Why do we solve puzzles? Maybe we want that “a-ha” moment, when the solution becomes clear and we can suddenly see the whole picture of the complexities we’ve been dealing with. It imparts a sense of mastery.
Hi everyone. In light of recent events, I’m taking a mental health break. I understand and appreciate the interest this topic received this week, but I went about it the wrong way and I regret possibly causing additional damage. I’m sorry, and I’m stepping away for a bit.
I want to repeat what I said in an earlier post: Although I’m glad more historical games will be available, this isn’t a sustainable way to preserve games. Leaks play a role in getting things out, but they’re not a healthy foundation for a gaming culture that values preservation. There’s often a tense relationship between private collectors who value rare games and folks who want to release things online. We’re all in this together, and to preserve our shared cultural history, we need to build trust.
Private collectors have saved historical objects that otherwise might’ve been lost, and rather than demonizing people who are reluctant to make their collections available, we have to collaborate with them on the importance of preservation. Folks like Joseph Redon are doing incredible work bridging the cultural differences between Japanese collectors and game preservationists. By the same token, we also need to show patience and understanding when things aren’t immediately available. Sometimes there are good reasons; many prototype or development materials have only been preserved because they were provided to a person or museum that restricted their access. Trust is difficult to built, and it takes time.
UPDATE 6/8: I recognize the interest that the recent game leak has generated. I’ve chosen to no longer be involved in this situation. On further reflection, I think it’s the ethically right thing for the long term of game preservation not to release anything else from this collection now. I hope we can use the events of this week to start a necessary conversation about the relationship between collection and preservation. Preservation is a long-term goal that we have to cooperate on.
In the meantime, I’m going to continue to take time off from all this for my well-being. Looking forward to coming back later.
Could a CD-ROM be as good as hiring an expert? Or in other words, why hire a landscaper to design your yard when you could get Sierra LandDesigner 3D? (Yes, that Sierra!)
Sierra LandDesigner 3D brings together the information you need to design a garden – and it lets you build the garden yourself using 3D graphics. This is a vision where software could help you plan a complicated, logistically challenging project, something you’d normally need a professional’s skills to create. Imagine you’re a middle-class homeowner in the late 90s who’s gotten comfortable with the computer they’ve now owned for a few years. Could you really go to the electronics store and buy a program that could do the work of a professional planner?
Well, nearly. Although LandDesigner 3D doesn’t take enough advantage of all its gardening knowledge to replace an expert, it does successfully turn 3D design software into a welcoming product. » Read more about Sierra LandDesigner 3D
At the same time, multiplayer car combat games were having a brief heyday. While the peak lasted only a few years, titles like Activision’s Vigilante 8, halfway between driving and shooting, acted like a edgy, destructive companion to the era’s kart racing games. Inevitably, the aggressive blockbuster merchandise campaign laid its sights on the hot new violent game genre, and so became Star Wars: Demolition.
Cars shooting each other, as you could imagine, is not a practical fit for Star Wars. The game goes through contortions to justify its existence, and it tries very hard to assemble a serviceable roster of characters and explain why they’re fighting on Dagobah or the Death Star. It just isn’t organic. It was never going to be. The pretense does at least give Demolition an opportunity to play with some Star Wars-ier ideas. » Read more about Star Wars: Demolition
In Aaargh! Condor, you play as a man who really hates a large bird.
There’s a condor flying around, and in about 10 seconds, it’s gonna steal a child. According to one of the only contemporary reviews of Aaargh! Condor – a name that I will repeat as many times as possible in this short post – the child is a damsel in distress, sadly, but it’s irrelevant. You’ve gotta kill that condor.
At the top of a hill, there is a spear. Hazards litter the road to the top. You’ve got snakes, porcupines, fires, falling condor eggs, a strange man who shoot arrows at you, and something that looks like a pair of eyeballs sticking out of the ground. Once you dodge all of them and climb to the top, you hurl the spear off the hill at the condor. If you kill it, another condor appears, and you do it again. Aaargh, condor!
Aaargh! Condor goes extremely quickly. You only get a fraction of a second to react to the hazards, especially the arrow man, who comes out of nowhere. The challenge depends half on reaction time and half on memorizing when something will jump out. You get points for dodging attacks too, so you can run up a decent score even if you let the child get eaten.
