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The Digital Antiquarian on Darklands
Editorial - posted by Infinitron on Fri 22 March 2019, 21:43:25Tags: Arnold Hendrick; Darklands; Microprose; The Digital Antiquarian
Darklands, the 1992 historical sandbox RPG by Arnold Hendrick, is a true cult classic - a game beloved by Josh Sawyer and Darth Roxor both. It's the subject of this week's article by the Digital Antiquarian, who is less of a fan. Although the Antiquarian finds the game to be meandering and repetitive, he tries to give it due credit for its authenticity and innovation. Once again, the article is made up of three parts - a history of Darklands' troubled development, impressions of its gameplay, and a reflection on the game's legacy. Here's an excerpt:
MicroProse, suffice to say, didn’t go that route. Stealey took a hands-off approach to all projects apart from his beloved flight simulators, allowing his people to freelance their way through them. For all the drawbacks of rigid hierarchies and strict methodologies, the Darklands project could have used an injection of exactly those things. It was plagued by poor communication and outright confusion from beginning to end, as Arnold Hendrick and his colleagues improvised like mad in the process of making a game that was like nothing any of them had ever tried to make before.
Hendrick today forthrightly acknowledges that his own performance as project leader was “terrible.” Too often, the right hand didn’t know what the left was doing. An example cited by Hendrik involves Jim Synoski, the team’s first and most important programmer. For some months at the beginning of the project, he believed he was making essentially a real-time fighting game; while that was in fact some of what Darklands was about, it was far from the sum total of the experience. Once made aware at last that his combat code would need to interact with many other modules, he managed to hack the whole mess together, but it certainly wasn’t pretty. It seems there wasn’t so much as a design document for the team to work from — just a bunch of ideas in Hendrick’s head, imperfectly conveyed to everyone else.
It’s small wonder, then, that Darklands went so awesomely over time and over budget; the fact that MicroProse never cancelled it likely owes as much to the sunk-cost fallacy as anything else. Hendrick claims that the game cost as much as $3 million to make in the end — a flabbergasting number that, if correct, would easily give it the crown of most expensive computer game ever made at the time of its release. Indeed, even a $2 million price tag, the figure typically cited by Stealey, would also qualify it for that honor. (By way of perspective, consider that Origin Systems’s epic CRPG Ultima VII shipped the same year as Darklands with an estimated price tag of $1 million.)
[...] Combined with the only slightly less disastrous failure of the new point-and-click graphic-adventure line, Darklands was directly responsible for the end of MicroProse as an independent entity. In December of 1993, with the company’s stock now at well under half of its IPO price and the creditors clamoring, a venture-capital firm arranged a deal whereby MicroProse was acquired by Spectrum Holobyte, known virtually exclusively for a truly odd pairing of products: the home-computer version of the casual game Tetris and the ultra-hardcore flight simulator Falcon. The topsy-turvy world of corporate finance being what it was, this happened despite the fact that MicroProse’s total annual sales were still several times that of Spectrum Holobyte.
Stealey, finding life unpleasant in a merged company where he was no longer top dog, quit six months later. His evaluation of the reasons for MicroProse’s collapse was incisive enough in its fashion:
The reader response wasn’t the only interesting postscript to this episode. Wilson: