David Barr Kirtley

Science fiction author and podcaster

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Retrospective: Phantasie

December 15, 2011 by David Barr Kirtley Leave a Comment

Phantasie from SSI was the first computer role-playing game I ever played seriously, and the first one I ever beat. It came out in 1985, so I would have been around eight years old. I also spent a lot of time playing Phantasie III. Both games are basically the same, with some minor differences. (Phantasie II wasn’t released for the PC, so I never played it.)

phantasie ssi game box   phantasie ssi game box

In both games, you start out in a town, which is basically just a bunch of menu options. Every town looks the same and has the same menu:

phantasie ssi game screenshot

One interesting feature was the bank. You could deposit money in the bank, then withdraw it from any other bank in any other town. That meant that if monsters robbed you (see below), you were only at risk of losing the money you were carrying, not all the money you owned.

Before you started adventuring, you needed to roll up a party of six heroes. Here are the hero graphics from Phantasie III:

phantasie ssi game screenshot

Along the top row you’ve got your standard hero races: human, dwarf, elf, gnome, and halfling. You could also select “random,” which would throw out all manner of weird monsters — trolls, ogres, lizard men, pixies, minotaurs, etc. (The bottom row.) Pixies and sprites made good thieves, and big ugly monsters like trolls and ogres made good fighters, but the downside to picking them was that training them was very expensive, due to racism on the part of the training guilds. In Phantasie it was helpful to have a minotaur in the party, since there was a city of minotaurs that you could only enter if there was a minotaur in your party.

Once your party’s assembled, you’d explore the world by navigating an overhead map:

phantasie ssi game screenshot

On the first few screens you’d get a complete map, but after that you’d see only a black screen, which would get filled in as you explored. You’d also encounter bands of roving monsters. Sometimes you’d spot them first, and have the choice to either sneak off or take them by surprise. Sometimes you’d catch them sleeping, and have the chance to hack away at them as they woke up one by one. Or they might surprise you or catch you sleeping. At any point during an encounter either side would have the option to greet the other party, threaten them, beg for mercy, or run away. Threatening monsters was a good way to get your hands on their gold without having to actually fight, and begging for mercy was a way that you could avoid a fight by handing over all your gold.

That variety of scenarios and options made things interesting, but of course most encounters led to bloodshed, especially if you’d entered the monsters’ lair. (Each dungeon involved a separate map that got filled in as you explored.) Combat was played out on its own screen, with your heroes lined up along the bottom:

phantasie ssi game screenshot

Melee fighters could hit the first two rows, and you could choose which row to attack, but you couldn’t target individual monsters. Higher level fighters could attack multiple times per turn, but at the cost of missing more often. Thieves could skulk around and strike at the back row. Magic could also target any row, and the different spells were basically a tradeoff between spells that weakened lots of monsters a little bit versus spells that did a lot of damage to one particular monster.

Mostly the monsters got more powerful the farther you ventured from home, but one big exception was black knights, who could show up anywhere:

phantasie ssi game screenshot

They were among the most powerful monsters in the game, so you’d have no choice but to run whenever you saw them, sort of like the Nazgul in Fellowship of the Ring. This made it especially gratifying toward the end of the game when you were finally strong enough to stand up to them and defeat them.

If every member of your party was killed, you’d travel to the astral plane, where each character would face judgment:

phantasie ssi game screenshot

It was never clear to me what criteria were being applied. If the powers really didn’t like a character, that character would be destroyed, and would be gone forever. Most of the time the character would be made undead, and would come back as a crappier version of himself who was unable to learn anything new. Or a character might be resurrected, and suffer only a minor stat penalty. Most of the time if the party was killed it was better to just reload your game (there was one save slot, which could only be accessed from town), but if you’d gotten your hands on some spectacular loot or if you didn’t want to spend hours replaying a particular sequence, you might choose to live with the consequences of being judged.

Another interesting feature of Phantasie is that the game kept track of the age of each character, and when the characters reached a certain age their base stats declined enormously. It was really a shock the first time that happened, and it was really heartbreaking to have to dismiss all these characters I’d grown attached to, including my minotaur, “Bully.” (I rolled up a new character to replace him, “Bully II.”) This aging of the characters really drove home the epic scale of the quest — that breaking the stranglehold of the evil wizard Nikademus would take generations. It also limited your ability to endlessly grind up the stats of your characters, though you could still transfer all the magical gear you’d acquired to your fresh young heroes, so it wasn’t as if you were completely starting over from scratch.

