOM bears a distinct similarity to that of another community of creation with which I happen to be much better acquainted: the post-Infocom interactive-fiction community that arose at about the same time that the original DOOM was taking the world by storm. Like the DOOM people, the interactive-fiction people built upon a beloved company’s well-nigh timeless software engineering; like them, they eventually stretched that engine in all sorts of unanticipated directions, and are still doing it to this day. A comparison between the cerebral text adventures of Infocom and the frenetic shooters of id might seem incongruous at first blush, but there you are. Long may their separate communities of love and craft continue to thrive.

As you have doubtless gathered by now, the legacy of DOOM is a complicated one that’s almost uniquely resistant to simplification. Every statement has a qualifier; every yang has a yin. This can be frustrating for a writer; it’s in the nature of us as a breed to want straightforward causes and effects. The desire for them may lead one to make trends that were obscure at best to the people living through them seem more obvious than they really were. Therefore allow me to reiterate that the new gaming order which DOOM created wouldn’t become undeniable to everyone until fully three or four years after its release. A reader recently emailed me the argument that 1996 was actually the best year ever for adventure games, the genre which, according to some oversimplified histories, DOOM and games like it killed at a stroke — and darned if he didn’t make a pretty good case for it.

So, while I’m afraid I’ll never be much of a gibber and/or fragger, we should continue to have much to talk about. Onward, then, into the new order. I dare say that from the perspective of the boots on the ground it will continue to look much like the old one for quite some time to come. And after that? Well, we’ll take it as it comes. I won’t be mooting any more stopping dates.

(Sources: the books The Complete Wargames Handbook (2000 edition) by James F. Dunnigan, Masters of Doom by David Kushner, Game Engine Black Book: DOOM by Fabien Sanglard, Principles of Three-Dimensional Computer Animation by Michael O’Rourke, and Columbine by Dave Cullen; Retro Gamer 75; Game Developer of June 1994; Chris Kohler’s interview with John Carmack for Wired. And a special thanks to Alex Sarosi, a.k.a. Lt. Nitpicker, for his valuable email correspondence on the legacy of DOOM, as well as to Josh Martin for pointing out in a timely comment to the last article the delightful fact that DOOM can now be run on a thermostat.)

Comments
55 Responses

- Joshua Barrett

June 19, 2020 at 3:10 pm

Very nice work indeed! I was afraid that you might take a less nuanced than usual approach to Doom, given your own preferences in games. Although in retrospect that seems like a rather foolish concern to have…

As someone who’s spent a lot of time in the Doom community, I cannot overstate how much creativity and incredible talent is on display there. They are among the very few who rival the IF community in that respect.

One minor correction:

> It’s only to say that the likes of GamersGate may be yet another weirdly attenuated part of DOOM‘s endlessly multi-faceted legacy.

You seem to have confused GamerGate (a rather nasty mess) with *GamersGate*, an entirely innocent digital distribution platform in the vein of GOG or Steam.

This is an easy mistake to make: GamersGate actually received a lot of undeserved hate mail from people who made the same mistake.

- Jimmy Maher

June 19, 2020 at 3:21 pm

Ouch! Good to fix that one quickly. Thanks!

- Avian Overlord

June 19, 2020 at 3:48 pm

I think that the conception of the Doom camp vs the outreach camp is fundamentally flawed because to a large extent Doom beat the outreach camp at its own game. Big action games with lots of explosions and violence are honestly more, not less accessible to people outside the core hobbyist sphere. The audience for more experimental ideas and styles is people who are devote more time and mental effort to the medium and want something new. You can’t reach new heights of sales and cultural penetration if you’re limiting yourself to a niche at the same time.

- Ido Yehieli

June 19, 2020 at 3:54 pm

And yet the most mass-market/mainstream games of them all are the likes of Candy Crush, Farmville, Homescapes and other mostly- or entirely non-violent “casual” games.

- Ido Yehieli

June 19, 2020 at 3:57 pm

Oh, and an additional data point:

6 of the top 10 best-selling games of all time according to https://en.wikipedia.org/wiki/List_of_best-selling_video_games are fairly- to entirely- non-violent!

- Avian Overlord

June 19, 2020 at 4:20 pm

I don’t think a list of bestselling games with GTA and PUBG in the top five is evidence against the idea that shooters aren’t niche. And the number 1 entry, Minecraft, is certainly a very divergent descendant of Doom, it has a bit too much running around in dark caves fighting monsters with FPS controls to deny that is in the end a descendent of Doom.

- Ido Yehieli

June 20, 2020 at 6:17 am

The point I was trying to make wasn’t that FPSs are a niche but that going against that grain doesn’t result in niche-ier games. The audience for so called casual games (in which I’d also include stuff like the Sims) is immense – much bigger than for traditional “gamer” games.

I think this is what Jimmy was eluding at.

- Jimmy Maher

June 19, 2020 at 4:00 pm

Yes. The demographic that loved DOOM was the same as the one which had always loved videogames. The industry’s problem in the early 1990s was that it didn’t know how to match other types of subject matter that could potentially be appealing to other demographics to compelling gameplay in a consistent way. That nut wouldn’t be cracked until the post-millennial casual revolution.

