Making an adventure game has never been easier


In the early years of personal computers, the adventure game genre reigned supreme, exemplified by classic titles like King’s quest and The secret of monkey island. Toronto artist Julia Minamata grew up playing this style of play, which emphasizes storytelling and story-based puzzles.

“With an adventure game, you move through it at your own speed, and it’s more like a book than an arcade game,” says Minamata in Episode 459 of the Galaxy geek guide podcast. “I found as an artistic and book-loving kid that interactive storytelling was the type of game that appealed to me the most.”

Video game journalist Kurt Kalata loves adventure games so much that he wrote and edited The Classic Adventure Adventure Guide, a huge tome detailing dozens of different games. It’s exactly the kind of book you wish you had as a child in the nineties. “I remember keeping a [adventure game guidebook] around like my Bible, even though it was mainly about how to play the games and how to beat them, “he says. “I wanted something that was like that, but really about games.”

The adventure game genre has been dying for years, but the advent of tools like Adventure Game Studio has created a burgeoning indie scene. Minamata is working hard on The crimson diamond, a 16-color adventure game inspired by the 1989 Sierra murder mystery The Colonel’s Legacy.

“What brought me back to the genre was when I started watching games produced by solo developers,” says Minamata. “Yahtzee Croshaw did Chzo myths, Francisco González did the Ben Jordan series. This is someone who uses Adventure Game Studio, and that was really inspiring for me. “

And while tools like Adventure Game Studio can help simplify the coding process, there are still no shortcuts when it comes to creating great works of art. Kalata spent months making a Monkey Island-Inspired game called Christopher Columbus is an idiotBut it hit a wall when it came time to polish the images. “It was all written in MS Paint and eventually there was a point where I said, ‘I don’t know if I can spend time on this without turning it into a commercial project, and to turn it into a commercial project I need good art,'” he says.

Listen to the full interview with Julia Minamata and Kurt Kalata in Episode 459 of Galaxy geek guide (above). And take a look at some discussion highlights below.

Kurt Kalata on point and click games vs text analyzer games:

“[With a point-and-click game], you only have a limited number of tools to interact with the world, so eventually if you try enough things you’ll figure it out, and that was an overall comfortable feeling for me. You could try everything and eventually you would find it. And the text parsers in the Sierra games weren’t particularly good, compared to the Infocom games, which had better vocabulary. I think if the game was a little more direct about telling you what things it understood, and also if you didn’t have to guess how it decided to call a noun, or at least had more synonyms for certain words … It would have been better. “

Julia Minamata on game designers:

“Before the current situation that we find ourselves in now, I went to Pax West, and I got to meet Lori and Corey Cole, which was really amazing, and I met Douglas Herring, who was the artist for The Colonel’s Legacy, which is the main inspiration for my game. Al Lowe was there too, so that was great. They were on an adventure game panel together so I got to watch them and chat a bit with Lori and Corey Cole. … So it was great to see it and go to events to show my game, just meet people here and there, and see people that are still developing. [games]. It was really inspiring. “

Julia Minamata in The Colonel’s Legacy:

“The artists were given a lot of leeway in terms of what they were generating. They were given some reference material, some photos of similar houses, but they were left to their own devices. With things like Search for the King, what would happen is that Roberta Williams would outline a basic ‘Here is a tree, and this is where the current is, and this is where the rock is’, and would pass it on to the artists, who in turn would interpret that to be something more professional. But the good thing about The Colonel’s Legacy is that she did not do that. She just said, ‘Go do the thing,’ so [the artists] We were able, from scratch, to create this incredible atmosphere. “

Kurt Kalata on the future of Monkey Island:

“I was involved in the Limited Run project, and I know they expected this whole project to generate some interest in Disney. Disney is so big they didn’t even really know what [Monkey Island] It was, because it’s just ‘an old’ 90s game that people like. ‘ So we were hoping enough money would be generated that they would say, ‘Okay, people are interested in this. Monkey Island And here’s the original designer who would be interested in doing something with him, so maybe some kind of connection will come about. ” … The stars have to align. Someone who works with [these companies] you have to be a fan of these games. Someone has to worry. “


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