Two incidents really stick out for me from Phantasie III. Near the beginning, your party is sent to attend the funeral of a fallen hero. Then the main bad guy Nikademus appears and starts blasting everyone with fireballs. As the mourners lie dead and wounded, Nikademus declares that you are all fools to defy him, and teleports away. Then later there’s a part where you find a hut on the bank of a river, and there’s a kindly old man there serving magic soup that permanently increases your base stats. Nothing else in the game can do that, so it’s a huge deal. Then the old man reveals himself as Nikademus in disguise, and he promises that this is only a taste of the power that can be yours if you join with him. He then vanishes. Both those moments are really just creepy and unsettling.

I never did beat Phantasie III. It’s short, but it’s hard. A lot of the difficulty comes from the fact that the game features body part-specific damage. Powerful blows can now injure, break, or remove arms, legs, and heads:

phantasie ssi game screenshot

It sounds cool, but in practice it’s really frustrating, as your characters are now vastly more fragile, and it seems like half the time everyone’s out of commission due to a missing arm or head or something. There’s one part of the game where you have to venture into this giant tent where a battle is in progress in order to meet with Lord Wood, leader of the forces of light. (I imagine the game’s designer Doug Wood was trying to position himself as a video game celebrity on the order of Lord British, but I don’t think it ever really caught on.) I could make it to Lord Wood, but then you have to fight your way back out of the tent again, and practically every step you take you encounter another giant. I don’t think I ever made it past that part.

So for me at least that’s where the story of Phantasie ends. In a big tent with Lord Wood getting pounded on by giants:

phantasie ssi game screenshot

If you want to see these games in action, there are videos up on YouTube of Phantasie and Phantasie III (from which I grabbed some of these screenshots). There are also good writeups of Phantasie and Phantasie III over at CRPG Addict.

Filed Under: nostalgia, video games

io9’s Geek’s Guide to the Galaxy Podcast Interviews Neal Stephenson

October 21, 2011 by David Barr Kirtley Leave a Comment

Episode 47 of my science fiction podcast is now up at io9. In this show we interview Neal Stephenson about farming gold, learning Western martial arts, and changing the world through science fiction. Then stick around after the interview as guest geek Keith Burgun joins us to discuss what makes a good computer role-playing game.

io9's geek's guide to the galaxy podcast interviews neal stephenson

Filed Under: Geek's Guide to the Galaxy, video games

Retrospective: Rise of the Dragon

January 10, 2011 by David Barr Kirtley Leave a Comment

For whatever reason I just found myself thinking about Rise of the Dragon, a 1990 point-and-click adventure game developed by Dynamix (which at that point had recently been acquired by Sierra). This game takes all the best elements of Blade Runner and, uh, Blade Runner to present a nightmarish future vision in which Los Angeles is overrun with crime, drugs, and pollution, if you can imagine such a thing.

rise of the dragon computer game

The game features cool graphic novel-style cut scenes to advance the story. In the first of these, we see a nice young woman taking some street drugs that function sort of like a nicotine patch from hell, killing and horribly mutating her.

rise of the dragon computer game

Turns out this girl was the mayor’s daughter, and he doesn’t want it getting into the papers that she was mixed up in crime and drugs, so he hires you, private investigator Blade Hunter, to discreetly look into her death. Aside from two stupendously bad side-scrolling action sequences, the game is played from a first-person viewpoint and uses a drag-and-drop interface, which was cutting-edge stuff back then. One of the first things you do in the game is get dressed by dragging your clothes onto a picture of your character.

rise of the dragon computer game

You can actually leave your apartment without getting dressed, in which case you’re immediately arrested for indecent exposure (and lose the game). This establishes a pattern that will repeat itself throughout Rise of the Dragon. You will lose the game. Over and over. A lot. Did you not say exactly the right thing to any character? Lose the game. Mouth off or pick a fight with anybody, anywhere? Get beat up and lose the game. (See that exquisitely muscled torso? Don’t be fooled. Anyone in this game can beat you up.) Fail to show prophetic insight into where you should be at any given instant? Lose the game. This game is INSANELY frustrating. Practically every puzzle requires that you fail (and lose the game) a few times in order to figure out what you’re supposed to do. You proceed by trial and error, and this game introduced me to the dubious pleasure of clicking everything on everything to see if anything happens. Lots of events in the world don’t happen until a particular time, which makes them easy to miss (and lose the game), so you spend a lot of time wandering around with nothing to do because some critical event hasn’t happened yet, and you’re constantly tempted to just let time pass and see if anything happens, but of course that risks missing the critical event (and losing the game). And of course, if you don’t make it back to your apartment by bedtime, your character will simply go to sleep on the sidewalk, where he is promptly mugged (and you lose the game).

