Showing posts with label developer interviews. Show all posts
Showing posts with label developer interviews. Show all posts

Saturday, September 29, 2012

Dale DeSharone - an unspoken legend

After HG101 contributor Audun Sorlie wrote a memorial for composer Ryu Umemoto, I felt compelled to dig out the notes from my interviews with Dale DeSharone, who passed away February 2008 from leukemia, and share them with the world. For me there's a feeling, like a sense of duty having interviewed someone no longer with us, especially since as far as I know I'm the only one to have interviewed Dale. He was involved in early Atari software, some acclaimed C64 classics, including Below the Root, an adaptation of Zilpha Keatley Snyder's Green Sky Trilogy of books. He was connected with the team that developed Red Book Audio, was a pioneer of the CD medium for games, and was instrumental in making sure the Philips CDi had software. His career later included the PlayStation and GameCube, right up to the current generation. Perhaps though, his most known works, are the two side-scrolling Zelda games for CDi, which I will forever argue are well designed games which are fun to play.

Above all though, Dale was a sincere, decent human being, well loved by all those who knew and worked with him. I am always reminded of the memorial comments from James Bach, who explained how Dale had given him a start with his career, taught him to drive and helped him through a family tragedy.

My own experience of Dale was that he went above and beyond when helping with my articles, providing numerous high res scans and always happy to answer my many questions, and I will always remember that.

Wednesday, February 15, 2012

An interview with Ken Lobb

It recently transpired that ReyVGM on the HG101 forums had exchanged several emails with games industry veteran Ken Lobb. Not many will recognise the name, though his initials KAL should be more familiar. He worked at Taxan, Namco and Nintendo, and had the Klobb gun in Goldeneye named after him. As we’ll reveal, he’s been responsible for some truly, astoundingly excellent ideas. Read on for the email exchange.


Friday, September 2, 2011

The Making of The Lost Vikings


Before Blizzard became Blizzard and made Warcraft games, they were known as Silicon & Synapse, and one of their games was Lost Vikings.

I had been planning an article on The Making of Lost Vikings for Retro Gamer magazine, to coincide with Blizzard’s big anniversary. Unfortunately despite many attempts at faking email addresses in order to get in contact with Michael Morhaime, Allen Adham and Frank Pearce directly, none worked.

Eventually I resorted to their PR department, who passed me along several times before settling on one contact, who said he’d try to arrange it. In the end they said everyone was too busy and they wouldn’t be able to do it.

So the article is a non-starter. In my research though I discovered that Blizzard’s Insider newsletter did an interview with Mike Morhaime for the 10th anniversary of the game. Which I’m reposting below. Why am I reposting content from another website? Because Blizzard deleted it from their archives, thereby forcing me to rely on the Wayback Machine. Which is shaky at best.

So this post serves two purposes:
1) I am re-archiving historical content which has been deleted (why Blizzard did this, I can only guess).

2) If you know Michael Morhaime, Allen Adham or Frank Pearce personally, and think they’d like to be interviewed, head to Hardcore Gaming 101’s front page and get in touch with us. From what I can tell only Michael is still full-time at Blizzard, so maybe the other gentlemen will be more willing to talk.


Enjoy the interview. All the images were stolen from various other websites, like Mobygames and Wikipedia.


Interview with Mike Morhaime
To celebrate the 10th anniversary of The Lost Vikings, Blizzard recently announced plans to bring the title to the Game Boy Advance this spring. The Insider spent a few minutes with Mike Morhaime, president of Blizzard, to talk with him about the game's creation and what it was like to work at Blizzard back in the Viking days.

BI: Can you tell us how the idea for The Lost Vikings evolved?

MM: Everyone in the office was playing Lemmings at the time, and loving it. We especially liked the way they had characters with unique abilities working together to solve interesting puzzles. With that style of gameplay in mind, Vikings started out as a puzzle game that involved a lot of Viking characters onscreen simultaneously. As we got further along in development, we learned that it just wasn't possible to create that many characters with sprites on the Super Nintendo, so we decided to cut the number of Vikings down to five - each with their own unique abilities. We really liked the arcade action feel that directly controlling fewer Vikings gave us; however, we found that five was still too many to achieve exciting gameplay. After a bit more design work, we paired it down to the three Vikings that we have since come to know and love - Erik, Baelog, and Olaf.

BI: How many guys worked on the game? How long did it take to develop?

MM: I believe we created the game with only about twelve people on the team. Development on the project began late in 1991 and we finished the game in about a year. It was a really exciting time for Blizzard, because this was the first game that we developed from the ground up as a company.

BI: What do you remember about that time at Blizzard?

MM: Back then, we were much smaller, so it was easy to have frequent all-company events. A couple cars could take the whole company out for drinks after work. Our projects were a lot smaller back then too, and (believe it or not) we had a reputation for consistently finishing games on time. No one knew who we were or had any idea of what we were working on back then, but we always felt like we were on the verge of something big. When the magazine reviews started appearing for The Lost Vikings, it was a great thrill for all of us!

BI: The original Lost Vikings featured both the Blizzard and Interplay logos. What was the relationship with Interplay?