- JP

June 19, 2020 at 4:11 pm

Good analysis, I think it hits the mark. So many things grew out of Doom and not all of them were positive. I think what Doom proved to the powers of the game industry (even if it took them a while to realize it) was that 3D was a “force multiplier” for a team’s talent, and by the end of the 90s all the big publishers had begun to grapple with the new industrial processes it implied. What I find interesting is that for the original id crew, it was a way for their tiny team to punch way above its weight, whereas for big publishers it was a way to leverage their superior resources in a way that led directly to the truly mass market console boom of the mid to late 00s.

I think it’s also these other business entities outside id that bear the majority of the blame for making videogames a more narrowly focused, more hostile space in the years following Doom. Masters of Doom makes it pretty clear that id circa 1993 were just a bunch of metalheads and misfits and nerds. The infamously odious “John Romero is about to make you his bitch” magazine ad only came about years later when Eidos marketing needed a tagline for Daikatana that really spoke to the audience they were, by 1998, very consciously engineering.

This all makes me realize how lucky I was to have come into this medium when I did, in the late 80s and early 90s when it was exploding in so many different directions. Doom has an almost embarrassingly central role in my life and career, but it hit me simultaneously with SimCity, LucasArts adventures, strategy games, TIE Fighter, Prince of Persia, Out of This World, etc etc. All the frustratingly limited analysis around Doom fails to consider the full context of its time, and you’ve done a good job of bringing it all out. I’m especially grateful for your mention of Doom’s community, because I do think it has been a profound force for the expansion of the medium and it’s that spirit of progress and greater inclusion I try to represent in the things I make with Doom and in my weekly WAD Wednesday stream, which randomly samples from the decades of community output.

- Jimmy Maher

June 19, 2020 at 6:45 pm

No, the id boys had no idea what a monster they were creating. It amuses me to imagine how they would have reacted in 1993 if you had told them that the game they were working on would one day be mentioned in a speech by the president of the United States. (As for Romero… having not worked on an original critically lauded and/or commercially successful game since Quake in 1996, he’s long since become gaming’s version of Paris Hilton: famous for being famous. But he seems to enjoy being John Romero, so good for him, I suppose.)

- Joshua Barrett

June 19, 2020 at 8:42 pm

I’d be more upset with John Romero if it weren’t for the fact that he’s become such a damned likeable guy. And SIGIL got a mixed reception but honestly I thought it was pretty solid. Not as good as Tech Gone Bad, but good.

Of more interest is Empire of Sin, but that’s more Brenda Romero’s project. No doubt this blog will talk about her earlier works (namely her work on Wizardry 8, at the very least) sooner or later… probably later.

- Bmp

June 21, 2020 at 5:58 pm

That’s a nonsensical comparison. John Romero is a master level designer who, together with Sandy Petersen, established a formula _and_ created a high watermark of 3D level design, both at the same time. In fact, are there any PC action games before Doom that can boast similarly skillful level design?

If he didn’t have the opportunity to create more works of this level after Quake, that is very regrettable, but nothing unusual among artistic professions.

And it’s not because his level design skills faded – in fact, his level “Tech Gone Bad” for Doom 1, made in 2016, is a masterpiece.

I’ve played several of the community-made map sets for Doom 1 and 2 that received some of the annual “Cacoward” awards on the community site doomworld.com. I enjoyed them, but they go from the classical Doom level design style in different directions, such as more extreme action, much larger levels, more elaborate and detailed levels, new graphical themes, and so on. All enjoyable, but I missed maps that were an improvement on Doom while keeping the classic combination of exploration, surprises, tension and moderate (relative to modern fan-made maps) action. And map sets that intentionally tried to recreate that formula, such as the map set “Doom the Way id Did”, lacked inspiration, in my opinion.

Until Tech Gone Bad, which actually brings this formula to a higher level, and which I enjoyed more than any other level for Doom. It’s even one of the best levels of 3D shooters in general for me, though I do prefer the level design of 3D shooters before Half-Life put the genre on a different course.

The comparison to Miss Hilton, no disrespect intended, is inappropriate.

- Jimmy Maher

June 21, 2020 at 8:06 pm

You’re right. I won’t edit the original comment so as to preserve the context for this response, but it was pointlessly mean-spirited, even for a tossed-off parenthetical, regardless of what Romero has or hasn’t done since 1996. Mea culpa.

- Infinitron

June 19, 2020 at 4:48 pm

3D graphics had the potential to fix all that, practically at a stroke. A 3D world is, almost by definition, a collection of interchangeable parts. Consider a simple item of furniture, like, say, a desk. In a 2D world, every desk must be laboriously hand-drawn by an artist in the same way that a traditional carpenter planes and joins the wood for such a thing in a workshop. But in a 3D world, the data constituting the basic form of “desk” can be inserted in a matter of seconds; desks can now make their way into games with the same alacrity with which they roll off of an IKEA production line. But you say that you don’t want every desk in your world to look exactly the same? Very well; it takes just a few keystrokes to change the color or wood grain or even the size of your desk, or to add or take away a drawer. We can arrive at endless individual implementations of “desk” from our Platonic ideal with surprising speed. Small wonder that, when the established industry was done marveling at DOOM‘s achievements in terms of gameplay, the thing they kept coming back to over and over was its astronomical profit margins. 3D graphics provided a way to make games make money again.