So why would anyone ever play this game? Two reasons. 1) Because you’re an adolescent with nothing better to do and a near-pathological commitment to solving puzzle games, and 2) Because there is some cool, creepy, messed up shit in this game. King’s Quest this ain’t.

For example, you quickly track down the guy who sold the tainted drugs that killed the mayor’s daughter. This drug dealer’s associates in the Chinese mafia are displeased with him for bringing them to the attention of the mayor, so they express their displeasure by tying him up and covering his body with drug patches, which causes his skin to melt off.

rise of the dragon computer game

You then find yourself at odds with a local mob boss. There’s also some prophecy about how you’re going to have to fight a dragon who’s been imprisoned for the last 5,000 years. An old wise man gives you three good luck charms: a book of ancient wisdom, a blessed stone, and a flak jacket. The book and stone are completely worthless, but the vest will stop bullets. That’s pretty funny.

rise of the dragon computer game

Then the mob boss kidnaps your girlfriend, and you bust into his office building to save her. You find her strapped to a chair with a collar around her neck that in just a few seconds is going to inject her with fatally mutation-inducing sludge.

rise of the dragon computer game

Failing to save her results in one of the most famously disturbing scenes in all of video games.

Oh what the hell. You’re curious, right? It looks like this:

rise of the dragon computer game

rise of the dragon computer game

rise of the dragon computer game

Failing to save your girlfriend is actually one of the very few actions you can take in the entire game that doesn’t cause you to lose the game. You just end up getting the “sad ending.”

Anyway, shortly after you rescue your girlfriend (or don’t), you find yourself in a basement/cave where a bunch of cultists are worshiping the mob boss, who right before your eyes transforms into a frickin’ dragon, man. That’s also pretty creepy, the way it’s drawn:

rise of the dragon computer game

rise of the dragon computer game

rise of the dragon computer game

Then you kill him.

So anyway, that’s Rise of the Dragon. The pros: Good graphics (for the time), cutting edge interface (for the time), pretty good story, and lots of freaky, freaky shit, man. The cons: Insanely frustrating, kinda short. Definitely one-of-a-kind, though.

Filed Under: nostalgia, video games

The Skellyman Scoundrel

January 7, 2011 by David Barr Kirtley Leave a Comment

There’s a cool new character class out (costs $1) for my friend Keith’s terrific iPhone game 100 Rogues. Check it out.

100 rogues skellyman scoundrel

 

Filed Under: video games

io9’s Geek’s Guide to the Galaxy Podcast Interviews Ron Gilbert

December 16, 2010 by David Barr Kirtley Leave a Comment

Episode 27 of Geek’s Guide to the Galaxy features an interview with Ron Gilbert, the legendary game designer behind The Secret of Monkey Island and Monkey Island 2: LeChuck’s Revenge. His latest game is DeathSpank, which combines the story and humor of Monkey Island with the action and RPG elements of Diablo. Topics covered include: Did Disney rip off Monkey Island to make Pirates of the Caribbean? Did Orson Scott Card really write the swordfighting insults in Monkey Island? Are video games art? Who killed adventure games? And more! Then stick around after the interview as John and I discuss adventure games.

io9's geek's guide to the galaxy interviews ron gilbert

Filed Under: Geek's Guide to the Galaxy, video games

Ludonarrative Dissonance

December 12, 2010 by David Barr Kirtley Leave a Comment

I’d never heard the term ludonarrative dissonance before, but in the last day or two I’ve come across it several times. It seems to be basically the idea that in a video game the story written by the designers is often in direct conflict with the actual mechanics of gameplay. Two examples: In Uncharted 2, the cutscenes depict your character Nathan Drake as an easygoing, good-humored dude, but the actual gameplay involves Drake ruthlessly killing over three hundred people. The Drake of the cutscenes doesn’t seem like the sort of person who could kill so many people with so little hesitation, or be so nonchalant about it afterward. Also, in Shadow Complex the cutscenes tell you that goons are taking your girlfriend to a helicopter and that you have to rush over there to save her, but in the actual game you spend a lot of your time scouring every last nook and cranny looking for power-ups.

