Adventure game: Encyclopedia II - Adventure game - History

Adventure game - History

Adventure game - Colossal Cave Adventure

In the early 1970s, programmer, caver, and role-player William Crowther developed a program called Colossal Cave Adventure. An employee at Bolt, Beranek and Newman (BB&N), a Boston company involved with ARPANET router's, Crowther used BBN's PDP-10 to create the game. The game used a text interface to create an interactive adventure through a spectacular underground cave system. Crowther's work was later modified and expanded by programmer Don Woods, and Colossal Cave Adventure became wildly popular among early computer enthusiasts, spreading across the nascent ARPANET throughout the 1970s.

The unique combination of Crowther's realistic cave descriptions and Woods' addition of fantastical elements proved immensely appealing, and defined the adventure game genre for decades to come. Swords, magic words, puzzles involving objects, and vast underground realms would all become staples of the text adventure genre.

The "Armchair adventure" soon spread beyond college campuses as the microcomputing movement gained steam. Numerous home-brew knockoff's and variations on Colossal Cave Adventure (which eventually came to be known as simply Adventure) appeared throughout the late 1970s and early 1980s.

Adventure game - Scott Adams

One of the many fans of the Colossal Cave was programmer Scott Adams. Upon his first introduction to Adventure, Adams spent almost ten days traversing the game before he achieved Grand Master status. Once he had completed the game, Adams began to wonder how a game like Colossal Cave Adventure could be developed on a home computer like his TRS-80. The main obstacle was that home computers such as the TRS-80 did not actually have sufficient memory to run a large game like Adventure. However, Adams hit on the idea that an adventure game could be described as an interpreter, much like the BASIC language. Furthermore, once an interpreter was developed, Adams realized that it could be reused to develop other adventure games.--Details of Adams's early work.

In 1978, Adams founded Adventure International and produced twelve adventure games before the company went bankrupt in 1985. His first games were text-based and written in BASIC, but during his third game (Mission Impossible), Adams began programming in assembly language to improve the speed of his software.

Adventure game - Graphical progress

The great advance which immediately followed was the introduction of images. With the use of machine language allowing shorter programs, and computer memory increasing, it became possible to use the graphical potential of a computer like the Apple II and some companies soon switched from producing pure text-based adventure games.

Soon the clumsy basic vector graphics gave way to more aesthetic imagery drawn by professional artists. Examples include:

• Return of Herakles by Stuart Smith (1982) (which faithfully portrayed Greek mythology)
• Sherwood Forest (1982),
• Dale Johnson's Masquerade (1983),
• Antonia Antiochia's Transylvania (1982, re-released in 1984)
• Stuart Smith's follow-up to Herakles, Adventure Construction Set (1985), one of the early hits of Electronic Arts. The full-length adventure that came with the software, Rivers of Light, was based on the legend of Gilgamesh.

The introduction of such high-quality bitmap graphics required more substantial storage capacity with many adventure games requiring several diskettes for installation, which would be the case until the CD-ROM made its appearance.

Adventure game - Infocom

In 1977, two friends Dave Lebling and Marc Blank, who were students at the Massachusetts Institute of Technology's Laboratory for Computer Science, discovered Crowther and Woods's game Colossal Cave Adventure. After completing the adventure game, they were joined by Tim Anderson and Bruce Daniels and began to develop a similar game. Their first production, Zork, also started on a PDP-10 minicomputer and spread quickly across the ARPANET. Its success was immediate, and the game, which would reach the size of a megabyte, enormous for the time, would be updated until 1981.

On graduation, the students decided to stay together and to form a company. Tim Anderson, Joel Berez, Marc Blank, Mike Broos, Scott Cutler, Stu Galley, Dave Lebling, J. C. R. Licklider, Chris Reeve, and Albert Vezza created Infocom on 22 June 1979. The idea of distributing Zork came to mind very soon, but the game was too big to port to the microcomputers of the time: the Apple II and the TRS-80, the potential targets, each had only 16 kb of RAM. They wrote a special programming language called Z-machine, which could function on any computer by using an emulator as an intermediary.

In November 1980 the new Zork I: The Great Underground Empire was made available for the PDP-11; One month later, it was released for the TRS-80, with more than 1,500 copies sold between that date and September 1981. That same year, Bruce Daniels finalized the Apple II version and more than 6,000 additional copies were sold. Zork I would go on to sell over a million copies.

The company continued developing text adventure games even as it opened a department for the development of professional software, a department which would never be profitable. High-quality games, with massive, intelligent plots, unequaled syntax analyzers, and meticulous documentation as integral parts of the game, succeeded in all genres. However, with the power of microcomputers increasing and the demand for graphics (which it refused to include in its games), Infocom saw sales decline and in 1989, it had shrunk to a mere 10 employees, compared to 100 employees at its peak, and games developed after 1989 would have no link with the original team.

Adventure game - Sierra

At the end of the 1970s, Ken Williams sought to set up a company for enterprise software for the market-dominating Apple II computer. One day, he took a teletype terminal to his residence to work on the development of an accounting program. Rummaging through a catalogue, he found a program called Colossal Cave Adventure. He and his wife Roberta both played it all the way through and their encounter with Crowther's game would have a strong influence on video-gaming history.