This is a bit simplistic. The ability to render 3D models into 2D images would have existed even without high performance real-time 3D technology, and provided many of the same benefits. Many of the 2D games of the late 1990s, Interplay’s beautiful isometric RPGs for example, used 3D models that were converted into images and stored as sprites. This also allowed them to be of a higher visual quality.

- Jimmy Maher

June 19, 2020 at 7:49 pm

I didn’t say “high-performance real-time 3D technology.” Just 3D graphics. ;) Some advantages are lost by going pre-rendered, but other advantages — most notably the economic ones — remain. Consider, for example, a game like Myst. A team that small could never have created an environment that sprawling if they had to draw every view by hand.

- Lee_Ars

June 19, 2020 at 5:47 pm

God, Jimmy, this article—and, indeed, the entire series—make me pine for the handful of years I spent slinging boxed software at the friendly neighborhood Babbage’s in the mid-90s. I worked at that store from about August 1994 to about March 1998, and as the years roll onward I feel increasingly blessed that I was afford a front-row seat in what is possibly the most exciting era of computer gaming that has ever occurred.

I know intellectually that those few years in the 1990s were as difficult to live through as any other moment in modern history, and that there were ups and downs that I can no longer see through my rose-tinted personal history glasses…but, man, I would give *quite a bit* to work just one more mid-1994 afternoon shift behind that counter, standing next to those eggshell-white shelves, when the future seemed limitless and just around the corner.

(A few years ago I wrote up a article on Ars about my time at Babbage’s, and it remains IMO one of the best things I’ve ever written.)

- Jimmy Maher

June 19, 2020 at 7:00 pm

I have the same rose-tinged nostalgia for the time, from an only slightly different perspective. I spent the first half of the 1990s working at a record store, going to two or three concerts a week (we used to joke that our base salary was all the free concert tickets; the money was just a bonus), being absurdly broke pretty much all the time, and yet being blissfully happy. I’m happy now, of course, but it’s a different, adult kind of happy, full of qualifiers about the state of the world and all the rest. I know I’ll never know that simple youthful bliss again. Would be nice to take a holiday back there every once in a while.

Everyone of a certain age talks about the “simpler times” of the past, but I think there’s a legitimate argument to be made that the 1990s in the United States really was a great time to be young. Prestige drama was the X-Files, for God’s sake; the most pressing political concern we had was whether the government was hiding evidence of little green men from us. But it turned out not to be the end of history, just a pause…

But enough with the nostalgia that I usually don’t allow myself to indulge in here. Check out Harry Turtledove’s time-travel story “Forty, Counting Down” sometime. It really captures the feel of the 1990s, and how it might feel for a middle-aged guy to get to travel back to his youth in that time.

- Joachim

June 19, 2020 at 6:00 pm

” These patterns can be moved about the screen — think of the sprites in a classic 2D videogame, such as Nintendo’s Super Mario Bros. or id’s Commander Keen — but their forms cannot be altered with any great degree of flexibility. And this in turn limits the degree to which the world of a game can become an embodied, living place of emergent interactions; it does no good to simulate something in the world model if you can’t represent it on the player’s screen.”

I do get your point, and I remember in particular how impressed I was with the interactivity in Duke Nukem 3D. But I don’t know if I agree fully with the way you’ve phrased it. If you consider the roguelike-genre, for instance, there’s a lot of simulation going on there that matters a lot to the experience even though it was (at that time) mostly represented as ASCII or small graphical tiles.

Of course, you could argue that these weren’t commercial games and that the big budget titles of the day would have had entirely different requirements for how to represent things on screen, and that would be a good argument. But on the other hand, I don’t think it’s a coincidence that the first two GTAs were basically 2D.

“A freeze-frame visual comparison with the games the industry had been making immediately before the 3D revolution did the new ones no favors: the games coming out of studios like Sierra and LucasArts had become genuinely beautiful by the early 1990s, thanks to those companies’ rooms full of dedicated pixel artists. It would take a considerable amount of time before 3D games would look anywhere near this nice.”

Here I agree completely. I was never able to play Gabriel Knight III, even when it was new. I just could not get over how ugly it was. Same with Monkey Island 4, it just looked like a disaster compared to what came before, and I couldn’t stand it.

- Jimmy Maher

June 19, 2020 at 7:26 pm

There’s something to what you say. There was a somewhat dismaying trend in gaming prior to DOOM: as graphics got better, interactivity got worse. In the case of adventure games, for example, the text adventures of Infocom were a lot more flexible than point-and-click graphic adventures, which were in turn more flexible than full-motion-video interactive movies. As graphic fidelity increased and images onscreen became less abstract, in other words, it became more difficult to represent many *different* things onscreen without breaking the budget. 3D graphics fixed that problem, although it took them several years to crawl back up to the standard of visuals that preceded them.

