Ed note: the heavily hyped game with pixel art nudity he could not recall the name of was Destiny's Call Complete. Also he thought Don Miguel was Spanish and not Russian but I'll forgive him this one time...
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RE: Episode 4: Jonah Davidson discussion thread
Break Into Chat interviews with BBS door game creators
Just stumbled on to https://breakintochat.com/, which is a wiki & blog dedicated to preserving the history of BBS door games, via a link to an interview with Gary Martin, the creator of TradeWars 2002. Then I saw they had a whole list of interviews with door game creators, including one with Austin Seraphin, creator of BarneySplat! who has been on my list of people to interview for the podcast since the first draft. Gonna enjoy digging into these!
RE: Furcadia (and perhaps other old MMOs?)
I meant to reply to this much earlier! Sorry!
I actually had a very similar experience with Furcadia when it came out - as I recall, it came up in an IRC channel I frequented, and so I gave it a shot with a few online friends. I remember being impressed at seeing a graphical world you could inhabit with other people and build your own part of, and vaguely confused that someone somewhere could possibly be running a server that hosted everybody, for free.
I went back once or twice on my own but kind of bounced off it pretty quickly - none of my friends continued using it, and I was more interested in it as a space for doing things with people I already knew than meeting it on its own terms and meeting people there. It just seemed so big and daunting!
Very interesting to read more about it, for sure. Thanks for posting it!
Crowdfunded book project: Shareware Heroes
So this book project was brought to my attention the other day, and I figured I'd give it a mention over here: Shareware Heroes: Independent Games at the Dawn of the Internet
I'm not in love with the industry-centric framing of the pitch video, but I'm extremely excited to see others take shareware history seriously. The author promises to conduct lots of first-hand interviews with various people involved in shareware, which, you won't be surprised to hear, I think is absurdly valuable work. I can't be the only one out there interviewing folks about this stuff, I'm far too slow!
RE: Episode 6: Shawn Hargreaves discussion thread
I'd say every tool has its "grain", and Allegro's bread and butter was really "draw bitmaps on top of other bitmaps", with certain effects like scaling and rotation being very easy to add. But other things, which may have been straightforward if you had written the blitting code and were able to make tweaks to it, were much more difficult.
I remember putting together a demo game to show off my "skills" in the early TPU days, where I tried to build the most audiovisually impressive thing I could. The thing that gave me the most trouble: I wanted to reproduce the end-of-level screen-melting effect from Doom, and getting that to run fast was hard.
That game also had:
- a pretty 3D fractal landscape generated by a VistaPro demo I got from a book called Virtual Reality Madness & More
- huge 3d-rendered characters modeled in a tool called Imagine (I couldn't figure out how to texture pupils on his googly sphere eyes, so I just drew them on afterwards in NeoPaint and hoped I got them in vaguely the same place every frame (I didn't))
- a title screen that I'm pretty sure had both gratuitous scaling and rotation
- oh, and I animated some extruded text as a "company logo" in I think maybe TrueSpace 3D?
- custom fonts EVERYWHERE; I feel like I must've had a tool for Windows that would export a TTF font as a bitmap that Allegro knew how to treat as a bitmap font. But if you wanted text in your game, you were probably gonna export a bitmap font. All I used it for was, like, "press start", and displaying your score, but I'm sure I had at least two fonts.
I definitely remember having to do a lot of fiddling to mash everything from these random sources into a sensible 256-colour palette. I had specialized commandline tools for palette generation & re-importing.
In general, I had a bunch of disparate free-or-pirated tools for creating visuals, and I used them about as naively as you could possibly imagine, and I suspect that had a lot to do with how my games ended up looking. It probably was not far off from the process that people making OHRRPGCE games were going through. Even my 3D stuff was made in tools that were designed to be accessible. I had a copy of 3DS Max, but I couldn't figure out how to make it do anything - I just knew it was "professional".
RE: Episode 6: Shawn Hargreaves discussion thread
Glad you enjoyed it!
Regarding making timelines clearer, that's a fine point - I tend to be pretty muddy about what things happened when until I start digging into the wayback machine. I could certainly do some homework ahead of time and anchor questions with that information in the future.
