Adventure Games: The Graphics Years

In early 1984, IBM released a computer called the PCjr. It was an attempt to create a low-cost entry-level version of the company’s expensive, business-oriented PC that would be cheap enough to gain IBM a place in the home computer market, then dominated by the Apple II, the Commodore 64 and the Atari 800 computers. It was expected to be a huge hit.

The IBM PCjr

The PCjr. It never grew up.

Only it wasn’t. It flopped. Big time.

Although it was in some ways software compatible with its big brother, which in two-and-a-half years had taken over the microcomputer market the way Hitler had taken over Poland in the late 1930s, the PCjr’s compatibility had been seriously crippled to prevent it from competing with IBM’s more expensive, grown-up models. Very few existing PC programs would run on it and almost none of the ones that people might actually want to use would. But it did have one feature that made it superior to IBM’s business models: state-of-the-art (by 1984 standards) 16-color graphics and impressive sound capabilities, with no add-on cards required. The PCjr was made for games, though unfortunately it wasn’t priced at game console rates.

And because it was made for games, IBM wanted games available for it when the product launched. They approached several companies about designing games that would take advantage of the PCjr’s flashy hardware and one of these companies was Sierra On-Line, the same company that had popularized if not quite invented the microcomputer adventure game with Mystery House on the Apple II. And since Mystery House had been the first game to combine graphics with adventure game mechanics, perhaps its designer Roberta Williams, along with the technical staff of Sierra On-Line, could create something far more ambitious that would take advantage of the Junior PC’s much superior video display.

The game they produced, King’s Quest, delivered on that promise. Unlike previous graphic adventures, King’s Quest didn’t use the bottom half of its screen for text and the top half  for a static image, like a page out of a children’s book. King’s Quest looked more like a proscenium stage on a computer screen, with colorful scenery and characters that could be guided through that scenery using the PC’s cursor keys. You still had to type commands using simple phrases a la The Colossal Cave Adventure, but you could actually see the results played out on the screen as though you were watching (and directing) a play.

King's Quest 1

King’s Quest. It may not look much now, but in 1984 this was the pinnacle of high-resolution adventure gaming.

The PCjr may have flopped — by the summer of 1985 IBM was stuck with a warehouse full of unsold models — but King’s Quest didn’t. Sierra went on to release eight games in the series for multiple computers, many of the later games modifying the interface so that the player no longer had to type in commands. So successful were the King’s Quest games that they spawned several similar Sierra game series, including Space Quest, Police Quest, Quest for Glory (an adventure game-RPG hybrid) and Leisure Suit Larry (a more sophisticated implementation of an early Sierra text game called Softporn Adventure).

Softporn Adventure

Softporn Adventure. Although she didn’t write it, that’s Roberta Williams, wife of Sierra publisher Ken Williams and designer of King’s Quest, on the right. This subsequently became…

Leisure Suit Larry in the Land of the Lounge Lizards

…this. Yes, it was sleazy and included both bawdy humor and graphic sex. Nobody complained.

As computer power increased and audiences demanded more bang for their video game buck, Sierra complied, upping the visual resolution and number of colors as a new generation of home computers arrived on the market. The sophistication of the games increased too, with some fans regarding Jane Jensen’s Gabriel Knight series as some of the greatest adventure games of the 90s, at least from Sierra. (Confession: I’ve only played the first half of the first Gabriel Knight game, so I have to take the word of others for its superiority.)

Gabriel Knight

Gabriel Knight: Apparently not interested in a high-stakes game of chess.

I’ll admit my bias against Sierra here. Although their adventure games were impressive by the technical standards of the time, the puzzle-solving was unimaginative, characters could be killed off suddenly and arbitrarily in ways that were far more frustrating than fun, and you could often find yourself locked in dead-end situations from which the game could not be completed, even though you were never informed of this. It was possible to spend days trying to solve a problem in a Sierra adventure only to discover that it was unsolvable because you’d neglected to pick up a screwdriver four scenes earlier in a location to which you could no longer return.