- Eric Nyman

June 19, 2020 at 8:11 pm

I was just thinking the other day about the correlation between graphical improvement and lessening of interactive freedom over time in games, but that the two didn’t necessarily need to go hand in hand, or at least don’t now. It seems like with the technological constraints of that era now behind us, it would be possible to make a game with say, high resolution 3d graphics and total freedom of movement, but with a text parser for interactions. It feels like if Google can understand anything I type into my search bar, and parse it into reasonable output, a modern parser could do the same, given enough of a budget for such a game (considering what the modern IF community has been able to do, without a financial incentive!). And modern 3d engines would likewise be able to display the character performing the action inputted from the nearly limitless possibilities without needing to prerender each action. Has anyone ever attempted such a thing? It would give the best of both worlds in a sense; an immersive graphical environment and complete freedom of motion that interactive fiction lacks, while having the interactive possibilities of a typical work of IF (or perhaps even well beyond, with enough investment) that graphic adventure games lack.

- Jimmy Maher

June 19, 2020 at 9:23 pm

It’s long been acknowledged in interactive-fiction circles that responding to a much broader range of inputs — essentially allowing a full range of natural-language interactions — is a soluble problem, but the money it would cost to do so is impossible to justify.

I don’t know whether the combination of textual input with 3D graphics would ever really feel right. There’s a natural elegance to the use of text (or speech) for both input and output. The closest thing I’ve seen to an experiment like what you describe is Vespers 3D, which Mike Rubins labored on for quite some years: http://orangeriverstudio.com/vespers/. Unfortunately, the project appears to be defunct now. There’s been no updates since 2014.

- matt w

June 20, 2020 at 1:04 am

I feel like the big sticking point in interactive-fiction circles now is the world model… or perhaps we should say here the interaction model. It wouldn’t be too hard to crank the parser up so it can understand things like “climb carefully up the south wall just east of the window,” or at least I don’t think that this would be much harder than it was to write a parser that could understand “take the fruit from the wicker basket.”*

But the problem is that once you’ve parsed this, your world model has to implement climbing carefully up the south wall just east of the window. In an ordinary text game that would just be too much to model–those games generally don’t implement a specific location in the room, and certainly don’t implement being on the wall just east of the window rather than well east of the window. That is something that could be implemented in a 3d environment, but translating a command into that (instead of having the player WASD to the desired spot and inch up slowly) would be nightmarish.

For text input + 3D games, I was thinking about Event[0], which I haven’t played myself–but it seems as though that’s something with typical movement controls, and the free text input comes when you interact with an AI at terminals. It does seem like dialogue is the natural home for free-text input.

*Actually, testing this a bit, parsing “take the fruit from the wicker basket” is trickier than I thought!

- Jimmy Maher

June 20, 2020 at 11:33 am

I think you’re underestimating the difficulty of going from a rigid, limited subset of natural language — much like a programming language — to understanding pretty much whatever one types and/or says. Big companies like Google, Apple, and Amazon have finally solved the problem to some extent within their chosen domains, but it’s required years and years of work and huge financial investments — and the end results are still decidedly imperfect.

That said, I agree that an embodied 3D engine seems a poor fit with a parser anyway. When we move through spaces in the real world, we don’t think, “Okay, now I should move a little east.” We just *do* it.

- Eric Nyman

June 20, 2020 at 2:02 pm

I agree that the parser wouldn’t be the best choice for movement, and it would make sense to still use a mouse or cursor keys for that (though the parser could distinguish particular types of movement perhaps, such as in the cited example of “carefully”, but that might make for too difficult a puzzle if movement was otherwise not dependent on the parser) I was thinking that the advantage would lie in being able to type your interactions rather than having just a single cursor to click on items, thus giving you a far wider range of possible verbs at your disposal and increasing the immersiveness. Even if the game didn’t have a full natural language processor, a parser up to the standard of the most recent IF games would still work quite well.

- matt w

June 20, 2020 at 5:05 pm

Jimmy–oh no, I didn’t mean to suggest that it would be easy to go to a parser that would understand anything you said! Just that it would be relatively easy to go to a more complicated restricted parser, one that could understand adverbs and relative placements and things like that. Once we have VERB-NOUN-PREPOSITION-ADJECTIVE-NOUN, it’s not that big a step to ADVERB-VERB-NOUN-PREPOSITION-ADJECTIVE-NOUN-PREPOSITION-NOUN. But doing so would involve complicating the world model in ways that go far beyond what we usually see in IF.

I feel like this is a perennial discussion on the intfiction forums but of course I can’t find anything specific on it right now, but this comment from Chandler Groover about how he likes complex world models and simple parsers is something along those lines.

Eric–I think this connects to the issue with using a text parser for your actions. If you implement RUB LAMP in the text parser, you pretty much have to implement RUB for everything else in the game. It seems like it only adds immersion insofar as you have put a ton of work into making the world responsive and immersive in this way.

(Adam Cadre gave a talk with this summary in part:
“Writing interactive fiction means you’re limited only by your imagination. That’s the pitch, anyway. Is it really true? Or are you limited by the amount of time and patience you have available to code responses to ‘scrape parrot’ and ‘blow on cows’?” I have played a game that got me to scrape a parrot as a crucial puzzle-solving element, but that was accomplished through very good hinting!)

