Here is my final piece of Western Zork! I had so much fun doing this piece because I really began getting a feel for the personality of the character. With the Western theme, i also had fine deriving an environment that represented the Cowboy's home world. I didn't want the environment to be too busy, but I wanted it to display assets of western culture that I think are most important. From completing a previous western environment, I learned that the use of empty spaces and silhouette/shadow type shapes really add to the authenticity of the theme. So within this piece I focused on a mountain range that added that depth and vastness. Also from a previous composition lecture, I decided to think carefully about how the piece should be set out. I deliberately made it so there was a gradient of action that narrowed to the main character, but could also reverse to get a perspective of the environment. From the mountains, to the cactus and to the figure. Different depths of action draw you to and from different points of the piece, which I think not only adds to the atmosphere of the theme and environment, but the character's nature. I also focused on the position and attitude of Zork, because I wanted him to really represent that 'cool' approach in his Cowboy form. I think combined with his facial expression and posture, you can clearly see that Zork has attitude in this piece, giving the audience a greater perspective of what to expect with him.
Here is just a little extra piece I did for fun. It was extremely simple, but I thought it would be comical to have western Zork on a traditional 'Wanted' poster.
For character development, I wanted the western Zork to have a lot of attitude, to be 'cool' but authentic. I really want Zork to have the right appeal within the genres he imagines himself within, so I decided experimenting with different hair styles and other features like beards, would being creating that personality. In the image above I tried 8 different hair styles from references to my silhouettes to see which suited the 'style' of Western culture and that of Zork. In all honesty, I became pretty attached to all of them, but out of a mixed combination of all, I decided to choose the very last hair style. The reason for this is because it doesn't look too modern, but it still has the edginess and personality that I wanted. It also still relates to the original Zork's style, which is a bonus to keep the element of him within each new character.
After looking into hairstyles, I decided to the look at what beard/mustache the Western Zork should have. It is vitally important that the original essence of Zork is shown throw his iconic features, such as the colour of hair, glasses and beard. Even if there is a slight variation, it still should be present. So to keep to the western theme, I experimented with various types of facial hair that could potentially work for the new Hero. The beard I decided on was the third on top row, because although it is a little 'modern' it represents that personality I want Zork to have, when he is in this character. I think this is the most suitable for that!
Finally! here is my character sheet for the Western Zork, showing this different facial expressions through the game. For this in particular, I had recently learned a lot more about facial anatomy and decided to enhance my cell shading to define certain bones/muscle within the face. I think I did well to highlight cheekbones, jaw, nose and eye sockets here. Making the character still looking cartoon like, but have more realistic features. This all adds more character to the expressions in which Zork pulls, it is a lot more believable.
From the development of my Silhouettes, I chose two models and clothing ideas to progress into colour and a final product. The above image shows the figure and clothing I chose appropriate, However, to experiment with what I would prefer best, I did a colour palette to look at the variety of ways the clothing could be presented. Over the choice above, I decided to chose the last colour variety, on the basis of traditional western colours. The other examples didn't seem to fit the role as much as the final because of the vibrancy, so I decided to add tonal work and texture to it to see if I still like the model.
Here is the first sketch of the model and the finalized product after going through a relative colour palette. I continued my cell shading method and applied various patterns to bring depth and style to the model. I am pretty happy with how this turned out because I believe the colours are appropriate for the western theme. However, I cannot help but think there is not enough 'Cowboy' element in the model's pose, emotion or choice of clothing. After all those silhouettes and thinking I;d be happy with this, I have decided it just is not right.
Here is the other figure I have been pretty confident with since the silhouette stage. The reason for this is I really like the clothing and think it perfectly represents western culture. So I had to complete another colour palette to see which variations worked best with the outfit. In all honesty, I quite liked all of the colour choices, but based on relativity to the theme. I chose the model third one in because I think it compliments all the colours very well. To complete this, I applied my cell shading tonal work and added patterns to bring texture to the model.
Here is the finalized model with cell shading, tone and patterns. I really am pleased with how this turned out. I think the colours and clothing are absolutely perfect for the character and the theme. It is keeping traditional to the era and also looks suitable for a cowboy type Hero.
After experimenting with the silhouettes, I decided to pick some that stood out for me to develop a little further with some tonal sketching. This practice helped me again to imagine what each part of the silhouette could represent, making it exciting to explore and see what you come out with! From my initial sketches, I decided I wanted a more basic looking character for the basis of traditional 'Western' attire. Too much kit on the other silhouettes made the figures look less western themed and more futuristic, so I diverted back to basics for developments. As you can see from the tonal sketches above, I have worked into them to bring out different areas of clothing and accessories using tonal work. Layering over with greys and whites to bring definition to shapes within either fabric or bodily proportions. From this I have already decided a figure I think will work perfectly for the development of Zork's western themed Hero!
