Adventure game
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An adventure game is a
Adventure games were initially developed in the 1970s and early 1980s as text-based interactive stories, using text parsers to translate the player's commands into actions. As personal computers became more powerful with better graphics, the graphic adventure-game format became popular, initially by augmenting player's text commands with graphics, but soon moving towards
For markets in the Western hemisphere, the genre's popularity peaked during the late 1980s to mid-1990s when many[
Within Asian markets, adventure games continue to be popular in the form of
Definition
Components of an adventure game | Citations |
---|---|
Puzzle solving, or problem solving. | [5][6][7][8][9][10][11][12] |
Exploration. | [1][6][8] |
Narrative. | [6][7][8][10][12][13] |
Player assumes the role of a character or hero. | [6][9][13] |
Collection or manipulation of objects. | [6][7][13] |
The term "adventure game" originated from the 1970s
Essential elements of the genre include storytelling, exploration, and puzzle-solving.[5] Marek Bronstring, former head of content at Sega, has characterised adventure games as puzzles embedded in a narrative framework;[14] such games may involve narrative content that a player unlocks piece by piece over time.[15] While the puzzles that players encounter through the story can be arbitrary, those that do not pull the player out of the narrative are considered[by whom?] examples of good design.[16]
Relationship to other genres
Combat and action challenges are limited or absent in adventure games;
Adventure games are also distinct from
Game design
Puzzle-solving
Adventure games contain a variety of
Some puzzles are criticized for the obscurity of their solutions, for example, the combination of a clothes line, clamp, and deflated rubber duck used to gather a key stuck between the subway tracks in The Longest Journey, which exists outside of the game's narrative and serves only as an obstacle to the player.[28] Others have been criticized for requiring players to blindly guess, either by clicking on the right pixel, or by guessing the right verb in games that use a text interface.[29] Games that require players to navigate mazes have also become less popular, although the earliest text-adventure games usually required players to draw a map if they wanted to navigate the abstract space.[30]
Gathering and using items
Many adventure games make use of an inventory management screen as a distinct gameplay mode.
Many puzzles in these games involve gathering and using items from their inventory.[24] Players must apply lateral thinking techniques where they apply real-world extrinsic knowledge about objects in unexpected ways. For example, by putting a deflated inner tube on a cactus to create a slingshot, which requires a player to realize that an inner tube is stretchy.[13] They may need to carry items in their inventory for a long duration before they prove useful,[33] and thus it is normal for adventure games to test a player's memory where a challenge can only be overcome by recalling a piece of information from earlier in the game.[13] There is seldom any time pressure for these puzzles, focusing more on the player's ability to reason than on quick-thinking.[34]
Story, setting, and themes
Adventure games are single-player experiences that are largely story-driven.
Since adventure games are driven by storytelling, character development usually follows literary conventions of personal and emotional growth, rather than new powers or abilities that affect gameplay.
Dialogue and conversation trees
Adventure games have strong storylines with significant dialog, and sometimes make effective use of recorded dialog or narration from voice actors.
Goals, success and failure
The primary goal in adventure games is the completion of the assigned quest.
The primary failure condition in adventure games, inherited from more action-oriented games, is player death. Without the clearly identified enemies of other genres, its inclusion in adventure games is controversial, and many developers now either avoid it or take extra steps to foreshadow death.