- matt w

June 21, 2020 at 1:22 am

For posterity’s sake, “take the yellow fruit from the wicker basket” wasn’t harder than I thought, I had just forgotten to specify that “basket” meant a basket.

- Ross

June 20, 2020 at 3:26 pm

One thing I remember from grad school is being surprised, having come from my work in interactive fiction, that the work on natural language processing (at the time at least) did nothing at all – in fact was kind of actively hostile – to interactive fiction’s approach of actually trying to parse input and match it against structural rules to figure out what the subject, verb, and object were, instead relying entirely on baysean similarity of the input as a whole to a corpus. One consequence at the time (and this is probably still true based on my experience with Alexa) was that it was very good at getting the general gist of what you said, but it would be utterly impossible to make it stop making certain categories of mistakes that would be extremely easy to solve, especially along the lines of “There is nothing whatever you can say to make it understand that you meant the less popular of the two things often associated with those words on the internet”

- matt w

June 20, 2020 at 5:08 pm

Ross, if you see this comment, I would love to hear more about the unavoidable mistakes!

- Sniffnoy

June 20, 2020 at 7:40 pm

Huh? There’s been a bunch of work on automatically producing parse trees of sentences. Not a linguist so I’m not the expert here, but I’ve seen it talked about on Lanugage Log a bunch. Here’s an example of a post discussing some such parsers.

- Peter Dowdy

June 19, 2020 at 6:22 pm

I am glad you’re not stopping here! Do you think the indie revolution of the late 2000’s is sufficiently distant to be worth covering?

I agree that DOOM coarsened the medium, but it also improved it substantially. I think Ken Williams could never see games as their own distinct art form; his appeal to the “interactive movie” showed that games (for him) lived in the shadow of “reputable” media. The Id boys needed to be crude to upend this establishment. They would not be the last.

Doom also improved the medium by exalting aspects of the gaming experience that are entirely unique to the medium. No other medium can embody the player like games can. No other medium makes the same physical demands on a player’s skill and control. While this isn’t all that gaming can be, this is something gaming can be that no other medium can be.

Sure, it led to homogeneity for a time, but every major development in . We know now that the indie movement won out in the end, and gaming has seen the flourishing of a plethora of styles, mechanics, and themes. This is a medium can encompass Gone Home and Doom Eternal, Crusader Kings and FIFA, Elite Dangerous and Six Ages.

- Jimmy Maher

June 19, 2020 at 7:39 pm

Yeah, I don’t know. We’ll just take it one year at a time. As long as we’re still having fun, right?

- Nic Allen

June 19, 2020 at 7:56 pm

Thank you for your blog and I’m glad you are continuing to log the history of computers and the games played on them. I’ve been reading for years thanks to being introduced to it by my manager at a previous job.

I was only 11 when Doom came out. I don’t remember exactly when I first played it, though I’m sure it was much later. I do vividly remember a friend of my brother showing me the game and how to make levels for it and couldn’t wait to make my own.

I already decided I had wanted to learn how to make games at that point. I filled notebooks with Mario and Mega Man like levels and even programmed simple games from as young as 9 based on books my dad would bring home from work and ones I found in the library. So while making levels in Doom wasn’t my first taste of game development it definitely had a big impact on my desire to keep making games.

Working in the game industry wasn’t always what I had hoped it would be, but reading your blog often reminds me of why I love making games and their history. Thanks again

- Keith Palmer

June 19, 2020 at 8:31 pm

A lot of your reflections here on Doom’s impacts agree well with me, even if I’ve spent some time in the past few weeks playing the game again (via the “Chocolate Doom” engine), acknowledging its visceral impact but indeed uncertain about “long-term effects” (if nothing else, on my poor wrists). Of course, “everything” can’t be blamed on Doom, and counterfactuals can support just about anything.

Bringing up “3D versus 2D” reminded me of a comment in your The Future Was Here about the Amiga’s graphic architecture had been designed for “sprite-based games” but made “first-person games” that much harder to implement on it, an unfortunate contrast with those mentions of recent Doom ports (although I also have to reflect on how my family’s undistinguished if accelerated Macintosh LC II had to step Marathon down to its absolute lowest graphics level to run at even minimal fluidity). The comment about “2D sprites,” though, did have me reflecting on a defiant comment in an issue of 80 Micro from a decade before that “all video games are really just about bringing certain phosphor blobs together while keeping certain other phosphor blobs from meeting; therefore, the ultra-low resolution of TRS-80 games makes us minimalists and purists.”

While I remember your comments about Doom making a potential stopping point, I am interested in what might now lie ahead here, for at least the next several years of history.

- Kroc Camen

June 19, 2020 at 9:05 pm

I think you missed an additional point in this paragraph:–

“Like the DOOM people, the interactive-fiction people built upon a beloved company’s well-nigh timeless software engineering; like them, they eventually stretched that engine in all sorts of unanticipated directions, and are still doing it to this day.”

Not only did both communities stretch their respective engines, they also developed completely new standards and engines and moved beyond the original systems. The DOOM community came up with the Boom/MBF, DECORATE and ZScript extensions to the original engine’s interactive capabilities, and the GZDoom engine can do all manor of crazy tricks including a horror-survival game (Total Chaos) that you would be very hard-pressed to recognise as running on the same executable that can play the original DOOM.