Here are the silhouettes for my concept visualization of 'Western' Zork. I really enjoyed playing with these for the sake of having the freedom to let your imagine do the talking! With all the different western elements I have come across during this project, it was an experience to play around with each figure and see what I could visualize. Trying different hairstyles, clothing and accessories really did develop and got better as I went along with the drawing. Some admittedly are a little too far fetched for the particular theme, as in steering closer to a more modern era, than a historic one. I definitely took multiple elements from these sketches for further development.
For my concept visualization, I wanted to take the Western themed Zork character and adapt him with better references. From previous video games I have played and movies that I have seen in the past, I noticed how important it was to be as accurate to the theme as possible, with it, the targeted audience would feel lost or detached from the concept. It is crucial that the genre is represented correctly, in my case for a western adaptation, elements such as traditional clothing and colours will need to be taken into account for my character to look authentic. The two primary pieces I wanted to refer to, were 'Red Dead Redemption' as a successful, recent western video game and 'The Good, The Bad and The Ugly' movie from the late 1960's. I believe these two pieces of media brilliantly show attention to detail for western culture and traditional. From clothing, environments, personalities and colour palettes, these two examples are a perfect representation of that. The images above show equally the theme chosen, the colours and the attitude of the characters. I want to replicate this idea with those elements, so that Western Zork looks authentic and believable within his environment.
In this image the light projected from the sky is reflecting off the water, giving a mirror like affect to it's surroundings. You can see the trees and other foliage reflecting into the water based from the reflected light off that surface. However, the slight distortion is related to the surface in which the light is reflecting off of. In this case, the water is not a flat surface, it has ripples and waves which distort the light that reflects off of it. Making the mirror image not so accurate.
Bounced Light:
In this image you can see light reflecting on the floor's surface. This light changes depending on the surface on which it is reflecting from. Within this image the surface of the floor is solid and gives off that 'shiny' appeal. With the intensity of that light, it then bounces off other objects or surfaces within the room. You can see this happening in multiple areas of the scene, such as the frame of the window, the walls to the left and the arches of the seats. Bounced light is being projected across the entire room.
Subsurface Scattering:
In this image, light is being absorbed by this leaf because of it's properties. The light inside the structure is then scattered across every part of it, transferring light to every pinnacle. Because of the way the leaf is made, it's properties, surface and density will depend on how much light can be absorbed.
For this piece it is evident that it is using the 'Cross' composition. I notice this for a number of different elements represented in the pieces. Firstly the way the figure is positioned within the center of the piece, acts a as a vertical degree. Whereas, the larger figure's left arm, acts as the horizontal point of the cross, not exactly but close enough. Also the way in which the lighting is presented also shows that division on the horizontal line: The top section is much lighter than the bottom half. For this specific composition, the piece is very dynamic and appealing.
Jamie Hewlett: Iconic Composition.
This piece is also very simple to read for the composition. Usually with any figure represented in this way, will fall under the 'Iconic' composition, where points of the character fall in line with the diamond shaped guidelines, making the piece more visually appealing. Drawing over the piece shows how the Iconic composition works. The center point is actually at the stomach of the character and this line follows up to the top of the head to the bottom of the toes, almost exactly! Although there isn't really any horizontal matches, it is evident vertically, that the iconic composition works.
Hokusai: The 'L'.
This piece can actually work either way within it's 'L' composition. It has two focus elements that can be dominated by the 'L' method. For example, the top image I have select is framing the 'Great Wave' as the primary focus of the piece, but then again with that being such a huge part of the scene...You cannot help but be drawn to Mount Fuji in the background. I personally believe, the second image above represents the correct method of 'L' composition, because although the great wave is the primary focus, it's the simplicity and space around Fuji that draws you to it. Also the way in which the waves practically frame the mountain, it is almost acting as a view point! Making this the ideal composition for this piece. Drawing the eye towards the focal point.
Jamie Hewlett is one of my biggest inspirations in terms of artistic style. Primarily for his focus on character development and the colour palette in which he experiments with. His particular style is quite cartoon like for the use of cell shading techniques. I have always admired different ways cell shading is achieved and wanted to use this style for my own concepts. I also like the way Hewlett focuses on character development within his concepts. For example, Gorillaz, a popular series of work he produced shows how his characters change depending on the environments that they're presented with. I admire this focus because it makes each character develop a personality, and stay in tune with whatever world they appear in. I really like this because it is similar to my game design idea, where Zork changes into different characters depending on the genre or theme he imagines himself within. Like hewlett, depending on the theme within the story of 'Gorillaz', the characters adapt to that change accordingly. This technique adds not only personality to the characters, but makes them coherent to the world around them.