Subgenres
Text adventures and interactive fiction
Text adventures convey the game's story through passages of text, revealed to the player in response to typed instructions.[47] Early text adventures, Colossal Cave Adventure or Scott Adams' games, used a simple verb-noun parser to interpret these instructions, allowing the player to interact with objects at a basic level, for example by typing "get key".[48] Later text adventures, and modern interactive fiction, use natural language processing to enable more complex player commands like "take the key from the desk". Notable examples of advanced text adventures include most games developed by Infocom, including Zork and The Hitchhiker's Guide to the Galaxy.[47] With the onset of graphic adventures, the text adventure fell to the wayside, though the medium remains popular as a means of writing interactive fiction (IF) particularly with the introduction of the Inform natural language platform for writing IF. Interactive fiction can still provide puzzle-based challenges like adventure games, but many modern IF works also explore alternative methods of narrative storytelling techniques unique to the interactive medium and may eschew complex puzzles associated with typical adventure games. Readers or players of IF may still need to determine how to interact appropriately with the narrative to progress and thus create a new type of challenge.[49][50][51]
Graphic adventure
Graphic adventures are adventure games that use graphics to convey the environment to the player.[52] Games under the graphic adventure banner may have a variety of input types, from text parsers to touch screen interfaces.[47] Graphic adventure games will vary in how they present the avatar. Some games will utilize a first-person or third-person perspective where the camera follows the player's movements, whereas many adventure games use drawn or pre-rendered backgrounds, or a context-sensitive camera that is positioned to show off each location to the best effect.[53]
Text-and-graphics adventure games
Text-and-graphics adventure games (also called illustrated[54] or graphical text adventures)[55] combine interactive fiction-style text descriptions with graphic illustrations of locations.[56] These games sometimes use a text parser, as in the Magnetic Scrolls games;[57] a point-and-click interface, such as the MacVenture games;[58] or a combination of both (e.g., Tass Times in Tonetown;[59] Enchanted Scepters and other World Builder games).[60]
Point-and-click adventure games
Point-and-click adventure games are those where the player typically controls their character through a
Point-and-click adventure games can also be the medium in which interactive, cinematic video games comprise. They feature cutscenes interspersed by short snippets of interactive gameplay that tie in with the story. This sub-genre is most famously used by the now-defunct Telltale Games with their series such as Minecraft: Story Mode and their adaptation of The Walking Dead.
Escape the room games
Puzzle adventure games
Puzzle adventure games are adventure games that put a strong emphasis on logic puzzles. They typically emphasize self-contained puzzle challenges with logic puzzle toys or games. Completing each puzzle opens more of the game's world to explore, additional puzzles to solve, and can expand on the game's story.
Narrative adventure games
Narrative adventure games are those that allow for branching narratives, with choices made by the player influencing events throughout the game. While these choices do not usually alter the overall direction and major plot elements of the game's story, they help personalize the story to the player's desire through the ability to choose these determinants – exceptions include .
Walking simulators
Walking simulators, or environmental narrative games, are narrative games that generally eschew any type of gameplay outside of movement and environmental interaction that allow players to experience their story through exploration and discovery. Walking simulators feature few or even no puzzles at all, and win/lose conditions may not exist. The simulators allow players to roam around the game environment and discover objects like books, audio logs, or other clues that develop the story, and may be augmented with dialogue with non-playable characters and cutscenes. These games allow for exploration of the game's world without any time limits or other forced constraints, an option usually not offered in more action-oriented games.[69][70]
The term "walking simulator" had sometimes been used pejoratively as such games feature almost no traditional gameplay elements and only involved walking around. The term has become more accepted as games within the genre gained critical praise in the 2010s;[71][72] other names have been proposed, like "environmental narrative games" or "interactive narratives", which emphasizes the importance of the narration and the fact the plot is told by interaction with ambient elements.[73][69] Examples of walking simulators include Gone Home, Dear Esther, Firewatch, The Vanishing of Ethan Carter, Proteus, Jazzpunk, The Stanley Parable, Thirty Flights of Loving, Everybody's Gone to the Rapture, and What Remains of Edith Finch.[74][75]
Visual novel
A visual novel (ビジュアルノベル, bijuaru noberu) is a hybrid of text and graphical adventure games, typically featuring text-based story and interactivity aided by static or
Interactive movie
Some adventure games have been presented as interactive movies; these are games where most of the graphics are either fully pre-rendered or use
Hybrids
There are a number of hybrid graphical adventure games, borrowing from two or more of the above classifications. The Zero Escape series wraps several escape-the-room puzzles within the context of a visual novel.[80] The Adventures of Sherlock Holmes series has the player use point-and-click type interfaces to locate clues, and minigame-type mechanics to manipulate those clues to find more relevant information.[81]
While most adventure games typically do not include any time-based interactivity by the player, some do include time-based and action game mechanics. The Telltale Games licensed episodic adventure games, and some interactive movies, such as Dragon's Lair, include quick time events.[82][83] Action-adventure games are a hybrid of action games with adventure games that often require to the player to react quickly to events as they occur on screen[18] The action-adventure genre is broad, spanning many different subgenres, but typically these games utilize strong storytelling and puzzle-solving mechanics of adventure games among the action-oriented gameplay concepts. The foremost title in this genre was Adventure, a graphic home console game developed based on the text-based Colossal Cave Adventure,[17] while the first The Legend of Zelda brought the action-adventure concept to a broader audience.