MM: Several of our earlier games were published by Interplay, including The Lost Vikings. Interplay provided funding for the project, handled sales, marketing, manufacturing, and distribution. They also provided assistance to our development staff in areas where we didn't have sufficient resources at the time. They contributed audio, quality assurance, and they even provided some character animations for us to use as well. They had great comments and suggestions during development, and we learned a ton by working with them. As is normal for a development relationship like this, Interplay retained all the rights to the intellectual property for the game.

When the GBA came out, we felt that it would be the perfect platform for The Lost Vikings, Rock 'n Roll Racing, and Blackthorne. It's always been kind of a dream of ours to eventually get the rights back to our earlier games. We checked with Interplay, and sure enough, they were willing to sell us back the rights. For me, that's a perfect ending to the story, and coincidentally just in time for the The Lost Vikings' 10-year anniversary!

BI: Is there anything you learned in developing The Lost Vikings that has found its way into Blizzard games ever since?

MM: I think we learned some important design lessons that have become sort of part of the Blizzard culture now. Everyone at the company played The Lost Vikings over and over to help test and polish it. We saw what a huge impact that such attention to detail had on the game. We also learned that the people who program and design a game aren't the best judges of how difficult it is to play; they know the game too well. We had to constantly bring new people in and watch them play, especially with the early levels, to make sure they weren't too hard. Working on Vikings helped us remember the big picture: that a game, first and foremost, should be fun to play…that it should feel good and look good. The Lost Vikings was also our first attempt at adding a bit of humor to a game. We wanted each Viking to have some charm, so we came up with funny animations and interesting dialogue to give each character his own unique personality. By the time Warcraft II came along, we had refined the concept a little more, but Blizzard's first attempts at humor began with The Lost Vikings.


Monday, August 29, 2011

Great interview with creator of Psychic World and Outrun 2019 on GDRI


A couple of days ago, GDRI has posted a huge interview with Tsunemoto Sugawara for their 5th anniversary, who worked at Hertz on classic games like Psychic World / Psycho World, Hydefos, Lenam and Outrun 2019. The interview is from two years ago, but hasn't been posted in its entirety until now. There's tons of background info on this little known developer and its games, and even some concept sketches for Psycho World, so check it out.

Friday, July 29, 2011

Interview with film director Kaizo Hayashi, who was script writer on 7 Blades for PS2

7 Blades was an interesting, early-ish PS2 game published by Konami, featuring sword-based combat for the male character and gunplay for the female. It was released in Japan and Europe, but strangely not the USA. Since I’m about to post my copy to HG101 overlord DiscoAlucard for an article, I thought I’d also put up this interview featured in the game’s manual, with Kaizo Hayashi. Developer interviews in game manuals, now that’s what I call classy! I wish all manuals had this.

.
.
.
Apparently Hayashi’s a famous film director. I’ve never heard of any of his films, but considering how utterly batshit insane and awful the 7 Blades story is, I can’t imagine they’re all that great. And I don’t think it was localisation problems, since 7 Blades features the original Japanese voice track with subtitles – it’s just honestly ridiculous. Not bad ridiculous, rather the kind of totally-super-radical-awesome ridiculousness that only videogames can get away with. You know what I mean, Kojimaesque writing.

CLICK TO ENLARGE

Having said that, Hayashi does make an excellent point about how there are certain things that only games can do, which no other communicative medium is capable of (be it music, theatre, literature, cinema or interpretative dance).

Any way, enjoy the scan. I’m guessing few have read this since it wasn’t released in the US and his Wikipedia page doesn’t even list the game in biography. Which is just how we roll – bringing the obscure to light.

Friday, July 8, 2011

History of Ys interviews by John Szczepaniak

Issue 111 (one-hundred-and-eleven) of GamesTM features an 8 page History of Ys feature by me, John Szczepaniak. As usual they didn’t credit the author, and they also spotted my attempt to hide my name in screenshots, so sadly no one will know I wrote it. But, since there were a lot of unused interview answers, I’m going to post them here for your reading pleasure. Includes interview answers from Toshihiro Kondo (president of Falcom), Hiromasa Iwasaki (creative director on PCE), John Greiner (localiser on PCE), Ken Berry (director of publishing at XSEED), and Jeff Nussbaum (official localiser and fan translator). If you like these snippets of unused interview answers, consider reading the actual issue of GamesTM in your nearest newsagent/shop, and while you’re at it, email the editor demanding writer credits! – (blog entry written by J Szczepaniak II)
.
.
.


I’ve also included some low-res scans of the article. Someone on the Ancient Land of ys forum though has posted HI-RES scans, if you want to read it but don't have access to the magazine.

Since I was over my word limit, there’s every chance that interview answers were cut from the final version (I’ve not seen it, I’m still waiting for my freelancer copy to arrive!), so I may add more here later.


TOSHIHIRO KONDO

JS: What was the inspiration for the red-haired hero Adol Christin, and the world of Ys he lives in?
TK: He’s a young adventurer and even though in his profile it states that he later writes over 100 adventure journals, in-game he never speaks and you can never tell what type of person he is. This is because we wanted Adol to portray the player within the world.
Now Adol is beloved in the same way as a popular historical figure. He is a very mysterious character who never speaks, but fans still have their own interpretations of, “This is like Adol,” and, “this is not like him.” Throughout the series players have been imagining who he is through his actions and adventure journals, and now that common thought has become part of who Adol is. In that sense he is a character that has been fostered and molded by the players.