And yet Sierra had the legitimate distinction of creating a style of adventure gaming that revolutionized the field and saved it from the fate of text adventures in the mid-1980s. Furthermore, their proscenium-style adventures were widely imitated by other companies. And while many of the imitations, from companies like Accolade and Activision, were roughly comparable to Sierra’s titles, there was one company that took the concept and turned what at Sierra had been run-of-the-mill if technologically advanced games into masterworks of late 20th century computer gaming.

Yes, that’s my bias. And the rest of this post will be about it.

The Age of LucasArts

In 1987 Lucasfilm Games, later LucasArts, released a graphic adventure called Maniac Mansion. It was similar to the Sierra adventures, except that it ran on the Commodore 64, which is where I first encountered it.  It was a parody of low-budget horror films and, to be honest, I can’t even remember if I bought a copy when it first came out. I found myself drawn more to Lucasfilm Game’s second adventure, the 1988 Zak McKracken and the Alien Mindbenders, which I found surprisingly engrossing, much more so than the Sierra adventures I’d encountered up until that point. Zak McKracken had a subtlety of wit and puzzle design that made Sierra adventures look as though they’d been designed by sledgehammer. I was enthralled.

Zak McKracken cover

Zak McKracken and the Alien Mindbenders cover at by Steve Purcell. Copyright (c) 1988 by LucasArts, now a division of Disney.

This is not to suggest that Zak McKracken was any kind of technological marvel. Perhaps to allow it to run on lower end machines than those targeted by Sierra, the graphics seemed fairly flat and crude, even by the standards of the late 1980s. (More advanced versions of this and Maniac Mansion were published a couple of years later for more powerful machines.)

Screen from Zak McKracken

Screen from Zak McKracken and the Alien Mindbenders. Note the menu-driven control system that eliminated the need for typed commands. Copyright (c) 1988 by LucasArts.

But the strength of Zak McKracken as an adventure game was its wit. The interactions between Zak and other objects/characters in the game, even the timing with which dialog appeared on the screen (there was no voice acting in the game), suggested a creative sensibility that placed less emphasis on the kind of expensive programming skills that Sierra brought to bear on its games and more on an intuitive sense of what was funny, what was challenging, and ultimately on what was compelling to the player. I found myself enthralled.

LucasArts made rapid leaps forward over the next two or three years with their games for the Atari ST, the Commodore Amiga and DOS PCs, games like Indiana Jones and the Last Crusade (based on the film) and Loom (an innovative adventure that incorporated music into its problem solving). For me, though, the real breakthrough, the game that showed me just how much quality LucasArts was capable of shoveling into the confines of the graphic adventure format, was The Secret of Monkey Island, a game that remains available in updated versions even today. You can even buy it for your iPhone.

I knew that Monkey Island, about a young wannabe pirate named Guybrush Threepwood trying to discover the eponymous secret of the eponymous island, was going to be good when I spent a couple of hours working my way through the playable demo that LucasArts made available online. How good it was, though, wasn’t apparent until I bought the complete game and played it nonstop for two days.

The Secret of Monkey Island

The Secret of Monkey Island, when LucasArts adventure games went from being good to being great.

Monkey Island wasn’t just the funniest adventure game I’d played up until that time — I still laugh over the three-headed monkey joke — but had the most ingeniously designed puzzles (always fair and just challenging enough not to be frustrating), characters I actually enjoyed spending time with (including not only Guybrush but Governor Elaine Marley and the ghost pirate LeChuck) and a surprisingly effective romantic subplot. And the soundtrack, even on a PC SoundBlaster card, was possibly the best I’d heard up to that point in a computer game.

The Secret of Monkey Island was followed by a string of sequels (Monkey Island 2, The Curse of Monkey Island and Escape from Monkey Island), but also by a raft of LucasArts games that at least equaled if not surpassed the Monkey Island games in quality. These included Sam & Max Hit the Road, The DigFull Throttle, Grim Fandango and the Maniac Mansion sequel Day of the Tentacle, any one of which has a legitimate claim not only to being the greatest LucasArts adventure but the greatest adventure game ever. (My vote is with Day of the Tentacle, which was such an insanely epic comedy adventure that it contained a complete, playable version of Maniac Mansion hidden inside it as an Easter egg, but other gamers will inevitably differ.)

Day of the Tentacle

The tentacles have their day.