Filed Under: video games

Controls in Doom Classic iPhone Game

December 2, 2010 by David Barr Kirtley Leave a Comment

Some friends were asking me how the controls were in Doom Classic for the iPhone. The controls definitely take some getting used to, but with a little practice they’re not too bad. Here’s a quick video I shot of me fighting the cyberdemon:

doom classic controls fighting cyberdemon

And of course if you like Doom, you should check out the best doom deathmatch map ever.

Filed Under: video games

io9’s Geek’s Guide to the Galaxy Podcast Interviews Chet Faliszek

November 26, 2010 by David Barr Kirtley Leave a Comment

Episode 1 of Geek’s Guide to the Galaxy is now up on io9. This is a slightly more polished version of the file that ran on Tor.com back in January. If you missed our premiere episode, now’s the perfect time to listen to us chat about zombies, video games, and the end of the world. Featuring an interview with Chet Faliszek, lead writer on the Left 4 Dead games.

Filed Under: Geek's Guide to the Galaxy, video games

100 Rogues Designer Keith Burgun on KPRISN36.WAD, Best Doom Deathmatch Map Ever

November 23, 2010 by David Barr Kirtley Leave a Comment

Keith Burgun, lead designer of the awesome 100 Rogues iPhone game, writes in response to my blog post “Best Doom Deathmatch Map Ever”:

I can totally vouch for this as one of the greatest Doom deathmatch levels ever devised! I absolutely love KPrison, Dave, so much that I ripped several elements of it off in various maps of my own. I even had one map that I called “KSFALLS,” and I think I just added the K because I wanted it to sound like it was like kprison (The “S” was because it was “slime-falls”).

Filed Under: video games

Doom on My iPhone

November 19, 2010 by David Barr Kirtley Leave a Comment

Just found out about this. It’s Doom on my iPhone:

Filed Under: video games

Unfettered Development Podcast Interviews Jason Durall

November 17, 2010 by David Barr Kirtley 1 Comment

So after mentioning Amber Diceless Role-playing in the SF Signal Mind-Meld, I tried searching for podcasts featuring the game’s designer Erick Wujcik, which led me to an interview with Jason Durall in Episode 7 of the Unfettered Development podcast. Durall wrote sections of the Shadow Knight supplement, and signed on to write the never-released Rebma sourcebook (the cover of which has turned up online), and according to him he finished the whole thing but it was never released due to problems with the publisher. Sounds like there’s still some hope of it being published someday. I would really like to get my hands on that. Also, it looks like Durall is currently working on a very Amber-influenced RPG called Lords of Gossamer and Shadow, utilizing the Amber game rules.

Filed Under: video games

SF Signal Mind Meld: Favorite SF/F Games

November 17, 2010 by David Barr Kirtley Leave a Comment

I was invited to take part in my first SF Signal Mind Meld, on the topic of favorite sf/f games. I discuss Ultima, Monkey Island, Doom, Amber Diceless Role-playing, and Interstellar Pig. The article also includes responses by Ari Marmell, Scott Schaffer, Tobias Buckell, Kevin Brusky, John Scalzi, Tim Zinsky, John Joseph Adams, Trent Ditto, and Tim Akers.

Interstellar Pig Book Cover Ultima  game box Amber Dieceless Role-Playing Game Book Cover Monkey Island 2 Game box Doom 2 game box

ETA: Listen to my December 2010 interview with Monkey Island creator Ron Gilbert.

Filed Under: video games

100 Rogues iPhone Game 2.0

November 16, 2010 by David Barr Kirtley Leave a Comment

100 Rogues, a super-fun iPhone game designed by my buddy Keith Burgun, just got patched to version 2.0. This is a major, major upgrade that adds all sorts of new features, such as more varied dungeon layouts, tons of new monsters and items, a new boss monster, and a greatly expanded finale in hell. I just made it up to the final boss, Satan, for the first time, but alas, he vanquished me. If you own an iPhone/iPad/iPod Touch and are looking for something to kill time on long flights/train rides, this is just the thing. It’s even drawn the notice of Bioshock creator Ken Levine. Check it out.

Who’s the new boss in 100 Rogues 2.0?
You’ll just have to play it and find out.

Filed Under: video games

The Art of Sierra Coffee Table Book

November 3, 2010 by David Barr Kirtley Leave a Comment

Wow. This looks AMAZING. A sneak peek at the upcoming coffee table book The Art of Sierra: Defining the Graphic Adventure Game. See also the Facebook page.