JS: Is Falcom shifting more to consoles than PC development?
TK: Recently, we have been concentrating on the console side too and getting a lot more fans that may not have played any of our PC games.


JS: What was the reason for outsourcing development of Ys IV to both Tonkin House and Hudson? How much influence did Falcom have on each game?
TK: I’m sorry but I do not have any details about what happened then and cannot comment on this question.



JS: English speaking fans are so passionate they’ve made unofficial translations of Ys – what does Falcom think of this?
TK: We’re really honored that people are interested in the Ys world so much. However, at the same time we always felt guilty for not being able to bring an official product to their hands. We’re very pleased that after a long time we were finally able to bring over an official English version for this audience.

JS: The popularity of the Ys series has endured for 24 years. Why do you feel this is? Are you planning a surprise for its 25th anniversary?
TK: In Ys lore Adol is said to have left hundreds of adventure journals. The latest adventure we released was the 7th adventure so there are a lot more adventures to cover. It might be the excitement of wondering what adventure Adol tackled at what age that makes this series possible.


JS: What happens next for Falcom, the Ys series, and your partnership with XSEED??
TK: We were able to release the first chapter of the “Trails” series in the States. The European version is schedule to come out later so please keep an eye out for it. We announced that we will be releasing the latest iteration in the Trails series, “Ao no Kiseki” (direct translation: “Trails of Blue”), for the PSP in Japan.


JS: Do you want to say anything else to your English fans?
TK: For a long time we have been getting requests from the English speaking fans to publish an English version but we couldn’t fulfil their wishes in a consistent manner. This time we were able to develop a partnership with XSEED Games which provides us with a pathway to release our titles in English territories. For the Ys series we were able to publish Ys SEVEN, I & II Chronicles, and Oath in Felghana so please give them a try if you haven’t done so already. We would love for more people to play our titles and get familiar with our work, and in the meantime we’ll strive to create more titles.



XSEED (Ken Berry, director of publishing)
JS: Can XSEED comment on working with Deuce to bring about the official localisation of Oath in Felghana and Ys I&II?

Answered by Ken Berry, Director of Publishing at XSEED Games:
As we were getting ready to start on the translations for these projects, our newly hired Falcom fanboy, Tom, stated that there were already some great English translations created by another Falcom fan that went by the name “Deuce” on message boards. Since Tom knew Deuce he reached out to him about us using his translations and Deuce was immediately onboard. A lot of companies, including us when there’s too many projects for our in-house staff, outsource their translation so we figured why not outsource it to someone that’s intimately familiar with the material while also saving us the time of taking a couple months to do it since it’s already done? We always have our internal team proof and edit any translated scripts, but this saved us some time in our localization process to be able to allocate any time usually reserved for the translation process to the editing side for a more polished final product.

JS: What are XSEED’s future plans with Falcom?
Ken from XSEED: We have a very strong partnership with Falcom where we’re always discussing potential projects, both new and from their great back catalogue of games, for English localization. Though we haven’t finalized the terms yet for either of these titles that Kondo-san mentioned, we will continue to have discussions with them about these and other titles to determine together which ones make the most sense to bring over.


JOHN GREINER – head of MonkeyPaw Games and localiser on the original PCE-CD/Turbo Duo version of Ys I&II.

I remember Ys of course. In fact, it was one of the first games I ever worked on. I helped Iwasaki-san with the English version. The game producer was a guy name Iwasaki, a freelance to Hudson. Although I don't know how the title came to Hudson, he just might. Well, Hudson's CD ROM-ROM add on to the PC Engine was the first time that a CD drive had been attached to a dedicated videogame console. Its hard to imagine games before large format media but CDs offered the chance to do real voice and deep cinematics.
Ys was the first game to really use the space and the effects were dramatic. Iwasaki-san was the Hudson producer. He was a near-genius and was very talented. When the game came out, it opened a new era in the industry as now the bar was set much higher and the way to make games was changed forever. So in some ways, Ys was a precursor to what games have become today.



HIROMASA IWASAKI – freelance programmer for Hudson and creative director on the PCE port of Ys I&II (image taken from Facebook)

In Ys book I&II, one of the original artists “Tomoo Yamane” had joined and created with us. But for some reason, his name was tilted as “Hideyuki Amagi”. This is true story. I had written all the story of Ys development in my Japanese BLOG

(JS: apologies for the brevity of this section, but I used almost all of Iwasaki-san’s answers ion the print article)


JEFF “DEUCE” NUSSBAUM – official XSEED translator on several Ys games, freelance fan-translator on older Ys games.

JS: Briefly describe yourself and current occupation. You’re an official translator, correct?
JN: I'm a generally disagreeable and highly opinionated sort of fellow who is very fond of inflicting his tastes on others (sadly, I’m not joking... just ask my wife). My current daytime job is as data analyst for a multinational corporation. A boring title which has no bearing on my passion, which is, of course, games. Officially, I’ve translated two Ys releases for XSEED (Ys: The Oath in Felghana and Ys I & II Chronicles), and about 1/3 of the text in Legend of Heroes: Trails in the Sky. Unofficially, the only Ys title I haven't translated at least 90% of is Ys Seven, and that’s just because XSEED's deal with Falcom was announced before an Ys Seven fan translation project could get off the ground, beyond a 30-second proof of concept video that was never publicly released.