- scruss

June 19, 2020 at 9:09 pm

I appreciate your honesty about having misgivings about Doom, Jimmy. From about 1986 to the early 1990s I was an avid gamer and wrote for a bunch of magazines. I adored every bullet-hell shmup I could load up. Then one of my editors sent me the free episode of DOOM, along with a note: “You’ll love this!”. I started playing it once, and I noped out — hard — for a very long time.

Even with the “you’re killing the bad guys” backstory and the blocky graphics, I couldn’t stomach the pitching of the violence. I felt the game was hitting some lowest-common-denominator: it didn’t reveal anything new, it just just amplified some very basic instincts. I see my nephew playing essentially the same FPSs as DOOM, just in 4K. We could have done so much more.

Just as an indication of how long I’d noped out after DOOM: the next contemporary game I bought after being away was Untitled Goose Game. And I loved it — it brought back all of the fun of gaming in the late 80s.

- Andrew McCarthy

June 19, 2020 at 10:40 pm

I’m glad you’re finally moving away from DOOM. I hope future articles will return to games you genuinely like, since it’s been very obvious from the first in this series that you didn’t enjoy writing about this game.

- Andrew McCarthy

June 19, 2020 at 10:44 pm

To be clear: I’ve never played any DOOM games, aside from trying out the first couple of levels of the first game. But I’ve enjoyed most of what this blog has chronicled over the years, and I’ve been very disheartened by the disapproving, moralizing tone this series of posts has taken. Looking forward to reading future articles on other subjects with a more positive outlook on things.

- Micharl

June 19, 2020 at 11:44 pm

Funny, Andrew. I have a very different reading of this series. For context: I have never played DOOM and only first heard of it from President Clinton. Although as a Civil Libertarian I’ve always opposed censoring video games, my impression was that this one was quite beyond the pale. Jimmy’s series has humanized it for me and caused me to reconsider its place as one with a much more mixed, indeed surprisingly positive, place in gaming history. I find his depiction of the id boys quite sympathetic, even affectionate at times.
If you want to see what it’s like when Jimmy genuinely disapproves of something, by comparison, go back and read the article on Piers Anthony. The tone there is completely different, and it’s quite clear where he stands. (I still find it entertaining and enjoyable to read, nevertheless!)

- Brent

June 20, 2020 at 11:30 am

Agreed. I loved Doom as a kid but now I kind of wish it hadn’t been made. I really thought there wasn’t much else to say on the subject but Jimmy’s articles in this series have done a fantastic job of reckoning with its conflicted legacy.

- Bitmap

June 21, 2020 at 6:03 pm

I rather agree with Andrew. I perceive the tone of the last few posts as “affectionately condescending”, starting with calling the developers “id boys” throughout.

- Patai Gergely

June 20, 2020 at 7:13 am

If you consider the broader context all these changes played out in, you could argue that mainstream games simply caught up with the normalisation (and often glorification) of violence in the general mainstream culture that surrounded them at the time. It’s hard to imagine a world where this wouldn’t have happened eventually.

- Kai

June 20, 2020 at 9:59 am

If 3D saved us from the mostly atrocious full motion video technology taking hold in video games I guess I gotta be thankful, even though I never fully understood the appeal of DOOM and games that followed in its stead, especially in their single player modes.

Even today I’ll often find well-made 2D games more appealing than their 3D counterparts from a purely visual, artistic and aesthetic perspective. And while there is artistically creative use of 3D too, at lot of these games seem to be aiming at better and better mimicking the looks of our natural world, but always falling short in comparison to, say, a glance out the window.

I really wish that the amount of energy devoted to achieving near photo-realistic graphics would instead be poured into more innovative gameplay and less linear narratives. But to me it seems a lot of (AAA) games that have a focus on narrative rather than violence want to pretend that they are interactive movies. So maybe the part of the industry that pushed FMV in the 90s is in fact still at it today.

- Andreas Davour

June 20, 2020 at 12:17 pm

A very good post this. I have, just like you had my misgivings about Doom and what followed. It’s heartening to read this and see my own feelings so well expressed. I have never managed to engage in either Doom or its followers.

Also very good to hear you are not stopping writing. I look forward to more of these articles for years to come.

- Veronica Connor

June 20, 2020 at 4:21 pm

I think it’s true in a very narrow sense that 3D lowered production costs initially, but very quickly it caused art budgets to shoot to dizzying heights that the 2D days couldn’t have imagined. The amount of texturing, modeling, lighting, animation, environmental metadata, and other assets required by 3D games has shifted the artist:programmer ratio from 2:1 in the 2D days to 100:1 and rising today. I watched this exponential jump in production costs kill many a company in my 30 years in the industry.

- EG

June 20, 2020 at 4:41 pm

At this point, a history of PC gaming turns into a history of mainstream Western youth culture, or a large share of it. Maybe this explains the tone of unease. We don’t see many US Presidents and Senators appearing in the Infocom era. Nor is it herein possible even to maintain the pretence of being a comprehensive history. Finally, a lot more people care about PC gaming from this point on, and enough of them have written versions of the history, and read them, so all our opinions are shaded.

