This month, I want to talk about computer games. In the past, computer games have gotten barely a nod in these pages, and for good reason— like RPGs and war games, there are plenty of other publications whose sole reason for existing is to cover them. A few recent events have brought computer games to the forefront of my attention, however, and I decided to share some of those thoughts here.
The most recent event was Games Magazine's naming Myst, the best-selling computer game from Broderbund, as its Game of the Year. This marks the first time Games has given this award to a computer game.
Myst is a great product. It does a fantastic job of creating a virtual world and immersing the player within it. The graphics are beautiful, but the music is what really made the experience come alive for me. The eerie, ethereal strains give the world of Myst a distinctive sense of place. They're evocative, relaxing, disturbing, and inspiring. Turn your speakers off and the game becomes a pale shell of what it should be.
Myst is a great product, but not a great game. I finished it in about twelve hours. Solving the puzzles was often trivial once you identified them. I enjoyed the experience, but wasn't overly challenged by it. With harder puzzles and a more climactic ending, Myst would have been undeniably stellar.
But even then, it shouldn't be awarded Game of the Year. Nor should any computer game. There are really two issues involved here. The first is that computer games and board games are entirely different animals. Board games are social experiences shared among two or more people. Computer games are designed to be played solo. When you get down to it, Myst is more of a puzzle than a game. The player is trying to solve the puzzle by correctly interpreting the clues left by the author. Things don't change from game to game. There are no opponents to consider— it's you against the game's designer, just as when you solve a cryptogram or crossword puzzle. Comparing Myst— or most other computer games— to board games is absurd.
Second, and far more importantly, is the very coverage of computer games in Games Magazine. I read games for its puzzles and board game coverage. If I want computer game news, I'll read one of the many magazines which specialize in it. Anything Games tells me about computer games is invariably outdated or superficial. I'd prefer to see more board game reviews. Games Magazine claims there's been a decline in the adult board game market, giving them fewer games to review.
I find it hard to believe there's a shortage of board games to talk about, but let's suppose for the moment that there is. Why not talk about the many superb European games which have been gaining popularity in the U.S.? That would be a much greater service to readers than muscling in on computer mag turf.
The increased coverage of computer games strikes me as an editorial cop-out. An easy, safe choice, but an inferior one for the greater readership. I fervently hope Games will reconsider this policy, and I urge those of you who agree with me to drop Games a line and let them know how you feel.
Having said all this, the remainder of this column may seem somewhat hypocritical. But so be it. Most readers know that The Game Report is a sideline interest I assemble in my spare time. I earn my living as a software developer. Recently I began working for Sierra On-Line, one of the oldest and largest computer game companies in the world. Some of Sierra's games include the King's Quest, Space Quest, and Leisure Suit Larry series of adventures, The Incredible Machine, Aces Over Europe, and Front Page Sports: Football and Baseball. Being an avid game player, you can imagine how I feel somewhat like a kid in a candy shop. After three and a half years writing utilities, it's neat being at a company where employees can play computer games without feeling guilty.
Of course, in the name of research and on-the-job training, I've played a fair amount of Sierra games in the past few months. Some of them are cool enough for me to want to pass the word about 'em.
Gabriel Knight: Sins of the Father is an atmospheric adventure game set mostly in New Orleans. You're Gabriel, a book shop owner cum author doing research for a book on voodoo. That research gets Gabriel tangled in a web of secret rituals and hidden cults. Gabriel must atone for something done by one of his ancestors. In the process, he discovers he's a schattenjager, or shadow hunter— a paladin against ancient and mystical evil forces.
The game uses a series of animated, paneled sequences to evoke the feel of a graphic novel, using gothic art and music to set the tone. Play is divided into ten game days, with each day ending when all necessary information available on that day has been gathered. This breaks the game into manageable chunks and helps players see their progress. I particularly like the way conversations unfold, and new topics become available only after other subjects have been discussed. This flows very nicely and makes conversations seem natural— hard to pull off in a computer game. I played the CD version which utilizes the voice talents of such people as Michael Dorn and Tim Curry, making the dialog truly come alive.
Like many Sierra adventures, Gabriel Knight does suffer from the "guess what the designer was thinking" syndrome and has a couple of illogical and tedious puzzles. In one sequence, for example, you must get a mime to follow you around for three screens before it will do something you need— but along the way it might wander off. Tedium is not fun. Despite these problems, I found Gabriel Knight to be the most enjoyable graphic adventure I've ever played.
Some classics just get better with age, and Lode Runner: The Legend Returns is a perfect example. Lode Runner was one of the first games I bought for my old Atari 800. Spiffed up for the 90's, the new Lode Runner is even better than the original. The most obvious improvement is in the 256 color super VGA graphics, which are dynamite. The details of the animations are delightful, from the runner's flailing arms as he falls to the twisting of a monk caught in a rope trap.
Rope trap? This new version adds numerous features, including bombs, sticky goo, teleporters, monk traps, and confusion gas. Gorgeous 256 color backgrounds set the scene, and a full-featured construction set is included so the fun need never end. You can also play head-to-head with another player, and a series of levels designed especially for such play is included. The sound effects and music are superb as well.
Best of all, the new Lode Runner comes in a Windows version. Since you can now save your game, Lode Runner is a perfect break. You can pause your work, play a level or two, and then save your progress for later. If you never knew Lode Runner in its earlier incarnation, this is a great chance to discover a revitalized classic. For the rest of us, it's a chance to get addicted all over again.
The game I've been spending the most time with has been Betrayal at Krondor. Based on Raymond E. Feist's superlative Riftwar novels, this DOS computer RPG is the best example of the genre I've yet encountered. Set in Midkemia after the events in A Darkness at Sethanon, Betrayal at Krondor tells an entirely new story. Many of the characters are familiar from the books, giving the player the feeling of revisiting old friends.
The game is divided into chapters, and at the start of each one the player is given a goal (escort a character somewhere, find an object, etc). The chapter doesn't end until that goal is achieved. In the meantime, the player is free to wander around the world at will. Along the way the player may discover mini-quests which can be tackled or ignored as the player chooses. Information is gained by talking with other characters the player meets in his travels.
Unlike most computer RPGs, the player doesn't create his own character. Instead, the player is given a set of predefined characters. This allows the game to tell a coherent story, making Betrayal at Krondor feel like an interactive novel. In fact, characters in your party sometimes shift between chapters just as a novel's perspective often changes. In one chapter you might help Jimmy, Locklear, and Patrus defend a castle and in the next you might lead Owyn and Gorath on a quest in an entirely different area.
Krondor features a great turn-based combat system which manages to be easy to use yet still give the player plenty of options. The magic system is likewise simple yet flexible. Add this to an enormous game world with almost total freedom of movement, shown in a first-person perspective, and you get a rich game which I'm dozens of hours into (I'm on chapter 7 of 9) and totally engrossed by. I'm not just playing Krondor for fun, either— with any luck, I'll be able to tell you more about it next issue.