JS: How did you first get involved in translating the Ys games?
JN: Very much by accident. Back in 2001, I was poking around the internet and found place called RIGG, dedicated to preserving old PC Engine and TurboGrafx CD games. It was run by a fellow by the screen name of Nightwolve (which, to this day, makes me think of “Nightwolf” from Mortal Kombat). I found out that he was doing some tinkering around with Ys I Complete for PC, which I had recently purchased. He had put up the Japanese script file for anyone to mess with, and so I downloaded it and decided to see if I could translate it. I did, though it took a while. This was my very first serious translation work of any kind, so it was a pretty sloppy first draft, by my standards, though more for translation errors than anything else. I’d made no announcements regarding my intention to translate the script, and the fact that I literally popped up out of nowhere with a translated script was a little jarring to NW.

JS: From here you partnered with Nightwolve, correct?
JN: [We eventually worked] on several other Ys titles, most of which saw an English patch release. We actually were about 95% done on Ys VI: The Ark of Napishtim before there was a lawsuit between a Falcom licensee and a Korean translator/hacker, which resulted in us halting the project entirely. Soon after, Konami announced their licensing deal to bring the game to the United States on PS2 and PSP, so our PC patch got shelved indefinitely.

It’s worth noting that Nightwolve and I could not have been more different without making a concerted effort to do so. He was (and is) an extremely conservative Republican... your prototypical Bush-supporting, flag-waving, God-fearing, go-get-‘em sort of fellow. I, on the other hand, have more liberal-leaning, radically-atheistic views. It’s no stretch to say that our only common ground was our mutual love of the Ys series.

The turning point came with the release of Ys: The Oath in Felghana for PC. I was incredibly excited for the game, bought my limited edition copy, and pestered Nightwolve (henceforth called NW) for a script dump from day one. Once I had it, I burned through the script and had a 100% completed rough draft in seven days... a record for me.

So, NW took the script and built a beta-test version. Given his then-current financial state, he had been partially relying on donations from his web site to defray some of his basic costs. So, he had the idea of making the Oath in Felghana beta available exclusively to those who donated, then publicly available once the donation period was completed. This idea did not sit well with much of the fanbase. He was called every name in the book, and then some. But everything didn't truly go south until someone donated to receive the beta patch, and then immediately distributed it online.

NW kind of lost it at that point. He felt his trust had been betrayed, and he obsessed over finding the source of the leak for years. He schemed to find ways to punish those responsible, spoke openly of hacking the pirates, planned out ways to mess with people who were using pirated copies of games with his patches, etc. He could never let it go and move on.

In the end, it was that, more than anything else, which proved to be the dissolution of our partnership. He simply became more interested in obtaining revenge than in translating the games, which was always the point for me. At the time of this writing, I believe it's been a little over a year since I last spoke with him. I hope he's doing better.

Outside of that whole matter, I've also [worked with Gideon Zhi of Aeon Genesis http://agtp.romhack.net.


JS: You’re very much connected with the fate of the Ys series in the west due to unofficially and officially translating several games – how did you discover the series?
JN: I first discovered the series like many of its long-term fans did: the TurboGrafx-CD. Back around 1991 or so, there was a local store named “Power Up” where they actually rented out game systems and games, including imports. They did this well in advance of Blockbuster catching on to the idea. This store was, incidentally, how I first discovered the Super Famicom (ahh, import ActRaiser) and the Neo*Geo (thus creating another expensive obsession).

I actually heard the music for Ys Book I & II well before I ever had a chance to play the games, and I was blown away. When my finances allowed one Friday, I rented a TurboGrafx-16 and the CD attachment, a copy of Ys Book I & II, then took it home to play. I then spent the entire weekend glued to my television, completely riveted by what I was seeing and hearing. It was official: I was in love. I did eventually purchase that same system from the store, as well as a copy of the game, and I still have them, to this day.

At that time, I was utterly charmed by the music, and the way the story unfolded really kept me going. I was particularly enamoured of the fact that Ys II let you turn into a monster and talk to other monsters for original dialogue, and to villagers for alternate dialogue (some of which was quite funny). Of course, there’s also the voiceovers, which were mostly well-done: a revelation in the early 1990s, and (sadly) still pretty impressive, even now.

My favourite entry is kind of a toss-up. I was extremely impressed by how well Falcom handled the new party-based combat system in Ys Seven, and I loved the new skill system. I liked the story better than most of the reviewers (who have apparently been playing games with the plots of Amadeus and Schindler's List combined, to judge by their comparisons and criticisms), though I'll concede that it could have been more in-depth than it was. If not that, then it would have to be Ys: The Oath in Felghana. Ys III was always a game I never really liked much (at all), and I was more than a little amazed that Falcom was able to take the worst game in the series and turn it into one of the best.