Another artist that caught my attention was Murakami. A very popular Japanese artist who's primary focus is with the use of pattern and colour. I really admire the colour palette amongst all of Kami's work, because it really adds personality to a piece. For example, the image above has repetition of flowers, bright colours and every extreme expressions. This image literally screams excitement and 'cute' simply by the attention to pattern and colour. Considering I want to use a cell shaded method within my concepts, I was really taken to make my drawings a similar vibrancy. The reason for this is because I want the worlds of Zork to feel a little imaginary, to replicate the thoughts within Zork's mind. If it was too realistic, it wouldn't match up to his personality and interests.
Within 'The Adventures of Zork', I wanted Audio to be a very important focus within the concept. Considering the consistent amount of environment and theme changes, I believe it is crucial to create sound that replicate those worlds in a way that is the most authentic and believable. Using sound to your advantage within environments especially, adds mood and personality to the story or action, making the entire world seem more authentic, original and exciting.
Within current successful Video game titles, Sound is used cleverly and authentically depending on the theme/genre. One of my personal favourites 'Red Dead Redemption' is one of the most impressive Video games for sound, that I have ever encountered. It focuses on creating atmosphere for every element of the game, such as character emotions, action, story progression, lighting and primarily environment. The game feels so authentic to the genre because of the way sound is used. The instruments are relative to the era, such as harmonicas, guitars and violins are all used according to the action taking place. Whether it's ambiance, an emotion from a character or to display action, the relative instruments are used accordingly to represent those expressions. Making the whole experience immersive and captivating for the player.
Here is a sound example of ambiance that plays during free roam within the environment:
Without evening witnessing the game play from this moment, the music is so expressive, that you begin visualizing what the surroundings would look and feel like. It's with that attention, you can add emotion and personality to the game, that still ties in within the theme AND genre.
Another example is that of Halo. Halo already has a high reputation for sound within all of it's releases, primarily because it captivates the player into a authentic world, that enhances every element of the game. The concept of Halo, being a war based game set on an alien universe, the mixed emotions are expressed through different sounds. The survival war type element is replicated through different tempos of tribal drums and chants, the other aspect of an alien type world is expressed with unusual synthase and ambiances. It's combining those elements together, that create coherent world for the player that will always be immersive.
Here is an example of how Halo uses all those elements to express a particular action sequence. In this case, this audio track is from when you explore structures where the enemy is unaware of you presence. So you have to be sneaky. You can literally feel that sense, without every playing the game.
To further develop my concepts, I decided to have a go at making my very first 3D character model, along with some in game assets. I decided to creating Zork's Manga styled Hero, for the simplicity of design and also the proportional elements. I wanted to try something simple to start with, as I have never made a figure with Maya before.
In all honesty, although this was my first 3D character, I really enjoyed constructing the different aesthetics of the figure. Such as the hair, cloak, scarf, glasses, mouth and ears. I also liked playing with different materials to gain more authenticity, such as a Blinn material on the earrings and glasses of the character, making them shinier and more realistic. I think I succeeded on the basis of the style of character and how proportionally, nothing really had to be too accurate apart from that, to replicate my initial concept drawing. I also enjoyed playing around with simple shapes to make areas such as the hair, where I experimented with different edge loops to create more dynamic structures. I also used this for the effect on the scarf and cloak.
Here are also some basic 3D models of some assets within the game. Such as 'The Games Master' book and the inventory system component, 'The Label Gun'. I wanted to create this assets because of their relevance within the game's story. Such as the importance of 'The Games Master' being the primary goal for the entire game. Also 'The Label Gun' for it's primary use within interaction in the worlds, being the inventory system. Both of these objects were easy to build, but exciting to construct for the sake of bringing my game to life.
Throughout the time of re-imaging 'Zork', There were some existing forms of media that inspired my to take certain directions with my ideas. I really wanted my game to not to have one specific genre, not as in game play style but as a general 'style'. I really took to the idea of giving the player multiple genres to explore instead of one. I cannot seem to think of a game that uses multiple dimensions to explore, they always seem to be one specific genre, whether it a western, Sci Fi, horror etc. However, with such media as Movies, this theme is adopted more frequently. It was those ideas that made me question why it wasn't already used within the gaming industry, as surely giving the player a variety of genres to play, it not only makes the game unpredictable, but unique and exciting! nothing will ever be the same.
Sucker Punch
Sucker Punch 2011 [Zack Snyder] is a film that gained an enormous amount of attention for it's innovation of presenting multiple genres into one. The film itself was about a young troubled girl, who was falsely accused of crime and being mentally unstable, resulting in her to be homed within a mental institution. However within this hospital, she found herself unable to escape from her accusations, suffering from sadness and depression. She is then abused to perform as a 'dancer' with other girls within the institution. She makes close bonds with the other girls and discovers a method of dancing where she finally feels 'free'. It is here where she mentally transports herself to a variety of worlds where she becomes strong and brave. Each imagination changes for her as she develops the strength with her depression. Having seen the movie myself, it is a very immersive to watch as it is constantly unpredictable, unique and extremely exciting. It was nice to experience different worlds within the movie, how they changed in atmosphere, how the characters and other elements changed, from simple props to even sound. Nothing stays the same, you always felt on the edge of your seat, taking on every new environment with extreme interest, nothing ever got boring! it was always dynamic.
