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If you played Ryse: Son of Rome you may remember it for the serviceably clangy combat. My friend Jack , a police officer from northern England of several years standing, recalls the game for other reasons. There are those bits where you join a shield wall – you’re in a tortoise formation. There are public order situations that are like that. Most officers in Yorkshire get riot training, because of the riots in Bradford. And that sense in Ryse of having all your colleagues alongside, you’re all behind your shields, getting pelted with stuff, there are flames going off everywhere and you’ve got your enemies in front of you… That’s real! That happens.
City riots are, he adds, scenarios that could be great in a third-person action game – our wide-ranging conversation is rife with jarring transitions of this sort, where talk of broken bones and drug dealing flips over abruptly into talk of reward mechanics and hardware specs. Certainly with the advances in technology, the latest consoles and PCs could cope very easily with the amount of animation required, the particle stuff like smoke, all the crap that comes up off the floor, people getting hurt all around you. It’s like that and it’s scary.
Just when you thought it was safe to go back into the crowdfunding waters – the Old Men Of Videogames are back, and they want your cash so they can pick up where they left off. Again. This time it’s Ron Gilbert & Garry Winnick, creators of Lucasarts point’n’click grandparent Maniac Mansion (not to mention a little game called Monkey Island), and they’re after $375k to make a spiritual sequel named Thimbleweed Park. … [visit site to read more]
Ron Gilbert's next game may be a puzzler for iOS, but he still gets nostalgic on occasion. For example, just how would he handle a new installment in the Monkey Island series? Hypothetically, mind you.
Gilbert tackled that question in his Grumpy Gamer blog, making it quite clear that he was just talking, nothing more. But if it did happen, he'd make it a fully voiced 2D game, and do all the things they couldn't do in the '90s with the limited engines and hardware. "Monkey Island deserves that. It's authentic. It doesn't need 3D. Yes, I've seen the video, it's very cool, but Monkey Island wants to be what it is. I would want the game to be how we all remember Monkey Island."
Before making The Walking Dead, developer Telltale Games made their own take on the franchise in Tales of Monkey Island. However, Gilbert said that none of those games mattered. "It would be called Monkey Island 3a. All the games after Monkey Island 2 don't exist in my Monkey Island universe," Gilbert said. "I'd want to pick up where I left off. Free of baggage. In a carnival. That doesn't mean I won't steal some good ideas or characters from other games. I'm not above that." The reason for the "a" is that the game would not be the Monkey Island 3 he had envisioned in 1992. "I'm not the same person I was back then. I could never make that game now. It is lost to time. Hopefully this one would be better."
As for going the crowdfunding route, Gilbert said he wouldn't do anything flashy, preferring to keep it "raw and honest." He doesn't want the hype or the distractions, but just to make a game.
"The game would be the game I wanted to make," he said. "I don't want the pressure of trying to make the game you want me to make. I would vanish for long periods of time. I would not constantly keep you up-to-date or be feeding the hype-machine. I'd show stuff that excited me or amused me. If you let me do those things, you will love the game. That, I promise."
Disney now owns the rights to the game after its purchase of LucasFilm and subsequent closure of LucasArts. Gilbert has said he wants to talk to Disney about getting the franchise rights to the series.
Once upon a time it was easy. Just 15 years ago most games slotted into their categories with librarian-pleasing snugness. Take the adventure game.
In 1985 they were text games with a focus on storytelling and puzzle solving. Five years later it was the same but with animated graphics and mouse clicks replacing the typing.
But defining the genre now is like hugging fog. The once firm borders of adventures have crumbled and their ideas have diffused out into the wider gaming ocean. Today the definition of an adventure game depends on what school of thought you embrace.
Dan Connors, head of adventure specialists Telltale Games, sees the genre as a broad church. His definition is inclusive not exclusive. It includes Heavy Rain and Uncharted as well as his company's more traditional efforts such as the Back to the Future adventures.
"In the late '80s and early '90s it was very clear cut," he says. "Now you could attribute the dialogue trees in Mass Effect to adventure games. A lot of the scripted storytelling in Valve's games comes from adventure games. I think adventure games went out and permeated every single genre because they've always remained the best way to interact with characters in a world and to interact with an environment."
Others view adventures in more exclusive terms. "Stories in games need to mould themselves around what gameplay a game is trying to deliver," says Charles Cecil, founder of Broken Sword developer Revolution Software. "Uncharted is absolutely not an adventure game as I would define it, same with Heavy Rain. Both require considerable expertise with a joypad and an adventure is a cerebral experience rather than one requiring manual dexterity."
A lack of violence or death is also a common trait of adventures, he adds. But even then Cecil's definition has grey areas thanks to the likes of L.A. Noire, which lets players skip the action and focus on its adventure-inspired detective work.