JS: Most of the canonical series is now available in English. Falcom have mentioned they feel honoured that the fan-translation community has handled their games. Apart from Ys V, are there any other Ys games you hope have a translation released?
JN: Well, there's really not much left. Ys Online was available in Europe for a while, but obviously, it never showed up in the States. Ys Strategy was only in English in Europe. I have a copy of that, and I can say that U.S. fans really aren't missing out with that one. I'd like to see Falcom-made and officially-localized versions of Ys IV and V, as well as Ys Origin. Perhaps PSP versions of all three? But that's just wishful thinking on my part.

JS: In the course of fan-translating, have you ever come across content which wasn’t normally accessible in-game?
JN: Indeed, I have. The PC-based Ys games have been full of debug menus that one cannot access via normal play, which would allow one to skip through the game to specific places in the story, set the amount of experience and gold possessed, as well as inventory. I've never encountered a means of actually accessing these menus, however.

JS: Is there anything you personally want to comment on?
JN: I’d like for gamers to know and understand just how much goes into translating/localizing a game. If you're lucky, you get someone like me and the Ys games: I do it because I genuinely adore the series, and I want non-Japanese speakers to be able to enjoy the games as much as I do.

With a fan translation, one has the benefit of time and an extensive beta period. If glitches, context errors or just plain old bad grammar are found, one can go back and correct them, generally without a deadline hanging over one's head. This is where most of my experience lies, but after Trails in the Sky, I know how the other half lives. There’s constant deadline pressure, a daunting amount of text to be dealt with in a startlingly small amount of time, and depending on how long the project goes, it can really start to wear on a person. And then there are the other people on the project who have to lose sleep over it (poor Jess). It’s not always done by people who care about the source material, but in my limited professional experience, it has been.

I try to maintain a pretty neutral stance on the whole piracy debate, but it really does hurt a small company like XSEED. Then you have the phenomenon of the “undub”, where enterprising fans remove any English-dubbed audio and replace it with the original Japanese voices. This, I feel, is just adding insult to injury, given that these “undubs” can’t be played on an unmodified system. A lot of work went into that audio, and personally, I consider it to be rather callous to remove it on a whim. I went through my phase of thinking everything from Japan was automatically better than anything from America, but I’m 37 years old, and that phase was almost two decades ago.

I know, from personal experience, that it’s frustrating when a company does a lousy job with translating a game you like and you get a botched mess. On the other hand, I also know how it feels when you put in the effort and some folks just can't appreciate that it’s just “not Japanese enough”. Some of us do our utmost to respect the original work... so it’s always appreciated when the consumers respect ours, too.


JS: I recently played through Ys IV on the Super Famicom with your translation patch and found both the translation and game to be excellent, despite fans criticising it slightly. Can you tell us about the translation?
JN: It is still what I consider to be my finest work. The nature of the script enabled me to manually rearrange the text at my leisure, so I could put everything in chronological order. This basically eliminated context errors, and resulted in a final product that I could cheerfully stand behind. I think part of my motivation was that, since MotS really isn’t as good of a game as Dawn of Ys, I needed to really pump up the story and make the translation sing, so it would feel more worthwhile to the player.

Tuesday, May 17, 2011

Profile of British developer M4


In my recent Resident Evil Gaiden article for Retro Gamer (hi-res scans in this Biohaze forum topic) I profiled the developers behind the game, but due to dwindling space these weren’t able to used in the article itself. So they won’t go to waste, I’m posting them here. The above photo is from their office during better times.

Here's a web archive of their old website.

M4 was a British developer formed in 1995 by Tim Hull. Primarily known for handheld titles, it was comprised of several former BITS development staff. Although they formed to create new titles, paying the bills necessitated working with licences. Three of their biggest titles, Bounty Hunter (PC), Stuntpigs (Next Gen) and Space Cadets (GBA) never made it to market. Though Space Cadets was actually completed.

As Tim Hull explained in the RG article: “Sadly no original M4 titles made it to the shelves. Bounty Hunter, Space Cadets and Stuntpigs were all games we really wanted to bring to market. The later two are still held by us in Stuntpigs Ltd a dormant company. Who knows maybe one day they will rise.”

With backups of everything still with Tim, there is a chance that in the future we’ll see one of these unreleased M4 games.

The question then is: WHERE ARE THE DISBANDED TEAM NOW?


Elliot Curtis
Creative Producer
Making Fun Games
Elliot now runs an indie development company called Making Fun Games. They produce browser games for PC and are currently expanding their most popular games onto other platforms, including mobile and X360.
www.makingfungames.com

[Sketcz’s note: I’ve checked out the website and it’s got a nice selection of totally free browser games! I tend to dismiss them, because most browser games I see people playing are terribly uninteresting – but I had a go on Outbreak 2012 on the MFG website, and it’s actually pretty damn awesome. It’s a 2D side-scrolling survival horror with an interesting mouse-based combat system and some great atmosphere. Definitely worth checking out! There’s also a diverse range of other games on there.]

[Elliot in RG article: Bounty Hunter was in production when I joined M4 and it really was stunning. As for Stuntpigs - the best game never made. I think it was just ahead of its time... Space Cadets though, that was actually completed and it was a really good game. It was different though and it really worked best multi-player. It’s typical - generally publishers don’t like to risk money on original stuff, especially when there’s cartridges to pay for.]