I'd say the timeline looks roughly like:
- 1994 - Shawn starts working on the original Allegro
- 1997 - Allegro 2.1, which is about when I discovered it and wrote Barney Mutilator
- 2000 - Shawn starts significantly withdrawing from active development
Episode 6: Shawn Hargreaves discussion thread
At one point in the interview, I assert that the General MIDI standard was based on the instrument choice of the Roland Sound Canvas. It turns out this is half-true; I had misremembered a story from The Fat Man on Game Audio, which incidentally is probably my favourite book ever written on the subject of the video game industry. If you can track down the book, I definitely recommend doing so, but here's the timeline as he lays it out:
- General MIDI is created as a standard. It defines 128 instruments.
- The Roland Sound Canvas is released as the first General MIDI sound card.
- George "The Fat Man" Sanger decides to compose the soundtrack of The 7th Guest using General MIDI, in order to attempt to ensure the music will sound OK for future sound cards. It is the first game to have its score written in General MIDI. He uses the Sound Canvas as the baseline because there are no other General MIDI cards out there yet.
- More sound cards touting General MIDI compatibility are released. His soundtrack sounds awful. He discovers to his horror that General MIDI does not define any standard for the dynamics of an instrument - how loud it is, or even what pitch middle C should sound.
- Fat Labs is founded to basically make sure The 7th Guest doesn't sound awful on new sound cards. Google "Fat Labs General MIDI" and you'll find a number of press releases from the 90s proudly proclaiming that their sound card has earned "The Fat Seal".
- Eventually the MIDI standards committee accedes that the only sensible solution is to take whatever dynamics Roland used for their Sound Canvas samples and use them as the standard for all cards going forward.
There are also a lot of DOS games that come out around this time that credit The Fat Man for their General MIDI FM patches for Adlib cards - this is because he bundled it with the popular MIDAS Sound System library, that allowed DOS games to support the vast numbers of incompatible sound cards that were being
released at that point.
Knowing this story is what made me wonder, wait, where did Allegro get its General MIDI instrument patches from? And I got sufficiently curious about this that I dug into the source code, and found the following comment:
/* These instrument definitions are taken from the MID-KIT library by * John Pollard. Many thanks to him for letting me use his patches: I * wouldn't have enjoyed the task of coming up with a set of my own. */
Further digging reveals that MID-KIT was a shareware library that provided sound and music routines for DOS for the Watcom C compiler. Registration was $50 for a "link the binary with your software" license, and you could get the source code for $600. The author, John Pollard, credits Jean-Paul Mikkers, original creator of the Mikmod library, for assistance and some code. (One thing I had forgotten was that mikmod was also once shareware, though the $25 registration fee was only required for those using it commercially.)
Shawn doesn't remember any details about this; he assumes he must've went looking for existing software that had already solved this problem, and then simply asked the author for help.
Why is this important or even interesting to anyone? Part of what I'm interested in uncovering as part of this podcast is the invisible support networks and ecosystems that made games possible. It's too easy to imagine Shawn toiling away in isolation to produce the first draft of Allegro, and then support and code contributions just spontaneously flowing in his direction. But when you dig into questions like this, you quickly discover a bunch of people sharing knowledge, asking questions, and helping each other out.
Thanks for sticking with me during this extremely dorky and overly technical aside about MIDI. Now: If you had any personal experience using Allegro, or playing games that came out of the loose Allegro community, this would be a good thread in which to talk about it!
Jeremy Penner and Mattie Brice discuss Glorious Trainwrecks
So I went to Babycastles and spoke with Mattie Brice about Glorious Trainwrecks and its history! It was a really good time, and I suspect the following hour-and-a-half-long video may be interesting to people who enjoy listening to the podcast.
RE: Episode 5: Leonard Richardson discussion thread
Gosh, yeah, the Minecraft project is SO huge. Like, it's not just terabytes of random zip files, he took the time to build tools to analyze and make it digestable. So if you want to explore a representative sampling of random Minecraft maps from the archive, there's The Reef maps. If you want a bunch of data to build Mastodon bots with, there's The Minecraft Geologic Survey. It must have been an enormous amount of effort to put all that stuff together. And pretty much once a year he takes another huge sample.
He also has the Ephemeral Software Collection which, among other things, scrapes jam games from Github. Important work!