The second half of the 1990s, though, saw the output of LucasArts adventures slow to a trickle. Escape from Monkey Island, published in 2000, was the last original adventure game from the company, despite promised sequels to Sam & Max Hit the Road and Full Throttle.

Other than a few new adventures imported from the European market, this was pretty much the death of the adventure game on the American scene, amateur interactive fiction notwithstanding. However, a few years later, graphic adventures would rise again from their graves, thanks in part to a team of designers who had formerly worked at LucasArts.

But more about that in the next installment of this post.

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Adventure Games: The Text Years

What’s your favorite type of computer game? If you’re a typical gamer of the 2010s you may have replied CRPGs (computer role-playing games) like Skyrim or The Witcher, or their massively multiplayer online counterparts like World of Warcraft or Star Wars: The Old Republic. If you like your action faster and more furious, maybe you’re partial to first-person shooters, like Halo or Call of Duty. Or if you lean more toward thoughtful, turn-based exercises in strategy, you might have replied 4X (“eXplore, eXpand, eXploit and eXterminate”) games a la Sid Meier’s Civilization series. And if you don’t have much time for gaming but need a quick bit of relaxation during your downtime, you might have put in a vote for casual games like Bejeweled or Candy Crush.

But if you’re a long-time gamer, one who’s been playing for 20 years, 30 years, or even more, you might just have said … adventure games.

Tales from the Borderlands

Telltale Game’s Tales from the Borderlands: What adventure games look like in 2015.

Adventure games have gone through many permutations over the last 40 years. They’ve fallen in and out of fashion, they’ve gone through multiple visual and gameplay styles, and there have been periods when they’ve nearly disappeared altogether. But after four decades, they’re still here. And it’s possible they’re more popular than ever.

In the early to mid 1970s, when microcomputers were still barely a blip on the computer hobbyist horizon, mainframe programmer and part-time spelunker Will Crowther logged on to a DEC PDP-10 and used his FORTRAN skills to write a computer game called, simply, Adventure. It was set in a huge cave not unlike Mammoth Cave in Kentucky, which Crowther had explored. He wrote the game in part so that his daughters could play it and in part to indulge his love for Dungeons & Dragons. By all reports Crowther’s version was fairly rudimentary compared to later versions, but it caught on and spread from computer system to computer system. In 1976, a Stanford University graduate student named Don Woods expanded Adventure with Crowther’s permission into what became known as The Colossal Cave Adventure. Although it was too large to be played on most microcomputers of the period, it was widely available on mainframe and minicomputer systems. Here’s what it looked like running on a DEC PDP-10:

Colossal Cave Adventure

Colossal Cave Adventure: All those words add up to a lot of game.

The Colossal Cave Adventure looks deceptively simple — you type in one- or two-word commands to move around in and interact with a world described purely through text — yet it created a remarkably large, surprisingly open world and went on to become one of the most influential computer games ever written. It spawned a long line of imitations that continues to this day, though you might not recognize most of its descendants based on the text screen reproduced above. If you’ve never played the Colossal Cave Adventure and you’re curious what it was like, here’s a simulation sponsored by the AMC-TV show Halt and Catch Fire.

The original Crowther and Woods version wouldn’t have run on microcomputers in the late 1970s because early personal computers weren’t powerful enough; they didn’t have enough internal memory and they mostly lacked disk drives. However, in 1978, a young Wisconsin programmer named Scott Adams (no relation to the creator of Dilbert) set out to prove that something very much like the Colossal Cave Adventure could be written on a Radio Shack TRS-80 Model I, a popular home computer of the day, and that he could do it in 16-kilobytes of memory. Yes, that’s not 16 gigabytes or even 16 megabytes — that’s 16 kilobytes of memory, where a kilobyte is 1,024 memory locations, each of which can store a single number in the range 0 to 255. To give you a sense for how much memory that is, the text in this blog post takes up about one and half kilobytes, but that picture at the beginning probably uses more memory than Scott Adams’ TRS-80 had in total.

Amazingly, Adams succeeded, writing a game called Adventureland that neatly mimicked the Colossal Cave Adventure without copying it and it ran, as planned, on a 16-kilobyte TRS-80. Adventureland was successful enough in the early gaming marketplace that Adams was able to spin off his own company, Adventure International, and market an entire line of adventure games for several different models of computer. Although no longer for sale commercially, you can still download playable versions from Scott Adams’ own website or play them directly on your browser using the links he supplies at that address.