Filed Under: video games

Ron Gilbert Penny Arcade Expo Keynote Address

November 3, 2010 by David Barr Kirtley Leave a Comment

On Friday Geek’s Guide to the Galaxy will be interviewing Ron Gilbert, creator of The Secret of Monkey Island and Deathspank, so I’ve been doing a bit of research on Ron, in the course of which I came across this keynote address he delivered last year at the Penny Arcade Expo. It’s hilarious and moving and definitely worth checking out. Here’s a sample:

So at the end of the day I would watch all the skiers come into the lodge. Some of them were covered in snow, others were clean and barely a speck stuck to them. I used to think it was the good skiers that were clean and the bad skiers that were caked in snow from falling down all the time. But what I came to realize was the exact opposite was true. It was actually the good skiers that were covered in snow from head to toe because they were pushing themselves, pushing themselves to the breaking point and then beyond it. These were the skiers that were skiing off the back side of the mountain, the skiers taking the jumps and wiping out nine out of every ten times. These were the skiers that were not afraid to fail.

ETA: Listen to my December 2010 interview with Ron Gilbert.

Filed Under: video games

Geek’s Guide to the Galaxy Podcast to Interview Ron Gilbert

October 17, 2010 by David Barr Kirtley Leave a Comment

Holy monkey bladders! Geek’s Guide to the Galaxy will be interviewing Ron Gilbert, creator of The Secret of Monkey Island and Monkey Island 2: LeChuck’s Revenge, perhaps the best video games ever made. He’s also the creator of the new action-RPG Deathspank, which parodies Diablo-style gaming. If anyone has any questions they’d like us to ask him, feel free to suggest them.

ETA: Listen to my December 2010 interview with Ron Gilbert.

Filed Under: video games

100 Rogues iPhone Game by Keith Burgun

September 22, 2010 by David Barr Kirtley Leave a Comment

I recently saw Keith Burgun, a friend of mine from high school, for the first time in quite a few years, and he mentioned that he’d been working on “an iPhone game.” When he said that, I was imagining something pretty rudimentary, along the lines of that “Parachute” game on my iPod, but he just posted a link to his game, and I decided to check it out, and I was totally blown away. It’s called 100 Rogues, and it’s a Diablo-style dungeon crawl game boasting superb artwork and animation, a wide variety of items and abilities, and maddeningly addictive gameplay. Don’t let the cute, colorful art design fool you, this is one of the most brutally unforgiving games you’ll ever play. You get one life and when you die that’s it, game over. Unlike Diablo, where you can basically play on auto-pilot and where you only die if you get really careless, in this game you have to carefully consider every move you make, and even so you’re probably going to die anyway. It’s a $5 download from the iTunes store. This video (narrated by Keith) gives a sense of the game’s strategic gameplay and irreverent humor.

100 rogues iphone game

100 rogues iphone game

100 rogues iphone game

Filed Under: video games

Geezer’s Guide to the Scott Pilgrim vs. the World Movie

August 30, 2010 by David Barr Kirtley Leave a Comment

So my parents asked if Scott Pilgrim vs. the World was any good, and I said, “Oh yeah, it’s one of the best movies I’ve seen in years … possibly ever.” And they said, “So should we go see it?” and I was like, “Oh, I don’t know. I predict you’ll find it fairly inexplicable.” I say this based on them not getting or liking various off-kilter films such as Donnie Darko or Napolean Dynamite that inspire rabid followings among young audiences, and the fact that Scott Pilgrim in particular will be enjoyed more depending on how much affection you have for video games, graphic novels, alternative rock bands, and 20-something slackers. (When I saw it, I swear there wasn’t a solid minute that passed in which the audience wasn’t laughing/cheering/orgasming, but that’s a pretty young hip crowd on Friday night in Manhattan.)

But my parents still want to see it, because they want to go see something and there just haven’t been many good movies this summer, so they asked if I could post some sort of “Geezer’s Guide to Scott Pilgrim.” They were also talking about maybe taking my grandma.

Okay, this is going to take a while.


The first thing you have to understand is that Scott Pilgrim fights people, and this makes no literal sense. There’s no logical explanation for why this scrawny kid is a martial arts master — no, I doubt he spends all day at the dojo. It’s sort of like in a musical when everyone just starts singing for no reason, and you just have to accept that a bunch of gang kids can all carry a tune and execute a perfectly choreographed dance number. It’s a storytelling tool that creates a heightened emotional effect. And the fighting in Scott Pilgrim feels right because it has metaphorical resonance. When you’re dating someone, something you have to grapple with and overcome are your feelings about the fact that the person you’re dating dated other people before you — people you may not think much of (in which case it makes you insecure about the person you’re with) or people you’re afraid you’ll never measure up to (in which case it makes you insecure about yourself). You wonder if the person you’re dating still has feelings for any of these exes, and whether they’ll get back together if given half a chance. Even if you never even meet any of these exes, they’re kind of like ghosts who haunt every relationship.

