Half up the arcade stairs,
the old heavy blue halo
crunching down on us,
earthquake roar, hurtle,
hurricane, heads up,
you speak in tongues on
a cartoon RPG religion.
Our feet stuck to wooden
planks, I set my fishbowl
drink down, sloshing pink
sludge, and repeat after
you three small mantras:
rhythm, respect, and
covered in ketchup and mustard
grassy motherfucker with crab’s claws
claws and grovels into the dirt behind the abandoned
contemporary art building
the old El Nido Triangle,
unburies his – 100th bible – while
buskers and babes watch from the misty sidelines
moaning and sighing in sign,
moist waffles, moist in the puddles of mud–
Steven Howard Jr., now Sony
executive Dr. “Crab” Spencer,
freelance child psychologist,
who reduced his whole train staff into
biblical pages, paces around the office,
its sandy beaches vacant and holy,
et al. Read More
Someone on a game forum recommended this to me and I hadn’t heard of it, so I wasn’t sure at first why he recommended it. The topic of discussion was frustrating SNES games, but there are frustrating games that are difficult but satisfying, there are overly obscure games, unforgiving games, and sometimes games with just awful design. Which one was Jim Power?
Jim Power: The Lost Dimension in 3-D is I guess a misleading title. It recalls to mind something like beloved The Lost Vikings (1992) or Virtual Bart (1994), video game narratives that feature time travel or virtual realities, narratives that have no rules. Jim Power promises 3D, as well, whatever that could mean on the SNES (Star Fox?).
The game was developed by French developer Loriceil, who came out with a handful of Commodore 64 and MS-DOS games in the 1980s that probably not a lot of people have ever heard of and a few hits like Golden Eagle (1991) on MS-DOS. Eric Chahi, who later designed Another World (1991) had his start at Loriceil, so the studio isn’t too obscure.
In 1992, the studio came out with what seems to be their biggest hit, Jim Power in Mutant Planet, which was co-developed by Digital Concept, and features music from the incredibly talented Chris Hülsbeck, who worked on the Amiga/C64 version of R-Type and sci-fi run and gun Turrican (1990). A year later, The Lost Dimension in 3-D would be released.
Wikipedia seems to go to great lengths to make sure its readers are aware that Lost Dimension is not a sequel to Mutant Planet. The two have the same first level, though Mutant Planet looks, sounds, and maybe plays much better. Hülsbeck’s music can be heard in Lost Dimension, but it gets a bit garbled in the translation, though I might be biased. The first level’s theme is my favorite, and it’s pretty rockin’.
Both games have a striking resemblance to Turrican, both in terms of gameplay and sound. It’s funny to think that Loriceil wanted to make a Turrican-clone and actually went out of their way to get Hülsbeck to do the sound, but I’m just speculating.
According to this, publisher Electro Brain actually packaged stereoscopic Nuoptix 3D glasses with the game, which would make the parallax scrolling backgrounds appear 3Dish. I can’t even imagine this. I felt so sick after playing it for about three hours and went straight to bed.
Chris Klimas talks a bit about Twine, his program for making hypertext games, and the early days of IF.
What drew you to interactive fiction back in the ‘90s? What was the scene like back then?
I was intrigued by playing IF while I was growing up in the 80s — mainly the Infocom games. I think what I liked most about it was the feeling that the world of an IF game was so vast. I was pretty awful at the puzzles, so my experience of playing was an overwhelming sense there was all this content just out of reach. In a way, the content of the games existed more in my imagination than actual code. But that, to me, isn’t necessarily a bad thing.
Anyway, once I got access to the Internet a decade later, I somehow found my way to ftp.gmd.de — the predecessor ofifarchive.org — and from there I found Inform, and fell a little bit in love with it. I liked the idea of building the vast world people chipped away at puzzles to reach. Of course, I learned that there were a whole other set of challenges once you’re on the other side.
By the time I started tinkering with IF, the community had at least established itself, though it grew a lot while I participated in it. Even so, it was not tremendously big, but there was a sense of progress to it, and room for enormous experimentation. The day before the IF Comp felt like Christmas Eve.
There was also an air of mystery to it, same as with any online interaction back then. You didn’t really know exactly who it was behind the newsgroups posts or the ifMUD accounts. It was a smidge surreal, meeting many of these folks many years later at the IF suite at PAX East 2010, and discovering they really were living breathing human beings and not eldritch presences on the net.
A short game I made in RPG Maker 2003 (works in PC only, I’m SO sorry) about Pancake, my son. He wrote most of the dialogue while we watched Steve Wilkos and Maury. I mostly used only the RTP assets just for the fun!
It’s sort of a neo-noir story about – stuffed animals -.
And yeah, Mike, it’s over when you beat the cyclops!
I read a few of your posts earlier today. Nice work. I hadn’t really thought of comparing Dark Souls to my game, but maybe the similarities you mention are why it’s my favorite game of its generation. The varied but inter-connected world is definitely one of its strengths, and something I like to go for in my own games.
I love when games are meandering.
I was especially impressed with the hidden path behind another hidden path in Blighttown, which leads to a long segment and ends up at the lake. All that work for something some players might never see. I aspire to things like that as well.
I think the “secret” ending in Seiklus is a lot like that.
I was reading some of your game suggestions on your website and you mention Startropics…that’s a name that isn’t brought up often enough.
Have you played the second one?
I think I rented it, but didn’t finish it.