Scott Adams' Adventureland

Adventureland: Still text, but no PDP-10 required.

Like the Colossal Cave Adventure, the play mechanics of the Scott Adams adventures were simple. You typed in one or two word commands, like “look” (to get a description of what was visible from your current position in the game’s world), “west” (to go in that direction) or “get sword” (to pick up any swords that you may conveniently have stumbled upon).

Even while Scott Adams was marketing his first adventure games, a small group of programmers at MIT consisting of Tim Anderson, Marc Blank, Bruce Daniels, and Dave Lebling were creating their own, far more ambitious variation on the Colossal Cave Adventure. They called it Zork.

That name may or may not ring a bell. If it does, you probably just experienced a pleasant flash of nostalgia. Zork was witty, quite huge by the standards of late 70s games and had something that neither the Colossal Cave Adventure or Adventureland had: a parser that could read English language sentences and respond to commands longer than one or two words. Admittedly, it still couldn’t understand English as it’s normally spoken between human beings, but if you knew how to construct a command properly — say, “Pick up the gold sword on the wooden desk” — Zork wouldn’t get confused. Zork was the next step in the evolution of text adventures.

Zork: The Great Underground Empire

The first Zork game. Be careful. You might get eaten by a grue!

The microcomputers of the late 70s weren’t ready for Zork, but by the early 80s they were and the Zork programmers, following in Scott Adams’ footsteps, created their own publishing house to publish Zork and the sophisticated series of text adventures that would follow. They called that publishing house Infocom.

Like the word Zork itself, the name Infocom sends shivers down the spines of old-time gamers. Infocom was one of the greatest game publishers of the 1980s, perhaps of all time, and they produced adventure game after adventure game, every one of them just as sophisticated as Zork had been and some of them even more so. I’ve written elsewhere about my love for their mystery game Deadline, which I still consider one of the most magical experiences of early 1980s computer gaming, but Infocom spent most of the 80s turning out one classic text adventure after another: more Zork games, Planetfall, Starcross, Suspended, Hitchhiker’s Guide to the Galaxy, Leather Goddesses of Phobos and others.

Yet even as text adventures were increasing in sophistication, so were the graphics capabilities of microcomputers. In 1980, a young programmer named Roberta Williams, became obsessed with the Colossal Cave Adventure when she played it at home on and Apple II computer serving as a terminal for her husband Ken Williams office mainframe.

Roberta Williams, game designer

Roberta Williams, creator of the graphic adventure Mystery House and a significant designer of early adventure games.

Williams combined the graphics capabilities of the Apple II computer with the mechanics of a text adventure to produce the game Mystery House, which her husband used as the flagship game for what would become one of the most successful game publishing companies of the 1980s and 90, Sierra On-Line. The graphics for Mystery House were crude, but they were an early sign of the direction in which adventure games were headed.

Mystery House by Roberta Williams

Mystery House: Crudely drawn, but a harbinger nonetheless.

By the mid-1980s, purely text adventures had fallen out of fashion in the commercial marketplace. The graphic capabilities of home computers had improved to the point where nobody wanted to play a game that involved reading words rather than looking at pictures. More advanced attempts than Mystery House were made to create text adventures that showed pictures at the top of the screen while text flashed by at the bottom, but this was only a stopgap measure until somebody came up with a better way of combining high-resolution images with the puzzle-solving interactivity that made adventure games so alluring.

Text adventure with graphics

A text adventure with shifting graphic images at the top of the video display. Published by Telarium.

Text adventures never died, really. Nowadays they’re called interactive fiction and people still write them, primarily as a hobby but occasionally for commercial sale. To learn more, check out the Interactive Fiction Wiki to find out where you can download new games and collect tools that you can use to create your own. (I’ll write more about the current interactive fiction field in a later installment of this post.)

Even as the original Infocom games were thriving in the early 80s, though, the seeds for a radically new type of adventure game were being planted. Those seeds would take root at Sierra On-Line and the game designer who would bring them to fruition was the same person who created Mystery House: Roberta Williams.

I’ll talk about that in more detail in the second installment of this post.