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Neither publisher focused entirely on CRPGs, of course, but thanks to the likes of Galdregon's Domain/Death Bringer, Dragon Lord, and Star Saga from the former and the Dunjonquest series from the latter, I suppose we at least owe both of them a moment of silence for the hundreds of hours of entertainment they brought to us before ultimately going bankrupt. A sampling from each article:
By 1990, when the Interactive Entertainment Group was in full flight with the full-motion-video It Came from the Desert, the Amiga market in North America was going soft. Thankfully, though, the platform’s continued vitality in Europe more than made up for it; thus Cinemaware’s bread-and-butter interactive movies continued to do quite well on the whole. Meanwhile the company continued to branch out into other areas within the realm of traditional computer games, roaming increasingly far afield from their alleged specialty. Already in 1988 they had embarked on their hugely influential TV Sports line of games that simulated the broadcast of professional sports like football and basketball rather than the experience of the athletes themselves.
Around the same time, Jacob had leveraged his strong relationship with his European publisher Mirrorsoft to begin importing popular European action-oriented Amiga titles into North America. He was soon signing deals to publish original games that had even less to do with his company’s usual focus. For instance, having made Cliff Johnson’s acquaintance through the Interactive Vision project, he published 3 in Three, the follow-up to The Fool’s Errand, under the Cinemaware label after Miles Computing, Johnson’s prior publisher, went bust. (Abandoning the storybook aesthetic of The Fool’s Errand for an approach derived from the avant-garde animated films Johnson loved dearly, 3 in Three just doesn’t work for me like its predecessor does; it has some brilliant moments, but has too many repetitive puzzles of the least interesting types, lacks an equally compelling thoroughgoing meta-puzzle, and generally frustrates more than it delights.) Departing even further from what people had come to expect from Cinemaware were the two Star Saga games partially designed by Andrew Greenberg of Wizardry fame. These were elaborate and demanding multiplayer hybrids of tabletop RPGs and computer-based entertainments built around “paragraph books” with hundreds of pages of text — this from a publisher founded on the philosophy of “no typing, get you right into the game, no manual.” Unsurprisingly, the Star Saga games flopped resoundingly for Cinemaware, as they had for Masterplay, the tiny publishing venture Greenberg had originally set up to market them.
In the spring of 1987, Epyx was the American games industry’s great survivor, the oldest company still standing this side of Atari and the one which had gone through the most changes over its long — by the standards of a very young industry, that is — lifespan. Epyx had been founded by John Connelly and Jon Freeman, a couple of tabletop role-players and wargaming grognards interested in computerizing their hobbies, way back in 1978 under the considerably less exciting name of Automated Simulations. They hit paydirt the following year with Temple of Apshai, the most popular CRPG of the genre’s primordial period. Automated Simulations did well for a while on the back of that game and a bevy of spinoffs and sequels created using the same engine, but after the arrival of the more advanced Wizardry and Ultima their cruder games found it difficult to compete. In 1983, a major management shakeup came to the moribund company at the behest of a consortium of investors, who put in charge the hard-driving Michael Katz, a veteran of the cutthroat business of toys. Katz acquired a company called Starpath, populated by young and highly skilled assembly-language programmers, to complete the transformation of the stodgy Automated Simulations into the commercially aggressive Epyx. In 1984, with the release of the huge hits Summer Games and Impossible Mission, the company’s new identity as purveyors of slick action-based entertainments for the Commodore 64, the most popular gaming platform of the time, was cemented. One Gilbert Freeman (no relation to Jon Freeman) replaced Katz as Epyx’s president and CEO shortly thereafter, but the successful template his predecessor had established remained unchanged right through 1987.
By 1987, however, Freeman was beginning to view his company’s future with some trepidation despite the commercial success they were still enjoying. The new California Games, destined for yet more commercial success though it was, was ironically emblematic of the long-term problems with Epyx’s current business model. California Games pushed the five-year-old Commodore 64’s audiovisual hardware farther than had any previous Epyx game — which is to say, given Epyx’s reputation as the absolute masters of Commodore 64 graphics and sound, farther than virtually any other game ever released for the platform, period. This was of course wonderful in terms of this particular game’s commercial prospects, but it carried with it the implicit question of what Epyx could do next, for even their most technically creative programmers were increasingly of the opinion that they were reaching an end point where they had used every possible trick and simply couldn’t find any new ways to dazzle. For a company so dependent on audiovisual dazzle as Epyx, this was a potentially deadly endgame.