Showing posts with label interactive fiction. Show all posts
Showing posts with label interactive fiction. Show all posts

Friday, January 17, 2014

Kickstarter Alert - Chatbox Shamus: From Sloth to Sleuth


It's been a long time coming, but I've finally elected to go live with the Kickstarter campaign for my visual novel, The Chatbox Shamus: From Sloth to Sleuth. TCS is a detective mystery set in 1984 that follows 25-year-old Bastion Crowley, a failed college student who runs his amateur investigation service from a university BBS. He investigates everything from insurance fraud, to kidnapping, to drug distribution, and eventually even organized crime. Not all of it goes as well as expected, given Bastion's amateur nature.

For those who want something tangible to show that this is not just me blowing smoke, you can download Case 1 here, though it is missing character artwork and music. If you would prefer to get more information first, read on.

While TCS shoots for the style of a traditional film noir (monochromatic backgrounds, general moral ambiguity), it's not all dark and depressing. I've aimed for more of a deadpan humorous style throughout the story. It's not madcap zany like a Phoenix Wright game, but it's not dead serious like an episode of Perry Mason, either. Even though Bastion has spent a large chunk of his own life absorbing detective mysteries from books and movies alike, he really isn't as professional as he thinks he is.

TCS's planned five cases involve quite an array of unique people, but here are some of the recurring cast members and a little bit about them.

Bastion "Bass" Crowley
"That's 'bass' as in the fish. I swear, I spent all of high school trying to shake that stupid nickname."

Our protagonist (most of the time); Bastion was born a few years before the beginning of the Vietnam War, to which he lost his father. Since then, he grew up with a high respect of his father's military career, but mostly spent his school years watching Hitchcock and reading Hammett and Chandler. He never managed to get accepted into the local college, and spent the early portion of his twenties doing odd jobs and barely keeping on top of his rent. Somehow, though, he managed to scrape together enough money to purchase a Radio Shack TRS-80 home computer (already some years out of date by the time this story takes place) and a modem, which he uses to connect to the bulletin board of the college he failed to attend.

Antonia "Ruby" Travaglia
"Bastion, you dumbass! I spent two hours out here yesterday waiting for you to wake up, and you were already gone!"

Born to an Italian mother and an absentee father of dubious origin, Ruby works at the Pacific Daily News office as the editor of the police-blotter section. She has known Bastion since high school, even though she has not seen him since going away to college up-state. She is quick to anger and possesses quite a foul mouth, but she can show compassion when it counts, and is often more helpful to Bastion's investigations than either of them really want to admit. Despite the friendship, Ruby and Bastion reject the idea of a romantic relationship between them, as both of them realize that it would never work out. That said, though, Ruby does have some feelings for Bastion, though she would never confess to it.

Irma
"The cheese is fresh today, hon, it came from that farm down the freeway. Y'know, their cows are the only herd left in the state that don't have tracking devices on 'em?"

The owner and operator (and most of the time, sole employee) of Irma's Diner, a holdover from the 1950's in more ways than one. Although Irma cooks a mean grilled cheese with bacon, it's really her dinner theater (i.e. constant rambling about conspiracy theories) that keeps her customers coming back. She doesn't quite realize that she has become the butt of a few jokes, but her heart is at least in the right place, which is more than can be said for her understanding of social cues. Bastion is a frequent patron of her diner; neither he nor she can quite figure out why Ruby doesn't enjoy the diner.

Albert Cervantes
"You know work starts at seven, right? The chief doesn't like it when his people are tardy."

Ruby's arch-nemesis and the editor of the Pacific Daily News obituary column, Albert represents all that is wrong and unjust in the world of office ethics. Albert constantly defers his work to other employees in other departments, in addition to demanding that his co-workers fetch his coffee. He is especially harsh towards Ruby, who is the only Daily employee to ever actively resist his domineering personality. As Albert is the only qualified obituary writer in the Pacific Southeast, he is practically impossible to fire, a fact that he becomes increasingly aware of as the story stretches on. Although Bastion's primary career is investigation, Ruby "hires" him to observe and keep logs of all of Albert's behavior toward her.

Detective Greg Standish
"Alright...you there, state your business. I got a nap to get back to."

Since becoming a police detective, Standish has been relegated to the most boring desk in the entire department: Missing Persons. He is all too content to spend his on-duty time sleeping or working on crosswords in his office, until Bastion practically solves one of his cases for him. From that point on, Standish becomes a vital contact to Bastion, who does not always have the needed authority to order searches or seizures. That said, Standish's job is dead-end in more ways than one; there are avenues that even he cannot hope to enter, and he tends to be a victim of bureaucracy and red tape within his precinct. He does, however, possess a reasonable knowledge of most of the Pacific Southeast's defense lawyers, which Bastion finds useful on more than a few occasions.


The art style primarily consists of greyscale photo backdrops, though I plan for all characters to be represented on screen by sticky notes with portraits sketched on them. The above example is my crude attempt at it.

TCS's development has been progressing nicely; I currently have two cases finished with a third about half-done, and a further two planned. My major obstacles, however, are art and music, which is why I have set up a Kickstarter campaign. My funding goal is only $5,000 USD, but this will go entirely towards the hiring of a character artist and a musician to give the game the style it needs. Again, here is a link to the Kickstarter pitch, and if you'd rather play the first case beforehand, here is a link to that as well. I look forward to any feedback and suggestions.

Yours sincerely,
Corwin "wildweasel" Brence

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