History of Western adventure games
Text adventures (1976–1989)
The origins of text adventure games are difficult to trace as records of computing around the 1970s were not as well documented. Text-based games had existed prior to 1976 that featured elements of exploring maps or solving puzzles, such as
Colossal Cave Adventure set concepts and gameplay approaches that became staples of text adventures and interactive fiction.
When personal computers gained the ability to display graphics, the text adventure genre began to wane, and by 1990 there were few if any commercial releases, though in the UK publisher Zenobi released many games that could be purchased via mail order during the first half of the 90s. Non-commercial text adventure games have been developed for many years within the genre of interactive fiction. Games are also being developed using the older term 'text adventure' with Adventuron, alongside some published titles for older 8-bit and 16-bit machines.
Graphical development (1980–1990)
The first known graphical adventure game was
As computers gained the ability to use pointing devices and
Graphical adventure games were considered to have spurred the gaming market for personal computers from 1985 through the next decade, as they were able to offer narratives and storytelling that could not readily be told by the state of graphical hardware at the time.[102]
Expansion (1990–2000)
Graphical adventure games continued to improve with advances in graphic systems for home computers, providing more detailed and colorful scenes and characters. With the adoption of CD-ROM in the early 1990s, it became possible to include higher quality graphics, video, and audio in adventure games.[67]
This saw the addition of voice acting to adventure games. Similar to the first sound films, games that featured such voice-overs were called "Talkies" by all the major adventure game companies, including LucasArts,[103][104] and Sierra.[105][106][107] Use of the term continues to this day, for example by GOG.com on its page about Revolution Software's Broken Sword: The Sleeping Dragon.[108] Mark J.P. Wolf, professor at CUW,[109] in his Encyclopedia of Video Games:[110]
In some genres, the rich assets afforded by the CD format could be integrated more intricately into the gameplay, for example, "talkie" revised editions of popular adventure games with digitized voices, like King's Quest V (1992) or Indiana Jones and the Fate of Atlantis (1993), in which the queries or other conversations selected by the player were fully acted out.
