
Regurgitator aren't as mental as they used to be, but they still have a Crazy Noise Box on stage with them.
"It is the hour to be drunken! Be drunken, if you would not be martyred slaves of Time; be drunken continually!"
Now this is the topic of almost all comment threads over there, the Grumpy Gamer being Ron Gilbert of Monkey Island and Maniac Mansion fame, but as I read it I realised that I have a somewhat unique opinion about this issue.
I think the two reasons that no adventure games are made anymore are that 1) The classic adventure game interface is archaic, and 2) 'Adventure games don't sell' is a deeply held belief of the industry.
Lets start with the second point – adventure's like Kings Quest and Monkey Island were once the best selling franchises in the business, but as PC hardware improved they were eventually surpassed by more fast paced and acronym-mungus genres like FPS and RTS. This followed the trend of the gamer demographic moving from old geeks to 14 year olds who wanted blood and boobies. So it was understandable that the adventure genre declined. Nowadays the mainstream companies view it as a dead medium. But when was the last time one of them ever put out a real adventure game? The last one I can think of was Gabriel Knight 3, and that was over 5 years ago. While it wasn't a huge seller like Halo or Grand Theft Auto, it didn't exactly flop either. Look at The Longest Journey, one of the only attempts in recent times to make a classic adventure game. It was published by a small developer, in an unpopular genre, but still managed to get copies on store shelves even in New Zealand.(On top of all that it was a shit game too).
With the demographics of gamers broadening so much in recent years, you'd think that there would be a large potential audience for a more cerebral, less action-oriented style of gaming. But no, conventional wisdom says 'Halo and GTA made lots of money, lets do that!'. The end of Gabriel Knight 3 involved a series of jumping/timing action puzzles, in contrast to the logic and reasoning based puzzles throughout the rest of the game. Jane Jenson, the writer, said after releasing it that she felt like she had to put those last bits in, because any gameplay element that wasn't immediately obvious to understand made the company execs nod off during their demonstrations, they knew that only Action! and Danger! sold games.
My first point is just that one of the things that turns the modern gamer off recent attempts at the adventure genre is the antiquated interface. In the olden days an adventure game would let you indicate what to do by having a huge list of verbs at the bottom of the screen, (and you'd usually end up trying each of them in order on every object you could find when you were stuck). In later days these were combined into a single mouse pointer which could be changed into a variety of different modes in order to represent different ways of interacting with something. While it kind of made sense at the time, compared to other games out there at the moment, it's very non-intuitive, fiddly, and obstructive to gameplay. No one likes it when you realise 'Oh, I should have used 'turn' on the door handle instead of 'open'. Even Gabriel Knight 3 and The Longest Journey used the same kind of UI, despite their ambitions to break out of the adventure ghetto.
So, if I were given lots of money and told to make an adventure game, here's what I'd do:
License the Doom3 engine (or maybe Source). We need lots of nifty graphics to impress the unwashed masses of the gaming press and the coke snorting suits who're paying us to make a game.
Get someone with an established reputation like Ron Gilbert or Jane Jenson on board as a writer, to make sure we do end up with a game worth playing!
Make sure the damn interface is good! My suggestion would be something along the lines of Splinter Cell. You walk up to something, and a list of potential actions appears. Get rid of the inventory too! No one likes having to try every object on every other one, because there's some obscure combination that will reward you with the solution to the puzzle. If you've got the right object in your position, it just brings up another option in the list when you get wherever you're supposed to use it.
There should be a picture here.
Update: Changed the title of the post, since Vodafone automatically changes it to 'You have a PXT from XXXXXX'. Wasn't too happy about having my cellphone number posted on the web.
Update2: As Joel points out, the alt text of the photo still had my number in it too....
Yet another book that has been sitting in the 'to read' pile for well over a year. I'm very glad that I finally got around to this one. It's a fantasy novel, but a far from conventional one. While most books in the genre come with several pages worth of maps before the story starts, detailing some weird and unfamiliar landmass (usually with the good guys starting the in the top left corner, and the bad guys living down the bottom right), Bridge of Birds skips all that, and is just set 'in China'.
Most westerners are unfamiliar enough with Asian history and culture that Chinese myths and ancient history make a good substitute for fantasy anyway. I have no idea how much Hughart has borrowed from real Chinese mythology, or how much historical detail is accurate (I'm guessing 'not a lot'), but reading this book made me want to find out. (As if I need anything else on my list of things to read about).
Bridge of Birds is the story of a young man named Number Ten Ox, and his quest to cure the children of his village of a mysterious illness. He is guided along his travels by Master Li Kao, a scholar with a slight flaw in his character (he's an alcoholic). It's a pretty standard beginning to a fantasy story, but the exotic flavour of the setting and characters make it a unique read right from the start. The story is told from the point of view of Number Ten Ox, and Hughart does a great job of evoking a truly exotic culture, a welcome relief from the faux-oriental europe-with-curvy-swords-and-pointy-hats that lesser fantasy authors invariably stick somewhere on their big map.
The book is divided into three parts, and each part is somewhat different in style. The first part starts out fairly dry and formal, but by the third chapter, when they arrive in the Worst Wine Shop in China, it becomes riotously funny. Master Li's elaborate schemes to cheat the wealthy and arrogant are reminiscent of trickster myths from all kinds of cultures, and it's tremendous fun to read about a bunch of clever, good-hearted heroes handily defeating the mighty and powerful with only their wits.
The second part is more of an adventure story, with the character's visiting all manner of strange and wonderful locations in their quest. It's a little weaker than the other two parts, but still very enjoyable.
In the final third, the story becomes more and more mythic, before reaching a poetic and moving conclusion. All the disparate threads in the story are brought together in clever elegant ways. It feels contrived, but this is easily forgivable because it's easy to tell early on that something like this is going to happen, and the book's inescapable charm more than makes up for it.
Heartily recommended. I'm buying the sequel as soon as I can.
Chomsky: [...] Now, again, surely, among these Moria Orcs were some Orc radicals — aggressive, angry, militant radicals. We shouldn't understate that.Zinn: Well, look how the Orcs grow up. What do you expect?
Chomsky: I mean, what other options have they?
Zinn: I dare say that, were I an Orc, I might possibly be one of those terrorist Orcs, shooting arrows at the Fellowship myself.
Chomsky: Here comes the Balrog. Notice Gandalf's unilateral action. "Quick, get away, I have to fight this thing alone!"