Scott Pilgrim takes this universal emotional experience and literalizes it, with Scott having to literally battle all of the exes. If it helps, conceptualize the movie as being how Scott pictures his life in his over-active imagination — an imagination colored by his obsession with music, graphic novels, and video games. Of course the confrontations are epic — that’s exactly how it feels. Of course he’s a hero — we’re all the hero of our own lives. And of course he’s a martial arts master — in emotional terms he possesses all the tools he needs to prevail. (I think it’s better not to view the movie as something that Scott’s just imagining, but rather to just accept that the movie takes place in a world that’s completely real and that functions according to its own skewed logic, but that’s an imaginative leap a lot of people seem unwilling/unable to make.)

Once you get that the fights are literal events laden with metaphorical resonance, the next thing you have to understand is that they’re conveyed using the visual vocabulary of video games and graphic novels, most obviously “fighting games” like Street Fighter, Mortal Kombat, or Soul Calibur, in which two players stand at the same arcade machine, each control one character, and attempt to beat the snot out of each other:



A key component of such games is “combos.” You only need to press one or two buttons in order to execute the basic punches and kicks, but to prevail against tougher opponents you have to start memorizing long combinations of buttons. Stringing together such sequences can enable you to strike your opponent over and over without interruption, quickly draining away their health and eventually causing them to be knocked out (KO’d).


When Scott strikes a death blow against an opponent, that person explodes in a shower of coins:


When you’re playing a video game, it’s fun to get constant rewards, and usually the only assets in the game are health, wealth, and points, and game designers want to provide a steady stream of all three to keep players hooked. This leads to the nonsensical but extremely common convention of players acquiring coins from killing just about any monster, even ones you wouldn’t necessarily expect to be keeping much money on their persons, such as rats or skeletons. Especially in older games with simpler graphics, often an enemy you killed would simply blink out of existence, leaving behind a coin, which is what the movie is riffing on here.

There are other types of video games in which you don’t literally fight your opponent, but you compete at some virtual task, such as dancing or playing the guitar. There’s a popular game called Guitar Hero where the game plays a song and then two players compete to see who can play the notes more accurately. In a real world “battle of the bands,” one act would play and then the other. In Scott Pilgrim, it’s more like in a video game, with the musicians both playing at the same time:


There are also games where players control a virtual skateboarder. In the world of skateboarding, one common trick is “grinding” — jumping the board up onto a curb or railing and sliding along it:


In skateboarding video games, you would press some buttons to make your character execute a grind, and then you would have to keep hitting particular buttons in sequence to maintain the grind, and the longer you kept up the proper button-pushing rhythm, the longer you would keep doing the trick and collecting points. Video games often feature gigantic, exaggerated skateboard parks and death-defying tricks far beyond what would be possible in real life, and the Scott Pilgrim movie plays off of this.

One of the ex-boyfriends in the movie is a vegan. Strict vegans don’t eat meat or consume any animal products. There are also less strict vegans, such as “lacto-ovo” vegans, who make exceptions and eat milk and eggs. Keeping vegan requires enormous discipline, and some vegans can have a smug, morally superior attitude. The Scott Pilgrim movie pokes fun at this. In this universe, keeping vegan gives one incredible superpowers, so that the attributes match the attitude:


In many video games, the player has multiple “lives.” That is, if the character in the game dies, their number of “lives” is reduced by one and the character starts over from a point in the game shortly before they died. When Scott collects a “1UP,” the audience is expected to understand that he’s now got an extra life, and will not die permanently if he’s killed.


(A funny novelty T-shirt I saw at Venice Beach once reads, “Video games ruined my life. Fortunately I have two extra lives.”)