While the exact definition may be debatable, the origin of the adventure game isn't. The first adventure is the aptly named Adventure, a 1976 text game created by Will Crowther on his workplace's PDP-10 mainframe computer. It let players explore a world described in text by inputting verb-noun commands such as 'go north' or 'get torch'. As well as exploring there were puzzles to solve and monsters to encounter.
Within a few months a Stanford University student called Don Woods had rejigged the game, adding more puzzles, locations and fantasy elements. Woods' version became a sensation in the mainframe-computing scene of the late 1970s. Other computer users began creating their own adventures and it went on to inspire MUD, the first MMO - but that's another story.
By the time the first mass-produced home computers began rolling off the production lines adventures were an obvious choice for making the leap out of the labs and into our homes. In 1978 the first commercial adventure game - Adventureland for the TRS-80 - reached the shops. Its success established the genre as a mainstay of computer gaming and its creator Scott Adams formed one of the world's earliest game publishers Adventure International to feed the growing demand for adventure games.
Adams wasn't alone for long. The following year the MIT students who created the Adventure-inspired Zork! formed Infocom to bring their adventure to home computer users. Around the same time in California the husband and wife team of Ken and Roberta Williams set up On-Line Systems (later renamed Sierra On-Line) to publish Mystery House - the first adventure to include still pictures of its locations in addition to the usual text. Soon text adventures went global, spawning especially vibrant adventure game scenes in France and Japan - although it was the work of Infocom and Sierra that dominated the text adventure era of the early to mid 1980s.
But as the '80s progressed the adventure game began to evolve. In 1984 Sierra came out with its fairy tale adventure King's Quest, which introduced animated visuals to the genre, and the following year Illinois developer ICOM Simulations released Déjà Vu: A Nightmare Comes True, which replaced text input with a Apple Mac-inspired point and click approach. By 1987 these two ideas - point and click interaction coupled with animated visuals - came together in Lucasfilm's Maniac Mansion. The text adventure had become the graphic adventure.
Lucasfilm's games outlet eventually became LucasArts, and it dominated the point-and-click era that followed with hits such as The Secret of Monkey Island (and at this time the adventure had mutated into a new genre - the visual novel - in Japan). In keeping with its roots in the movie business, LucasArts shifted adventure games away from Infocom's interactive novels to a more interactive movie with an approach drawing on the audio-visual and scriptwriting know-how of filmmakers.
By the mid-'90s adventuring's shift towards interactive movies reached its apex as the extra storage delivered by CD-ROMs allowed developers to add film footage, recorded audio and more detailed images to their creations. But for every CD success such as Myst or The Beast Within: A Gabriel Knight Mystery there were dozens of dismal games clogging the shelves such as Psychic Detective.
"They were an unfortunate blot of the history of adventures," says Cecil. "They came about because the bosses of publishers went to live in California because they thought it was cool to be near the film studios. Thankfully gamers just didn't buy them and it collapsed."
The adoption of 3D graphics and the success of the PlayStation blew the interactive movie dream apart. Players became more interested in the thrill of action than the slow, cerebral offerings of adventures. By 2000 the adventure game had become a niche genre, clinging on in places such as Germany but banished from the gaming mainstream. Deprived of an audience, adventure developers played it safe producing budget replicas of what was popular before the PlayStation.
It could have ended there for the adventure game, but in mid-2000s the tide started to shift. Telltale found success resurrecting LucasArts brands and selling them online as episodes rather than complete games. Then Nintendo's DS and Wii brought adventure games to a wider audience through games such as Hotel Dusk: Room 215 and most famously the puzzle adventuring of Professor Layton. Finally the success of the iPhone and other touchscreen smartphones created a gaming platform that had not just a mass audience but controls that were perfect for adventure games.
Today adventures do sell in reasonable numbers and their number is spreading (there are even a few available on the Kindle). Cecil says the iPhone remake of Broken Sword sold three million copies, and Telltale is starting to release their games in stores with anticipated sales of 400,000.
Yet adventures often seem overshadowed by their past, partly because the point and click approach used in the LucasArts days is still standard. "It says something about how much love people have for the LucasArts style of gameplay that it's even talked about 21 years later as a one-to-one comparison," says Connors. "People still cling to this idea of what an adventure was in 1990."
But the way adventures function isn't as important as it might be for a first-person shooter says Dean Burke, creative director of the Hector games at Northern Irish developer Straandlooper. "The mechanics are rooted in the LucasArts games," he says. "But I feel that the reason people like adventure games is the characters in the stories. Adventures still have their flaws and could be improved, but the fundamentals will never change really. As with any form of entertainment it's about telling a good story."