The 1990s also saw the rise of
Myst, released in 1993 by Cyan Worlds, is considered one of the genre's more influential titles. Myst included pre-rendered 3D graphics, video, and audio.[112] Myst was an atypical game for the time, with no clear goals, little personal or object interaction, and a greater emphasis on exploration, and on scientific and mechanical puzzles. Part of the game's success was because it did not appear to be aimed at an adolescent male audience, but instead a mainstream adult audience. Myst held the record for computer game sales for seven years—it sold over six million copies on all platforms, a feat not surpassed until the release of The Sims in 2000.[113] In addition, Myst is considered to be the "killer app" that drove mainstream adoption of CD-ROM drives, as the game was one of the first to be distributed solely on CD-ROM, forgoing the option of floppy disks.[114][115] Myst's successful use of mixed-media led to its own sequels, and other puzzle-based adventure games, using mixed-media such as The 7th Guest. With many companies attempting to capitalize on the success of Myst, a glut of similar games followed its release, which contributed towards the start of the decline of the adventure game market in 2000.[97] Nevertheless, the American market research firm NPD FunWorld reported that adventure games were the best-selling genre of the 1990s, followed by strategy video games. Writer Mark H. Walker attributed this dominance in part to Myst.[116]
The 1990s also saw the release of many adventure games from countries that had experienced dormant or fledgling video gaming industries up until that point. These games were generally inspired by their Western counterparts and a few years behind in terms of technological and graphical advancements. In particular the fall of the Soviet Union saw countries such as Poland and Czechoslovakia release a string of popular adventure games including
Decline (2000–2010)
Whereas once adventure games were one of the most popular genres for computer games, by the mid-1990s the market share started to drastically decline. The forementioned saturation of Myst-like games on the market led to little innovation in the field and a drop in consumer confidence in the genre.[97][additional citation(s) needed] Computer Gaming World reported that a "respected designer" felt it was impossible to design new and more difficult adventure puzzles as fans demanded, because Scott Adams had already created them all in his early games.[121] Another factor that led to the decline of the adventure game market was the advent of first-person shooters, such as Doom and Half-Life.[122][123][124] These games, taking further advantage of computer advancement, were able to offer strong, story-driven games within an action setting.[97]
This slump in popularity led many publishers and developers to see adventure games as financially unfeasible in comparison. Notably, Sierra was sold to CUC International in 1998, and while still a separate studio, attempted to recreate an adventure game using 3D graphics, King's Quest: Mask of Eternity, as well as Gabriel Knight 3, both of which fared poorly; the studio was subsequently closed in 1999. Similarly, LucasArts released Grim Fandango in 1998 to many positive reviews but poor sales; it released one more adventure game, Escape from Monkey Island in 2000, but subsequently stopped development of Sam & Max: Freelance Police and had no further plans for adventure games.[125] Many of those developers for LucasArts, including Grossman and Schafer, left the company during this time.[97] Sierra developer Lori Ann Cole stated in 2003 her belief that the high cost of development hurt adventure games: "They are just too art intensive, and art is expensive to produce and to show. Some of the best of the Adventure Games were criticized they were just too short. Action-adventure or adventure role-playing games can get away with re-using a lot of the art, and stretching the game play."[126]
Traditional adventure games became difficult to propose as new commercial titles. Gilbert wrote in 2005, "From first-hand experience, I can tell you that if you even utter the words 'adventure game' in a meeting with a publisher you can just pack up your spiffy concept art and leave. You'd get a better reaction by announcing that you have the plague."
Similar to the fate of interactive fiction, conventional graphical adventure games have continued to thrive in the amateur scene. This has been most prolific with the tool
New platforms and rebirth (2005–onward)
Following the demise of the adventure genre in the early 2000s, a number of events have occurred that have led to a revitalization of the adventure game genre as commercially viable: the introduction of new computing and gaming hardware and software delivery formats, and the use of crowdfunding as a means of achieving funding.
The 2000s saw the growth of
Further, the improvements in digital distribution led to the concept of
Meanwhile, another avenue for adventure game rebirth came from the discovery of the influence of
- Armikrog
- Broken Sword: The Serpent's Curse
- Dreamfall Chapters
- Gabriel Knight
- Leisure Suit Larry: Reloaded[143]
- Moebius: Empire Rising
- Obduction
- Sam and Max Save the World
- SpaceVenture
- Tesla Effect: A Tex Murphy Adventure[144]
- Thimbleweed Park
However, far fewer adventure games are released in Western countries annually than other genres.[145]
History of Japanese adventure games
Due to differences in computer hardware, language, and culture, development of adventure games took a different course in Japan compared to Western markets. The most popular adventure game subgenres in Japan are visual novels and dating sims.
Early computer graphic adventures (1981–1988)
In the early 1980s, computer adventure games began gaining popularity in Japan. While the
The most famous early Japanese computer adventure game was the murder mystery game
Japan's first domestic computer adventure games to be released were
Due to a lack of content restrictions, also produced similar eroge in the early 1980s before they became famous for their mainstream role-playing games.