In many video games, your character becomes more powerful throughout the game, both because you collect more powerful inventory items and also because your character’s attributes — such as “strength,” “magic,” and “health” — increase with experience. Often the character must earn a certain number of “experience points” in order to reach the next level, and when the character “levels up” (e.g., goes from Level 5 to Level 6), their attributes increase accordingly. This also happens in the Scott Pilgrim movie, and again it has metaphorical resonance — when Scott grows as a person and learns important life lessons, he simultaneously “levels up” and becomes a more formidable fighter:


In many video games, your ultimate challenge is to battle some dark, twisted version of yourself. One well-known example is from the second Legend of Zelda game, in which your shadow suddenly leaps out from behind you and attacks:


In the Scott Pilgrim movie, when Scott is confronted by the sinister-looking “Nega Scott,” it’s playing off this common trope.

Now go see the movie.

Filed Under: video games

Retrospective: Richard Garriott’s Ultima Series

August 11, 2010 by David Barr Kirtley 2 Comments

Update: In March of 2014 I interviewed Richard Garriott about the Ultima series and his new game Shroud of the Avatar.

 
One of my favorite computer game series is Richard Garriott’s Ultima series, which at its artistic peak, from Ultima IV through Ultima VII, achieved the highest level of ambition and art that I’m aware of in video games.

Ultima 4 game art Ultima 5 game art Ultima 6 game art

I never played the first three Ultima games, but I know the general outlines. In Ultima, you have to kill an evil wizard named Mondain. He’s created a gem that makes him immortal, so the only way to kill him is to travel back in time to before he made the gem. In Ultima II, you have to kill Mondain’s protege/lover, the sorceress Minax. In Ultima III, you have to kill a demonic being named Exodus, who is actually some sort of AI machine who can only be destroyed by inserting into his body the proper Tarot cards, a la computer punch cards. So far it’s pretty standard RPG stuff.

Ultima IV is different. In that one there’s no big bad guy you have to kill. Instead, the main focus of the game is on moral self-improvement. As you journey through the game world, completing quests and acquiring items, you’re constantly tested on your adherence to eight virtues — honesty, compassion, valor, honor, justice, sacrifice, humility, and spirituality. Only a character who behaves in an exemplary fashion can successfully complete the game.

Ultima IV established a model that would be repeated in Ultima V and Ultima VI. Each game begins with you living your ordinary life on earth:

Ultima 6 game intro

You then encounter a glowing gateway which transports you into a magical realm:

Ultima 6 game intro

You are then presented with a series of ethical dilemmas, each of which pits two of the eight virtues against each other:

Ultima 6 game intro

The type of character you’ll be in the game depends on what choices you make. For example, a person who values valor above all other virtues will play the game as a warrior.

In Ultima IV, the final quest you have to complete is to venture into a volcanic labyrinth called the Stygian Abyss and retrieve an artifact called The Codex of Ultimate Wisdom, a magical book that always falls open to the page containing exactly what you wanted to know. In true Indiana Jones fashion, claiming the Codex causes massive tectonic upheaveals, and a vast catacomb opens beneath the earth. The benevolent ruler of the realm, Lord British (an alter ego of series creator Richard Garriott), leads an expedition to chart this new environment, but his party never returns. In his absence, his aide Lord Blackthorn goes mad and imposes an absolutist interpretation of the eight virtues, e.g. be honest or have your tongue ripped out. You then find yourself, in Ultima V, acting as a sort of Robin Hood-style outlaw, trying to take down the system that your example helped inspire.

In Ultima VI, Lord British has been restored to the throne, but problems persist. Strange new creatures called gargoyles have been emerging from the underground catacombs and wreaking havoc. The gargoyles even lure you through a moongate and attempt to sacrifice you in ritual fashion:

Ultima 6 game intro

Fortunately you’re rescued by your loyal friends. Ultima VI is subtitled “The False Prophet,” and it’s not initially clear who or what the false prophet is, but presumably he’s some sort of villain, probably a gargoyle. In Ultima VI, the earth is literally flat — you can sail to the edge and look over the side — and you eventually discover that the catacombs you inadvertently opened in Ultima IV lead all the way through the earth and emerge on the opposite side, where the gargoyles dwell. You then discover that the tectonic upheavals that created the catacombs are destroying their world, causing their cities to sink into the sea, and only a small island yet remains to them. It turns out that the Codex was their greatest treasure, and that you are the False Prophet who stole it from them, and that your sacrifice will save their world. Fortunately you’re able to negotiate a peace between humans and gargoyles, and to arrange for the Codex to be shared between them:

Ultima 6 game ending

In Ultima VII, you return to the magical realm of Britannia and immediately get caught up in trying to solve a string of ritual murders. You soon cross paths with Batlin, the leader of a new self-help organization called the Fellowship, who disdain healers in favor of willing yourself back to health and who promote their own ethical system as an alternative to the eight virtues. The Fellowship is obviously a satire of the Church of Scientology, right down to their leader Batlin, who bears a striking resemblance to L. Ron Hubbard:

Ultima 7 Batlin   L. Ron Hubbard

If you live in New York, you constantly encounter Scientologists in the subway stations offering to give you free “stress tests” which invariably reveal that you’re terribly stressed out and can only be cured by Scientology. Likewise, in Ultima VII Batlin administers a personality test to you, sort of a warped echo of the eight virtues questions, except in this test every choice you pick is the wrong answer and reveals deep flaws in your character that only the Fellowship can help you overcome. There’s a Fellowship hall in each town, and the members gather there each night and tell their stories. You quickly realize that all the biggest jerks in any given town are members of the Fellowship, and that their tales of how the Fellowship has helped them are deeply unreliable — for example, the town bully might talk about how the Fellowship has helped him to assert himself. The Fellowship also engages in scuzzy behavior like trying to coerce the poor into joining by offering charitable services only to its members. As with any cult, most of the low-level members are well-meaning dupes, but Batlin and the upper echelons of the leadership have a very sinister agenda — to use member donations to finance the construction of a black moongate that will allow the evil godlike being they worship to cross into Brittannia:

Ultima 7 game ending

Throughout the game, this evil entity, called the Guardian, talks to you in your head, playing cruel mind games with you.

Ultima IV, Ultima V, Ultima VI, and Ultima VII were true works of art and obvious labors of love. Ultima VII in particular featured just a staggering amount of detail. You could pick up and use just about any object in the game, and there were a hundred or more characters each with their own personality, daily schedule, and conversation tree. Unfortunately creating something like that wasn’t cheap, and Garriott faced the constant prospect of financial ruin if one of the games underperformed. He eventually agreed to sign up with his biggest rival, Electronic Arts (EA). Hints of this rivalry are woven into the plot of Ultima VII. The ritual murders are being committed by a couple named Elizabeth and Abraham (initials E & A), and the Guardian is exerting malign magical influence on the realm through the use of three giant monoliths — a cube, a sphere, and a pyramid (at the time, EA’s logo consisted of a cube, a sphere, and a pyramid). Unfortunately the merger turned out to be basically the end of Ultima. Future installments were rushed out the door to make a quick buck, and were buggy and disappointing.

I understand that the rights to the Ultima IP are so tangled that we’re unlikely to ever see another installment, which is a terrible shame. It would be great to play a new Ultima adventure that returned to the quality of Ultima VII. Failing that, it would be great to see more games that incorporated the sort of fully-realized world, emphasis on storytelling, and thoughtful consideration of ethical issues that made the Ultima games so powerful and unique.

Filed Under: nostalgia, video games

Dungeons Dank and Dismal

July 31, 2010 by David Barr Kirtley 1 Comment

Okay, here’s definitely the best game I programmed in high school — Dungeons Dank and Dismal. This one was done in Java and features some actual high-tech non-ASCII graphics. It’s a Diablo-style dungeon crawl game with some relatively sophisticated features, such as randomly generated dungeons, automapping, enemies that follow you around, a shop where you can buy better items, and an actual final level. Best of all, you can play it right in your browser right now:

Dungeons Dank and Dismal

Screenshots:


Oh yeah, there are some bugs. I went off to college and got busy with classes and stuff, and I never really got a chance to debug this game or balance it properly. The most annoying thing is that it won’t let you buy the plate mail armor even if you have enough gold. Another really irritating bug is that sometimes the climactic last level is completely devoid of monsters — no idea why that happens. The dungeons are random, so sometimes it just so happens that the game is really easy and sometimes it’s impossible. Also, every once in a while the game throws out a dungeon where large sections of it are completely cut off and inaccessible. Even after you pick up a key, the game will continue to announce that “you’ve found the key” every time you pass over that square. Last but not least, the monsters can’t walk over any square where a monster has died — though maybe that’s not a bug and the monsters are all just really superstitious/deferential toward the dead or something.

Filed Under: video games

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David Barr Kirtley is the host of the Geek’s Guide to the Galaxy podcast, for which he’s interviewed over four hundred guests, including George R. R. Martin, Richard Dawkins, Paul Krugman, Simon Pegg, Margaret Atwood, Neil deGrasse Tyson, and Ursula K. Le Guin. His short fiction appears in the book Save Me Plz and Other Stories.
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