“Doom” did surely grow the “base” of PC gaming, simply by sheer numbers. As we move from micros to IBM PCs to phones with OS, we get an ever-growing pool of opportunities to play games, starting with micro enthusiasts and their families during long periods of private free time, and nowadays being almost-everyone for periods as brief as a few minutes. In this light: “Doom” is not the converse of casual games but an intermediate step after the puzzle-RPG fare of the enthusiast era; and violence and non-violence is a false dichotomy because the demographics in each category are too diverse.

Now of course this is a computer game blog, but we could write that history of youth culture from 1953-1993 and it could easily omit computers entirely. Puzzles and Ultima-style RPGs may have dominated the tiny market for PC games, but had less impact on the late-20th century mass culture than Gilbert & Sullivan or barbershop quartets. As for Romero, he lives relatively locally and is a good developer of enthusiasm; anyway, with “Doom” and “Quake” two hits are all you need.

- Linguica

June 20, 2020 at 7:12 pm

I have enjoyed your series of articles on the era surrounding Doom. I come at it from the opposite perspective where Doom was an indescribably massive influence on what I thought of computer games, games, and computers in general. I enjoy reading the perspective of someone who is perhaps not as thrilled with it as I am.

Your piece identifies two competing schools of design in the 90s PC game scene. On one hand were the increasingly expensive and elaborate multimedia projects which required “armies of artists” and “hours of full-motion-video” to make what amounted to a “badly acted movie gated with frustrating logic puzzles”. On the other hand were Doom and games of its ilk, which offered “vastly more emergent potential, made at a greatly reduced cost” and where designers could “begin building virtual realities in earnest”. Furthermore, these new sort of games “never suffered the identity crisis of their rivals” and were “very, very popular”.

I don’t think it’s hard to determine why players migrated in the direction they did. You seem to presuppose that it’s a shame what happened, but your piece doesn’t really address *why* it happened, beyond reiterating the history and then sort of shrugging. Maybe it seems too rote and obvious to point out that ultimately Doom was a lot more fun and cool and compelling than the interactive movies of the time. You quote the founding editor of Game Developer magazine who shared his wish that home computers would ultimately be turned into a “interactive VCR”. He ultimately got his wish, as we all have interactive VCRs in our pockets nowadays, but people still seek out and play computer games.

I think Doom wasn’t so popular because of the blood and mayhem, but because it was, as you say, the first convincing “virtual reality” game. Earlier games were certainly fun and varied, but something like a text adventure does not inherently require a computer per se. A game like Doom, however, is implicitly simulating a whole world and placing you within it in a convincing manner. Only a few years earlier, Star Trek TNG had popularized the concept of the “holodeck”, which was conceptualized as a free play space where people could create anything they wanted and explore it at will. Doom, by its nature, was the first game to convincingly render such a thing in real time.

I also think it’s worth noting that the transition to a 3D world leveled the playing field, at least temporarily. You seem to lament that the expensive, lush 2D graphics were replaced for a number of years by crude, cheap 3D graphics. However, you seem to fail to realize that this in itself made computer gaming as a medium far more accessible than it had ever been. Which is the more inclusive: a genre where you have to have millions of dollars and an army of artists to make your own game people will want to play, or a genre where a kid in his bedroom can throw together some programmer art and it’s still a good time? You mention Doom modding in passing near the end but underestimate what a sea change this was for people not already familiar with the industry. Doom acted as a My First 3D Game Construction Kit for a non-negligible number of industry figures and the impact of that cannot be discounted.

There is a 1994 game, released a month after Doom 2, that I think is very illustrative. As Wikipedia says, Under a Killing Moon “was one of the largest video games of its era, with a budget of 2 million dollars and arriving on four CD-ROMs”. The game includes a large number of what would today be called first person segments which were unusually high fidelity for the time. The designers at the time said, “we want the 3D movement of Wolfenstein, but we want it to look closer to the quality of [pre-rendered graphics of] The 7th Guest.” I bring it up in part because I was a kid at the time and I saved up my allowance to buy Under a Killing Moon partially on the promise of its realistic 3D environments. And to be clear, the “graphics” of the first person 3D segments put Doom to shame. But the game shunted the experience into a small corner window with low resolution choppy graphics and terrible, inscrutable controls. It simply wasn’t fun to “explore” the rooms as if I was actually there, because the point and click adventure roots of the game placed several layers of GUI and control abstraction between myself and the world. However, if any part of the game could be said to be “innovative” it would be those segments, because the trajectory of the 3D virtual world was on its way up, up, up, and the trajectory of cheesy FMV adventure games was on its way down, down down.

I also would take issue with your insinuation that there is a thread leading from Doom all the way to Gamergate. This may be true in the strict “but-for” sense, in that the world of video games would be unrecognizably different if Doom had never been made. Gamergate, despite the name, was predominantly a plain old reactionary culture war, weaponizing the interests of disaffected young men, and was unique mostly for being fought on a new battlefield.