Having finished Colossal Cave Adventure, they began to search for something similar, but found the market underdeveloped. Roberta Williams liked the concept of a textual adventure very much, but she thought that the player would have a more satisfying experience with images and began to think of her own game. She thus conceived Mystery House, the first graphical adventure game, a detective story inspired by Agatha Christie's And Then There Were None.

Ken spent a few nights developing the game on his Apple II, and in the end they made packets with ziploc bags containing the game's 5¼-inch disk and a photocopied paper describing the game. They sold it via a local software shop and to their great surprise, Mystery House was an enormous success. Though Ken believed that the gaming market would be less of a growth market than the professional software market, he persevered with games. Thus, in 1980, the Williamses founded On-Line Systems which would become Sierra On-Line in 1982. The company would be a major actor in the video-gaming of the 1980s.

Sierra soon took things further. Until this point adventure games were in the first person; images presented the décor as seen through the eyes of the player. Williams's company would introduce a new feature in the King's Quest series: a game in the third person. Taking advantage of the techniques developed in action games which had progressed in parallel, Ken introduced an animated character who represented the player in the game and whom the player controlled. With the 3D Animated Adventures, a new standard was born, and nearly all the industry latched onto it. The commands were still entered on the keyboard and analyzed by a syntax interpreter, as with text adventure games.

Sierra would develop new games and push the boundaries of adventure gaming until its purchase by Cendant in 1998. Then in 1998, Cendant sold off their entire interactive software branch for $1 billion to Havas Interactive, a subsidiary of Vivendi Universal.

Adventure game - LucasArts

In 1987, when nobody seemed able to overcome Sierra's power, a programmer named Ron Gilbert working for the company Lucasfilm Games — which has since become LucasArts — created the script-writing system SCUMM which used a point-and-click interface similar to ICOM Simulations' MacVenture games first introduced in 1985. Instead of having to type a command to the syntax analyzer, this system was controlled by means of text icons. To interact with his environment, the player clicked on an order, on an icon representing an object in her inventory, or on a part of the image. This approach was first used by LucasArts for the game Maniac Mansion to great effect.

LucasArts would come to differentiate itself from its main competitor, the giant Sierra, by rethinking certain adventure game concepts to improve playability. Gone was the possibility to die during the course of the game and everything was done to ensure that the player was never completely stuck. Finally, LucasArts abandoned the system of points indicating the player's progress in the adventure. These innovations were immediately taken into account by the competition, especially Sierra.

Gilbert's attempts, Maniac Mansion and Zak McKracken and the Alien Mindbenders, however, remained in 16 colors, and the point-and-click engine wasn't completely integrated since the player would still have to construct sentences using clickable keywords combined with objects in the game. It was The Secret Of Monkey Island that was finally a complete work, with 256 colors, a complete point-and-click engine, a dialogue system with optional responses, puzzles solved with items, original graphics, atmosphere music, and a characteristic sense of humour. Above all, the script was written as for a film (which could be done in-house) and the dialogue and inventory served the needs of the script. The 1993 release of Day of the Tentacle, a remarkable success, began a line of cartoon-style games.

Steven Spielberg collaborated with LucasArts in the creation of The Dig — a science-fiction adventure game that the director had envisioned filming. It met with limited commercial success coming at a time when the gaming public was enticed by high-speed action games.

Taking advantage of advances in action games and integrating an engine similar to those of first-person shooters, the company took a new turn in 1998 with the game Grim Fandango, where it abandoned the cartoon style and its SCUMM scripting environment for a new 3D game system named GrimE.

Adventure game - Myst

In 1991 when the world of adventure games seemed forever dominated by LucasArts, a small team of nine from the company Cyan, Inc., headed by the brothers Rand and Robyn Miller and run out of a garage in Spokane, Washington, began to push the limits of Apple's HyperCard software. By utilizing several Macintosh Quadra computers to generate the graphic images, they invented a new type of adventure game, transforming the genre. Their game Myst was a first-person game with few animations, but the images completely left behind the prevailing cartoon style in favour of ultra-realism. The game was intriguing and captivating, and allowed a level of immersion never previously attained.

The adventure began on an island; the player knew nothing. There was no inventory any more; the player could only carry one object at a time. The game's puzzles were rather classical in their conception. However, thanks to its detailed graphics where everything could be important, the game captivated the player.

Part of its success also seemed linked to the fact that, for the first time, a video game didn't appear to be aimed at an adolescent male audience, but a mainstream adult audience. Released in 1993, Myst for many years was the most profitable computer game ever; it sold over nine million copies on all platforms. It wasn't dethroned until the release of The Sims in 2000, currently the most successful computer game ever.

Myst gave way to several sequels, Riven, Myst III: Exile, Myst IV: Revelation, as well as Myst V: End of Ages. There is also a massively multiplayer online role-playing game (MMORPG), Uru: Ages Beyond Myst, which isn't actually part of the Myst series. Three derived novels found their origin in its world: Myst: The Book of Atrus, Myst: The Book of Ti'ana and Myst: The Book of D'ni. The game was also parodied by Parroty Interactive's Pyst.

Adapted from the Wikipedia article "History", under the G.N U Free Docmentation License. Please also see http://en.wikipedia.org/wiki