Stefan Barnett
Artist / Game Designer
Rice Media
Is in Birmingham where he’s working as an Artist/Game Designer on iPhone games.

[FROM RG ARTICLE: I worked as a traditional model-maker on Pepperami adverts, In the theatre with sets, and props and also in Childrens books. I was thrown in right in at the deep end with Resident Evil: Gaiden being my first project]



James Cox
Head of Development
PlayStation Home
Sony Computer Entertainment Europe



Tim Hull
Games Explorer
Globaltimoto
One man on a motorcycle around the world in a quest for gameplay.



Kieron Wheeler

I’m not entirely sure what Kieron is doing, to be honest. I liaised with Tim and I don’t recall being told where he moved on to. Perhaps some form of top secret project?



As I've always said, it's important to know who makes your games, never mix up the publisher with the developer, and if you like a game, take a look at the credits to see who made it, since they seldom get the attention they deserve (unless they're someone like Kojima or Molyneux), and they've probably made other great games you might not know about.

Saturday, April 30, 2011

Movie Review: GET LAMP



I didn't get off to a good start with text adventures, originally. Played a few bad ones back on the C64 and wasn't that impressed. The early Sierra graphic adventures weren't fit to convert me, either. No one can describe the frustrations the genre often implied better than Ron Gilbert did on his Maniac Mansion Postmortem talk at GDC 2011:

You'd see a bush on the screen. You wouldn't know what to call it, so you type "PICK UP PLANT", and it's "I don't know what a plant is", so you type "PICK UP BUSH" and it's "I don't know what a bush is", you'd say "PICK UP SHRUBBERY" and it's "I don't know what a shrubbery" is, so eventually you type "FUCK YOU", and it's, you know "Do you really need to swear?" and I'm like "Yes, yes, I really need to swear."


Oddly enough, it was also Sierra that won me back for Interactive Fiction many years later, with Leisure Suit Larry 7. While the game was a slick point & click graphical adventure as modern as could be in 1996, it had that neat little parser thing underneath, where all commands that could be executed with the mouse could be typed in instead. But that was only the beginning, as soon I found myself fascinated with the idea of trying out the strangest commands and searching for the naughty easter eggs. That got me to give text adventures a second chance. And as it turns out, the parser often isn't too awful after all, as soon as one gets a general idea how it works and which basic verbs it uses for the most part.

The genre was already about 20 years old then, though. Now it's more than 30. Its mainstream commercial days are long gone. Playing catch-up, with the games itself as with the genre history, has become a thoroughly daunting task as a result. Well, now (since last year's summer, to be exact) there's a documentary to watch to get the greater picture of an unique chapter in gaming history, when computer games aspired to be like books rather than movies, advertised under the only slightly pretentious name Interactive Fiction.


This documentary is the result of a monumental effort, shot and produced by Jason Scott over the course of more than three years, with over 70 interviews being conducted in the meantime. The title of the film? GET LAMP, named after an essential command at the very beginning of many early games, notably the first adventure game ever, simply named Adventure by Will Crowther & Don Woods.



I was curious how GET LAMP would handle the visual representation. After all, what can there be to show about games that consist of plain text only? First of course comes the DVD case, which tries its best to honor the Infocom tradition of unique packaging, with some gorgeous artwork and a numbered coin, which shows the lamp the director kept carrying around while shooting the film, and which shows up in the picture all the time, I suppose in case you feel like playing a drinking game (in which case the movie might actually kill you, I guess).

The film itself starts showing the exploration of a real cave and interviews with various cave explorers. There's no narration, but the documentary generally does an excellent job of telling its narrative through the skilled assembling of interviews. Only here in the beginning I was a little confused for a while until I got that this was actually dealing of the very cave that was used as a model for the cave in Adventure, Colossal Cave.



The rest of the film is much more heavy on the interviews, but contemporary TV footage and newspaper clippings (the latter usually shown too briefly) help to set you back into ancient times of electronic entertainment, while the film goes on to follow the history of Adventure International and Infocom, the two major text adventure companies.



Most adventure game designers are quite funny guys, and thus there's plenty of amusing anecdotes, like business conversations you could only ever have at Infocom, like the one Bob Bates remembers: "The elf is drunk, but I gave him the magic wand..." But it's not only entertaining, but most of all highly educational. Or did you know that the first dissertation on game aesthetics was written in 1985, by a graduate in German literature of all people (her name's Mary Ann Buckle)?



The second half deals with the playing experience (drawing maps!) and the indie IF scene that's thriving nowadays, producing odd name sublines like "interactive fiction author" or "long-time game player," often with no clue what the particular interview partner actually did, so this part is initially much less impressive than the portions full of genre legends sharing their wisdom.

Very interesting to me, however, was a chapter on blind people playing text adventure games. One quote sounded particularly inspiring: "I think it's actually liberating, because you can explore a world with sight." A screen message like "It's pitch black. You don't see a thing," is bound to carry a certain irony in this setting.



