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The other half of the visual component, filling the game up with live action footage of actors over the computer generated environments was also a relatively new process, even in filmmaking. To Rob Landeros this was a revelation, and although the prospect of creating the entire mansion in 3D and animating it felt like an impossible task, it was something that hadn’t been seen or done before. Through a computer interface he was able to quickly animate the objects in the room and make them spin and turn in an almost ghost-like fashion.
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“Using this brand new 3D modelling software Robert Stein was able to put a crude example of a room together rather quickly, filled with tables, chairs and even a fireplace. This short demonstration would ultimately shape the entire direction of the game. It wasn’t until a few months into development that one of the studio’s artists, Robert Stein, showed project leads Rob Landeros and Graeme Devine a small room he created using 3D software he had recently purchased.
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As such, the game was originally envisioned as a series of interactive panoramic photographs. BE MY GUEST, I ALREADY HAVE SIXWhen developer Trilobyte started development on The 7th Guest, video compression and consumer grade 3D modelling software were both in their infancy. But then again The Haunted House is also a ride at Disneyland, so the end result can go either way. There’s something inherently creepy about an estate with a rich history, creaky floor boards, and a mysterious tendency to be poorly lit. "We going out tonight, brosef?"As a setting, the haunted house has been a staple of the horror genre for many years, with countless classic books and films using them as the basis to spin a tale of terror. More ‘Agatha Christie presents Inspector France Solves the White Upper-Class Train Murder with the Help of His Sentient Monocle’ than ‘Wes Craven presents Nightmares on Gumtree Lane starring Frederick Kruger and his Glove of Knives’. And although Roberta Williams did release a few games outside of King’s Quest that could be perceived as more mature, the most notable being The Colonel’s Bequest (1989) - which itself dealt with murder - they were more like made-for-TV movies than actual horror. > LOOK AT DEAD BODYMystery House was not only one of the first graphical adventure games ever created but it was also the first to be developed by Roberta Williams, who would later make a name for herself with the King’s Quest series and somewhere along the way become synonymous with games that the entire family could enjoy.
Unless that’s a, oh, it’s a ‘dead body.’ Right, gotcha.” “Okay so that looks like the arms and those things are the legs, then that must be, the head? But it looks so weird.
The limitations of the era made it hard to make out exactly what a few jagged lines on the ground were supposed to represent and thus, the immediate shock value that horror thrives on, was almost entirely lost. It was also one of the first examples of a graphical adventure game, which although being primarily text based, used vector images drawn by the Apple II computer to display each scene – which included, (cue music) scenes of Murder. YES NO READ HISTORY BOOKAs the first entry in Sierra’s High-Res Adventure series of games, Mystery House (1980) was very much one of the first examples of a horror game. And in turn a new question was posed, ‘is this even a game?’ But, with the added glitz and glamour of low-resolution and heavily pixelated video, the cost usually came in the form of limited functionality.
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It was an optical-laser-storage-device-driven time when experienced and respected developers incorporated movie length scripts, actors, special effects, and film editing into their games. Suck it Hollywood!”Ī photographic artist's impression of early '90s game developers.The mid ‘90s were truly halcyon days for games trying to take advantage of the new CD-ROM drive. After all, as a fictional game developer of the time would have said if he was real, “ our movies will be interactive.
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The increasing popularity of CD-ROM drives meant developers had the ability to create full motion cutscenes for their games, and they were convinced that this would enable them to beat Hollywood at its own game. And by ‘growing up,’ I of course mean ‘trying to be more like movies.’ There was a good reason for this, mind you. The year was 1993 and video game narratives were growing up.
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