This has to be one of the most inane premises for a game like this, and god help me, I wanted to keep trying to get that condor. It was almost a compulsive reaction. Aaargh! Condor wastes absolutely no time between the start of the game and fighting a huge bird. And then fighting another huge bird. Aaargh! Condor!
On its face, Biosys hits all the clichés of a mystery first-person adventure game. You wake up with no memory. Something has gone disastrously wrong. The last survivors left clues and diaries that explain what happened. We’ve heard this story many times before in many similar games. But it’s a template, and Biosys takes the clichés in an unexpected, genre-twisting direction with one hell of a setting.
The entire game takes place in a self-contained biosphere experiment. Instead of using that solely as a backdrop, Biosys simulates the artificial environment – temperature, humidity, water level, plant growth, the systems powering the biosphere – and makes it an integral part of the game. It creates a simulation in the form of a mystery adventure game, attempting an unusual, ungainly cross between adventure and earth science. Parts of the experience even seem like a precursor to the survival game genre. The game has some trouble balancing those elements, but it shows how elastic the adventure format can be. » Read more about Biosys
When factory automation was ramping up, the 1993 game Factory: The Industrial Devolution imagined what could go wrong. When all work has been automated and nobody needs a job anymore, what happens when the machines that build everything break down?
The answer, according to Factory, is the most stressful job on earth. You’re a specialist called in to operate broken factories, manually routing products around so kids will get their boxes of cereal on time. The last time the cereal plant shut down, the kids went on a riot.
There are some creepy implications in that premise about the distant future of consumerism. Mostly, that stays in the manual. In its heart, Factory is a hectic multitasking challenge that always goes wrong, and it drags you along for fun. » Read more about Factory: The Industrial Devolution
Realmz has distinctive, sonorous sound design. The sound effects resonate, and they sweep, like a fast-moving magical aura. It fit excellently with game’s ornate sword-and-sorcery theme, which makes it stranger that the soundtrack is mostly house music.
The Realmz soundtrack seems to have been taken from demoscene tracker music, a homemade computer music style that leans towards techno. The music selected by developer Fantasoft straddles the line between wizards and club bangers, which can be jarring depending on the scene. The shop theme is one of the best of the bunch – a laid-back, trip-hop groove that, from the description, sounds really wrong for a shop in a role-playing game.
This piece, originally titled “Balthasar,” was composed by Antti Kujanpää, a member of the Finnish Amiga demoscene group Banal Projects. It was written for the Finnish demoparty Assembly 1995, where it placed 11th in the 4 Channel Music competition. (None of the composers appear to be credited in Realmz, which raises concerns about whether their music was used without permission.)
In its second life as background music for Realmz, “Balthasar” fits better than it should. RPGs shops are a place to regroup, and the music matches up with that mood. The main melody noodles with a calm, jazzy electric piano, while the dirty drum loops build anticipation for whatever comes next. “Balthasar” cools down and pumps up at the same time.
The game’s upbeat electronic soundtrack is a risky choice, but this track makes a case for the times when it can work. It helps that “Balthasar” is super smooth. Who can deny that keyboard break?
Bill Williams called Knights of the Crystallion “the game I threw the most of my soul into. […] It was going to be my epic, it was going to be my masterpiece – we called it a cultural simulation – and I thought I could pull it off.” It has a scope so ambitious that it’s absurd for one person to have undertaken: it tries to create an entire society.
Ages ago, a colossal sea monster called an Orodrid died in a canyon passage. Millions of years later, after the valley was eroded, a nomadic people found its hulking skeleton, “incomprehensible” in size, and declared it their new home. “Orodrid, the city of bone” became more than a shelter. It was the new center of their world, their source of spiritual energy.
In Knights of the Crystallion, you live within this society. That’s the game. It combines a group of confusing, seemingly random activities – like a Nine Men’s Morris-style board game and an action sequence set in twisting cave – to depict the many sides of the communal, religious life of the Orodrim. » Read more about Knights of the Crystallion
Somewhere in the world of Magus, the Dark One awaits you, cackling in their evil castle. If you don’t want to bother them though, that’s fine. The castle’s tough to find anyway.
Ronny Wester’s role-playing game Magus takes place in one big, open location. It has a single quest – to wander. There are no stories to follow, mythologies to uncover, or people to meet, just a big place. It’s a simple, lighthearted RPG, and it gives you room to enjoy how great wandering can be. » Read more about Magus