Not all is great, though. A serious issue to me was the way the DVD is put together. There's an "interactive" version and a "non-interactive" version of the main documentary, eventually the interactive one presents three choices, asking which content you want to watch next, but there's no real information on whether the other parts would follow afterwards, or if you'd have to go back to the beginning first, or whether the non-interactive version contained all content from the interactive one. Also, because of the whole interactivity thing, the film is broken down into different titles, so DVD players only display the running time of the current title, which makes it a bitch to refer to or find certain sections. Then there's the menu points "EXPLORE BEDQUILT" (which deals with the cave) and "EXAMINE INFOCOM". I clicked on the latter, and it started with familiar scenes from the main documentary, leaving me wondering whether this was merely a recut of Infocom-relevant bits and I was wasting my time. Turns out most of it was new, but I almost skipped the whole thing. I get that they were going for an "adventure"-like composition, but with a documentary, it's just incredibly confusing. Even after clicking on all the main menu points, and also watching the extensive bonus footage on the second disc, I'm still not sure if I've seen everything. The Infocom feature also has a lot of commentary, but it is all in plain text, displayed while the interviewees are talking, which makes it hard to follow, at least for bad multitaskers.



I was also a little bit disappointed that it didn't go into the transition to point&click adventures at Sierra and Lucas Arts. Infocom's and Legend's attempts to add graphics to classic text adventures are mentioned, but that's it. It's easy (and totally legitimate) to just say that was out of the scope of the project, but I personally would have welcomed such a chapter. Also, the second disc contains the music video "It Is Pitch Dark" by MC Frontalot, but no interview with the man, another missed opportunity in my book.

Despite its few flaws, GET LAMP is a must-watch for anyone interested into the history of adventure gaming or even the history of video gaming in general for its myriads of interesting anecdotes. The DVD is rather pricey, but I figure you mostly pay for the packaging.

Information and ordering is available at www.getlamp.com




Saturday, April 23, 2011

Fortnightly Korean gaming stuff: Q&A with Jason Park. And an update.



Keeping our recent spree of monthly interviews rolling, Jason Park (Korean Name 박성준 Park Seongjun), who a long time ago worked at HiCom and eSofNet on the Corum series and is now head of the R&D division at Eyasoft, answered a few questions for us. It's shorter than usual, but we're still told some interesting stories.

In other news, as a new research opportunity has opened up since the article was first written (namely the full-text-search supported online availability of three daily newspapers up until 1999), the first small chapter in part 1, "Zero Hour", has been significantly improved and almost doubled in length. The history now also has a definitive starting date, which is the year 1976. For anyone interested in really old stuff (like Pong consoles and such) that portion will be well worth a re-read. There's also a new appendix listing most Korean gaming magazines that were published throughout the years, and of course also the usual small corrections & additions throughout, notably many new old photos in the main text body.

Now check out the full text for the interview:

Jason Park



When did you join HiCom and what was your job at the company?

I've started in November 1997 at HiCom and stayed there until the closing of eSofnet in December 2004.

At the time I joined, the company was just in the final stages of Corum 2. I've worked as a programmer on Corum 3 and Corum Oejeon, and also on some MMOs after that.

Then this was before you joined the company, but did you maybe hear anything about the Mega Drive games that HiCom had developed, Powerball and IF?

As far as I know, Powerball was almost completed, but cancelled due to the rapid transition of platforms. After the followup console, the Saturn, was released, no one saw any market value in Mega Drive games, anymore. I never heard about IF.

Remains a mystery: IF


The Corum series was quite popular, but Corum Oejeon disappointed many fans for not having to do anything with the other games, regardless of what qualities it may have had. What was the reason to change a beloved series like that?

The development team itself was pretty confident about Corum's strengths and its positioning as a series of action RPGs. The only problem was that at the time those didn't sell as well as turn based SRPGs, mostly represented by The War of Genesis. As you probably know, HiCom was also the publisher for The War of Genesis: Rhapsody of Zephyr, which had the consequence that management put the two series in comparison all the more.

Corum 3 was released in English, but only for BeOS


Corum 3 was very well received for its production values and gameplay, but nonetheless it stayed far behind the popularity of The War of Genesis, so at that point even inside the team there came the idea that maybe that was the kind of game the market wants, so it was decided to develop a turn based SRPG as a kind of side story.

Corum Oejeon, the black sheep in the series


But for a team like that that was well used to creating action RPGs it proved difficult to emulate the delicate scenario and dramatic strength of a game like The War of Genesis, and among the staff pessimistic views arised. Towards the end HiCom joined with eSofnet and started to shift towards online games, so Corum Oejeon didn't get 100% the attention it needed and was kinda just finished up to push it out.


When researching today, the relation between HiCom and eSofnet is hard to quite figure out. Did HiCom become eSofnet, or was that a different company that bought HiCom?

HiCom later became eSofNet as a result of their fusioning with FEW. As a result, the team first operated under the transitional name Softtop while the company became Wise HiCom, and a few months later eSofNet. So it should be correct to view eSofNet not as a company that existed independently before, but the result of the fusion of HiCom and FEW.


After the closing of eSofNet, most staff members went on to found different companies. As far as I know, the Corum team founded NetTimeSoft to make Corum Online. Their homepage isn't accessible lately, does the company still exist?