While the core is unchanged, today's adventures place more emphasis on accessibility. "In the mid-90s adventure gamers liked the fact that they were getting frustrated so contrived puzzles sort of worked," says Cecil. "Now people want to play at their own pace."
As a result the puzzles are now more logical than the cryptic conundrums of old and adventures often include a hint option. The iOS version of Broken Sword, for example, has a hint option that offers a vague clue before, after several taps, the solution is revealed. "I was initially worried that people might find that it encouraged them to bypass the puzzles but it didn't," says Cecil.
More should be done though, says Jakub Dvorský of Amanita Design, the Czech developer behind 2009's robot adventure Machinarium. "Nowadays adventure games are more streamlined and accessible but they should try to be even more experimental," he says. "Any theme can be used for an adventure game and the developers should use their own new and distinctive approach to every aspect of game creation from plot and game design to graphic style, animation, music and sound."
The good news is that adventure developers now seem keen to experiment with new approaches. "The touchscreen is an extraordinarily good way of controlling an adventure because adventure games are very tactile in that you want to explore the environment," says Cecil adding that using first-person viewpoints, as well as the traditional third-person views, is something he is looking at.
Telltale, meanwhile, has tried to step away from the pace of traditional adventures with its latest game Jurassic Park. "We wanted it so that you come into the world and it makes you react and pulls you through it," says Connors. "We moved away from the 'I'm going to go through the world and interact at my own pace' and made it something where you need to react to the situation in front of you because it's a dangerous place. You know, we couldn't have it where you're trying to use a rubber chicken with a pulley in the middle on a dinosaur."
Welcome back to Cheap this Week, our round up the best deals in gaming every Wednesday. Here you'll find all sorts of delicious discounted gaming treats, compiled for your consideration. If one dose of cheap games a week isn't enough for you, SavyGamer.co.uk is constantly updated with offers plucked from bargain bins the world over.
I'm in the camp that preferred the first of the two Crysis games, but stomping around New York City in a power suit in the sequel was still hugely entertaining, and a league above most other FPSs.
I was just disappointed that the huge open levels and the chaos they led to were missing in favour of very wide highly detailed corridors. Likely a concession to get the game running on today's aging consoles.
Video: Shooting men.
Plain Sight, PC - £2
Hot off the press, this deal will be going live at some time just after 6pm. I'm not sure if they will be discounting the 4 Pack too, but it seems likely.
This discount coincides with an update released yesterday, with numerous bug fixes, tweaks to the perk system, and balancing. Patch notes here.
Quintin gave this a solid 8/10 when it came out a year ago. He said:
"There's nothing for it but to accept Plain Sight for what it is - a fun, smart, inventive action game that comes with a big grin and a cheap price tag."
And since that price tag is even cheaper than usual, I'd say it's time to get your robot on.
Splinter Cell: Conviction, Xbox 360 - £6.99 delivered
These are unsealed, but new. Not my favourite of the Splinter Cell series by a long shot, but at this price it's worth a go. Simon wasn't massively impressed when he reviewed it either:
"Where once players were free to tackle Splinter Cell's enemies in myriad, improvised ways, now the options are more limited, traded for an upped tempo that's more Arkham Asylum than Metal Gear. At its best, Conviction is played as a high-stakes puzzle game, taut and thrilling when everything is going your way. But when cover is broken, the floodlights go up to reveal a mediocre shooter. Perhaps the greatest irony of all is that Splinter Cell: Conviction appears brightest in the dark."
The Secret of Monkey Island: Special Edition, Xbox 360 400 MS Points (Xbox Live Gold subscribers only).
Classic point and clicker that, er, I didn't really like. Perhaps I need to give it another go, but it didn't really tickle my funny bone. Dan had this to say of the modern prettied up remake in his review:
"These bare bones form the skeleton of a truly marvellous game, however, and one that everyone should play. While it would be nice to have a more robust package, simply having such an unmistakable classic back in active circulation where new players can discover its dazzling inventiveness and giddy humour is victory enough."
This offer is available until next Tuesday, and if you're in need of MS Points, Amazon are currently doing 2100 for £14.99 delivered.
Video: The making of the remake.
AI War: Alien Bundle, PC/Mac £16
Here's the complete version of the dead clever intergalactic strategy game, AI War. Included is the original AI War: Fleet Command, and the three expansions: The Zenith Remnant, Children Of Neinzul and Light of the Spire. Everything has been individually discounted too (see here).
You can either download them straight from Arcen's website, or the serials will optionally register on Steam.
Phill had this to say of Fleet Command in his review:
"The heart of AI War is in its asymmetrical nature, but that uniqueness permeates the entire game, from the way each fight works to your overarching strategy. There's an element of discovery in it that is partly due to the procedural nature with which the galaxies are created, but also down to the incredible amount of options each time you create a game."
Also of note this week...