I think it’s an interesting hypothesis that what we saw in the early to mid 90s in computer gaming was a similar culture war, going the other direction. A group of disaffected young punks barged into the computer gaming scene and dropped a metaphorical neutron bomb on it, and the cohort of older, more “experienced” players and developers were mortified at the crass degradation of what they had considered a relatively cultured hobby. The flailing of the industry with interactive movies and expensive multimedia experiences ultimately led nowhere and the industry was ultimately forced to bend to the winds of change, but they seemed to do so resentfully, and flailed around with expensive, boring, poorly selling flops for several years, to the edification of seemingly no one but themselves.

Perhaps most infamously, in 1995 a fly-by-night company bought the rights to port a certain computer game called Doom to the 3DO. The suits naively expected to wedge in a fully acted story with FMV cutscenes and foam-latex monster costumes, because that’s what Grown Ups in the Industry did at the time. When they finally got around to hiring a programmer, she was horrifed at the state of affairs and had to slap together a barely-functional port in ten weeks, which is still maligned as probably the single worst official Doom port of all time. The programmer has since related that she was baffled by what the executives, with their more traditional view of computer games, had expected to happen. It turns out much of the rest of the world felt the same way.

- Martin

June 20, 2020 at 11:55 pm

I was looking forward to the Doom articles for literally months but when they came out they fell flat and didn’t connect with the “why” of game being the success it was. You my friend Linguica, is someone that gets it!

From the beginning of computers, while it is great to play the game, many that were interested in this nerd based activity wanted to create as well. When the first micro computers came out, interpretive BASIC was provided as a means to create something on it. After the days of Infocom, adventure building products were created to allow people a chance to put into motion their interactive fiction ideas they had always been thinking of.

Now with Doom, not only was there a way to make second tier offerings in the way that BASIC programs was never going to out do assembler programs (or an AdvSys homebrew could rival an Infocom classic), but you now had access to ALL the features of the game and with some effort, could actually create a better offering than the original.

Sure most of the WADs created in the late 90’s are, well, crap but just read the excitement that the (likely) kids put in their text that described their levels. The people were able to step away from being mere consumers, to being creators again – and they liked it!

For a while, for a game to be a success, it had to include world building tools with the game but then later on, that fell away and we have returned back to being dumb consumers of the cutting edge games and the engines that produce them. What is good is that communities of creators still exist for the games that had their source code freed. Much is still happening in the world of Doom and Quake thankfully.

You would have to be there to understand it.

- Ignacio

June 21, 2020 at 3:07 am

Nice series Mr. Maher! Thanks!
One minor detail:
“and even more so in the game that followed it”
Did you mean
“and even more so in the gameS that followed it”?

- Jimmy Maher

June 21, 2020 at 7:40 am

Yes. Thanks!

- Lev Serebryakov

June 21, 2020 at 11:12 am

I’m almost sure, that in future you will discuss Dwarf Fortress. I’ve been stumbled on video (interview) where creator of game tells about narratives which are main product of this game in eyes of player community. He tells very interesting idea: that, maybe, main users of Dwarf Fortress are people who read these narratives on community forums, and players are only beta-testers and “helpers” to game to create these narratives. Maybe, it will be interesting for you: https://www.youtube.com/watch?v=VAhHkJQ3KgY

- Jimmy Maher

June 21, 2020 at 11:49 am

Interesting indeed! I discussed this idea of games as a tool to generate more conventional, linear narrative in the introduction to my article on Betrayal at Krondor…

- Captain Kal

June 21, 2020 at 3:29 pm

“A shocking proportion of the new games being released fell into one of just two narrow gameplay genres: the first-person shooter and the real-time-strategy game”.

This happened in the late 90’s early 00’s, if I remember correctly. It was the time that when I was visiting my local store to buy new games, I couldn’t find a lot of new space combat/trading sims!! And those I found where badly translated Russian or German games!!

“Check out Harry Turtledove’s time-travel story “Forty, Counting Down” sometime. It really captures the feel of the 1990s, and how it might feel for a middle-aged guy to get to travel back to his youth in that time.”

I think it was first published in the Isaac Asimov’s Science Fiction Magazine, and it was paired with “Twenty-One, Counting Up”, published the same month in Analog Science Fiction. (or the opposite)!!!

- Jimmy Maher

June 22, 2020 at 8:24 am

Ah, okay. I came upon it in the anthology The Time Traveler’s Almanac. I found the book vaguely disappointing on the whole — my tastes just don’t seem to align very well with those of the editors — but this one story left a major impression on me. Will have to find “Twenty-One, Counting Up.”

- CdrJameson

June 22, 2020 at 3:22 pm

Another significant transition that could be seen as being triggered by Doom was the shift to multiplayer in games where before the single player experience was everything.

You could also go for the emphasis in production on separating the technology (engine) from the content (game).

It really was the elephant in the iceberg of computer games history.

- Martin

June 22, 2020 at 4:23 pm

Those Wiley elephants do like iceberg lettuce, don’t they.

Languages as old as COBOL had a hard data/code split, but as you say, it was a “throw it in anywhere where you want” kind of thing for most significant games back then. Does that fit in chronologically with the object oriented bandwagon that was happening around that time?