I have always been a big fan of the Broken Sword series. Funny thing is that I actually played them backwards. I played Broken Sword 3: Sleeping Dragon before I played Broken Sword 1 and 2. I liked Broken Sword 3 so much (despite the numerous graphical glitches), that I ran out and searched for the other two to play. The relationship between George and Nico is to die for!
Anyway, I read this article recently about the creator of the Broken Sword series, Charles Cecil. There are a couple of quotes that really stand out for me:
People talk about the decline of the adventure. Between 1985 and 1995, it declined enormously. But I don’t think it’s declined since 1995. We sold the same for Broken Sword 3 as we did for Broken Sword 2, and Broken Sword 1. The market is still very much there, and it’s not declining; there’s still plenty of room for adventures.
It’s really good to hear that adventure games are still a viable niche market. Now I just need to find a way into making these niche games. :D Seems like it’s at least ten times easier to work for a company developing the mainstream games. Hasn’t anyone heard of The Long Tail? I’m glad at least Charles Cecil realizes that there is still room for adventure games in this industry.
Cecil makes some other interesting comments about rising budgets and the effect on creativity that these big budgets are having, and he also comments on two games that are near and dear to my heart. Dreamfall and Indigo Prophecy (or Fahrenheit):
Dreamfall, in particular, was very much an interactive movie, and we’ve taken a different stance.
Fahrenheit was very, very interesting. A really, really good game. I thought the fact that they simplified the interface, they didn’t have an inventory, meant that actually it was extremely simple. There was no way that it could be anything but simple to complete, and while that was great for Fahrenheit, in Broken Sword we still embrace the inventory.
I disagree with Cecil on Dreamfall… there was far more exploration and control of the story than there was in Fahrenheit. In fact, if any game was an interactive movie, it would be Fahrenheit, not Dreamfall. I feel bad for Ragnor Tornquist, the creator of Dreamfall. He deserves so much more credit than that. Though I think Fahrenheit was a step in the right direction, I think there were definitely things that I didn’t like about it. The interaction got pretty tedious at the end, and with David Lynch’s idea of “bendable narratives” even though you had choice, it felt like you always ended up in the same place no matter what. I even tested this out when Tyler Miles has to decide whether to pursue his duty as a cop or return home to his girlfriend. It ended up the same in the end. Also, the ending to Fahrenheit really belly-flopped, but anyone who finished it knows that already.