A notable 1987 adventure game was
Interactive movie arcade games (1983–1985)
The first interactive movie
Early point-and-click adventures (1983–1995)
A notable adventure game released in 1983 was Planet Mephius, authored by Eiji Yokoyama and published by
The
In 1986,
In 1995,
Visual novels (1990–present)
A distinct form of Japanese adventure game that eventually emerged is the visual novel, a genre that was largely rooted in The Portopia Serial Murder Case,[167] but gradually became more streamlined and uses many conventions that are distinct from Western adventures. They are almost universally first-person, and driven primarily by dialog. They also tend to use menu-based interactions and navigation, with point and click implementations that are quite different from Western adventure games. Inventory-based puzzles of the sort that form the basis of classic Western adventures, are quite rare. Logic puzzles like those found in Myst are likewise unusual. Because of this, Japanese visual novels tend to be streamlined, and often quite easy, relying more on storytelling than challenge to keep players interested.[168]
Kojima's next graphic adventure production was Policenauts (1994), him returning to the genre following Metal Gear 2: Solid Snake's completion. Policenauts is a point-and-click adventure notable for being an early example of extensive voice recording in video games.[169] The gameplay was largely similar to Snatcher, but with the addition of a point-and-click interface. Policenauts also introduced summary screens, which act to refresh the player's memory of the plot upon reloading a save, an element Kojima later used in Metal Gear Solid.[170]
From the early 1990s, Chunsoft, the developer for the Famicom version of The Portopia Serial Murder Case, began producing a series of acclaimed visual novels known as the Sound Novel series, which went on to sell a combined total of more than two million copies.
The visual novel YU-NO: A Girl Who Chants Love at the Bound of this World, directed by Hiroyuki Kanno and released by ELF in 1996, raised standards in Japan with its elaborate storyline and music; heightened player expectations led to creative revitalisation in the genre.[171] Its concepts influenced other visual novels,[172] with their storytelling being affected by its mechanism of parallel story branches.[173]
3D adventure games (1993–present)
From the 1990s, a number of Japanese adventure games began using a
The success of Resident Evil in 1996 was followed by the release of the survival horror graphic adventures Clock Tower (Clock Tower 2) and Clock Tower II: The Struggle Within for the PlayStation. The Clock Tower games proved to be hits, capitalizing on the success of Resident Evil, though both games stayed true to the graphic-adventure gameplay of the original Clock Tower rather than following the lead of Resident Evil.[165]
Global expansion (2000–present)
In recent years, Japanese visual novel games have been released in the West more frequently, particularly on the
The Nintendo DS in particular helped spark a resurgence in the genre's popularity through the introduction of otherwise unknown Japanese adventure games, typically
Emulation and virtual machines
Most text adventure games are readily accessible on modern computers due to the use of a small number of standard
On the other hand, many graphical adventure games cannot run on modern operating systems. Early adventure games were developed for
One of the most popular emulators, DOSBox, is designed to emulate an IBM PC compatible computer running DOS, the native operating system of most older adventure games.[184] Many companies, like Sierra Entertainment, have included DOSBox in their rereleases of older titles.
See also
- Adventure Gamers, website dedicated to the adventure game genre
- Cybertext
- Get Lamp, a documentary on interactive fiction
- List of graphic adventure games
- List of text-based computer games
- MUD
- Roguelike
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External links
- "Creating Adventure Games on Your Computer", a 1983 programming manual by Tim Hartnell
- "Defining the ideal adventure game", article by David Tanguay (1999)
- "Searching under the rug", an article on adventure game puzzles and interfaces
- Adventureland, database of adventure games
- GameBoomers, walkthroughs, reviews, and info on Adventure games
- Fantasy Adventures, classic adventure computer game museum
- GET LAMP: The Text Adventure Documentary . Google Tech Talk 7 March 2011. 2hour documentary.
- AP forums Helpful community of Adventure game enthusiasts. Reviews. Previews.
- "Adventure Games on Your Aundriod"