When eSofNet closed their doors, the games that were in development at the time were scattered to various companies, according to the rights and contracts. The Corum team moved to NetTimeSoft, the N-Age team to Seda Online, and the Dark Story Online team to Eya Interactive (today EyaSoft). Furthermore, after going through complicated procedures the former team leader of Dragon Raja got to complete the game with his new company Barunson, and the team for Ys Online, which was still in early development, went to CJ Internet, who were the main investor in the game. I don't know about the current conditions of NetTimeSoft. As far as I know, almost all the former Corum team members left around 2004-2005.

Corum Online


I remember the Corum team back then for their outstanding teamwork and know-how. Especially when HiCom first went bancrupt during the development of Corum 3, even with payment overdue for months, only one single team member quit, while the rest kept working until the end to complete the project.

Unfortunately, after the fusion of HiCom and FEW the former president of the latter became the head of the R&D department, and there were a lot of problems because his style differed from that of the HiCom people. About half of the staff left the company in the first half of 2000, and was scattered here and there, so a true sequel to the Corum series became impossible.

Since the former president of HiCom, Han Youngjo, stayed with EyaSoft as an advisor, after all those twists and turns many former HiCom staff members came back together at EyaSoft one by one, and are now working together on new projects.

Project E, one of the games currently in development at EyaSoft



Friday, March 25, 2011

Mirinae Interview



I told you there'd be something special for fortnightly Korean gaming stuff soon, and here it is. We've contacted Kim Kyongsoo and Kim Seongwan, who both formerly worked at Mirinae Software and were eager to share their memories with us. Besides lots of interesting facts about what once was the most representative Korean game developer, there's a lot of insights into how the Korean gaming industry worked and works as a whole, as well as many pieces of concept art and stuff, partly provided by the interview partners and partly retrieved from old magazines.

To avoid having to make compromises with the layout, I've coded it directly in html, so you can read the interview here.

In addition, most of the existing Korean Gaming History article has been tweaked and updated with dozens of new advertisements, covers and screenshots. Part 2 is making slow but steady progress, and there should at least be one larger batch of company profiles before Duke Nukem Forever comes out.

Tuesday, February 1, 2011

Retro Gamer 85

A look at the latest issue (actually it came out a few weeks ago)
.
.
.





I want to say, firstly, that I don’t pay for these issues. I receive a complimentary copy when I write an article. In this issue it was a 2 page piece on Portopia, Japan’s first ever adventure game. But since I have the issue, I thought I’d share some screens since it generally quite an awesome mag. Also, they somehow managed to find hi-res Secret of Mana art, which I thought had been lost at Square. Surely that's the most gorgeous cover ever to grace a magazine?


GamesTM’s deputy editor Ash Day has an 8 page article on the Mana series, chock full of obscure information as you’d expect from the former retro ed on the mag.

Also, funny story: on my last day at RG back in January 2007, we had an email from Square-Enix's PR department saying the guy behind Secret of Mana was going to in London the next day and would anyone like to talk to him about his games? Well, with less than 24 hours notice we didn't really have time to prepare, plus I was leaving for a new job, so no one at the office was able to head down to London and see him. EDGE may have made it, but generally it was sloppy, sloppy, sloppy PR work on SQ's part. I won't name names, but he knows who he is, so well done for not informing the press in a timely manner.




There’s a two page feature on an extremely obscure piece of hardware, the Tatung Einstein, written by former editor Martyn Carroll. RG’s new hardware format is now only two pages, which I find is rather a shame. Previously common systems, where coverage is over abundant, used to have 4 to 6 pages, the really cool obscure stuff is stripped down to only a couple, which barely scratches the surface. My interest has always been the unknown, and just as I was really getting into the Einstein piece it ended. I suppose there’s an argument about there not being enough information to fill 4 pages, but I suspect it’s more to do with the always pervasive fear that the bulk of the readers will be scared off by the unknown or less mainstream (a fear which was present even when I was staff on the magazine – despite my best efforts to nix it).







What RG has always done best is its making of articles, where developers talk about their games. This elevates an article beyond superficial nostalgia into a timeless historical document. I’ve always thought there are only two sources you need for older games. RG because it has more developer interviews than anyone else, and Hardcore Gaming 101, because we cover the stuff few others do, in more depth than anyone else does (and we have developer interviews!).

This month there’s Sonic Spinball, Jnr Pacman, Where Time Stood Still and The Pit, which apparently influenced Namco to make Dig Dug, so historically very significant. That’s 4 games which have their inner secrets revealed – you won’t find that in EDGE magazine (and yes, I still begrudge EDGE’s very existence).




Another new aspect which I like is FUTURE CLASSIC. Since it gives an excuse to look at slightly older games which aren’t quite retro yet. Most places have such a perverse aversion to anything which isn’t current, and I find that sad. People talk about older films all the time, released at any time in film’s history, but with games we seem to have this mentality of either only looking at the very old (retro), or stuff which is brand new. So I fully welcome this. Sadly, there were a few readers who have been writing in to complain about Future Classic, and in my view these narrow-minded people are damaging to games as a whole. I look at RG as an almanac of all that isn't right now. So if it's 5 years or older, I'd welcome some intelligent and insightful coverage.

Overall a good issue, even if they hardware coverage is a little too brief.

I don’t have another article due until issue 88 or 89, so don’t expect another one of these for a while, readers.