"Your mind can set you free" [Admired quote from the movie trailer]
Here is a selected trailer from Sucker Punch that shows the initial narrative of the story, alongside the imaginative worlds:
Here are also some images from the movie:
Splinter Cell Conviction
Splinter Cell Conviction uses heavy emphasis on tyopgrahy within the environment. Within the original Zokr game, text was used to narrate everything including combat, movement and interactions. In Splinter Cell Conviction, that game uses text to introduce tasks or goals to the player. I really like this idea from how a conetmporary game uses a simliar aesthetic to a game as old as Zork. Instead of just informing the player through dialogue or small text on the side of the screen. Splinter Cell includes text written objectives on a grand scale within the environment. This method is not only visually effective, but it also informs the player on their missions/targets, So the player is encouraged to the point of interest and it also is an easier more impressive way to represent a direction. Within the gameplay itself, although the game specifically tells you do something, there are multiple ways you can approach the task. For example, inflitrating a mission could be written onthe building itself within the distance, informing the player of their next destination. However, how they 'infiltrate' the building is entirely to the player's choice. You can stay stealthy, go through back windows, hidden passages or you can go in through the front door. Although that is slightly too obvious for the stealthy genre that Splinter Cell is, this game ALWAYS gives the player different routes to take towards a goal.
I really like to use a similar element within my re-imagination project. Using text not only keeps a nostalgic aesthetic from the original 'Zork', but it will be used in a contemporary way that will benefit game play within my game.
Here are some images representing how text is used within Splinter Cell Convition:
The environments within Zork alter depending on what theme of book the character wishes to explore in to. Each world changes as he completes quests and objectives, which will result a progression to the next level/world. Each Hero Zork imagines himself as, the environmental world becomes relevant to that character and the theme. With this sort of idea, the player will never be bored of being in one particular place and will begin to become curious/excited about which world they'll explore next. It also gives the players a chance to explore worlds with different quests, items and treasures to collect. The action is always unpredictable and unique, making it never tedious or dull for the player.
Here is the first visualization I had within one of Zork's imagined worlds. This particular theme is that of the 'Western' genre. Whilst painting this piece, I wanted to keep every element true to the nature of the theme. Such as wide open, dynamic skies, vast landscapes and very small details. I wanted to get that essence of the world being empty and large, like the spaces within the deserts in western films etc. I also liked the idea to paint a theme of using the sun as an asset to represent the warmth and mood of the environment. Using a sunset image, with warm tones seem appropriate to show the heath of the desert. Also from the particular sunset, I took the advantage of lighting to creating a lot of silhouette type aesthetics, such as birds, cacti and figures. This style is very similar to western paintings that used the silhouette type affect to portray the mood within an environment. Paying attention to those elements adds authenticity to the environments, making them believable for the player to engage in.
Here is another example of environment change within Zork's imaginative worlds. This particular piece represents the theme of 'Sci Fi'. I wanted to create a world that was entirely alien, unique and exciting. With Sci fi, I experimented with different colours, structures and lighting to create a 'space' type theme. To do this I produced an ocean type planet, where land is scarce and the only thing that can be seen, is old industrial constructs. Using this type of space adds a feeling of alienation on the planet, replicating the theme and adding an original flare that is unseen in present day. To also add to the effect of 'space', I focused on elements within the sky. I added multiple other planets, moons and galaxies along with various star correlations. However, the most powerful asset within this piece is that of the red type ocean. I wanted to change the colour to further enhance the originality of the planet and how it feels truly 'space' aged, or alien. Yet again, it's about paying attention to those aesthetics that sets the mood and theme appropriately for the environment, making it authentic and believable for the player. Also it will portray a lot within the Hero Zork becomes within this world.
As Zork imagines himself within these new worlds he transforms himself into any hero that he wants to be. Any Hero he makes a connection with, relating to the theme of the world he is in. His personality is always reflected within these different characters, no matter how much his identity changes.With Zork's mannerisms in reality, he wants to be come an iconic and celebrated figure, that has strength, courage, ambition and luck. Everything in which he lacks within the 'real' world, it is a chance for Zork to be one with his imagination and become anything he has ever dreamed to be. Although aesthetically his character does change a lot within these different worlds. However, I have designed each one to replicate similar features that he originally has. Such as hair colour, his glasses and his beard. Using this method helps make each new character recognizable for the player, so that they will never feel alienated or confused as to who they are, within relevance to the story. The personality of Zork and those additional features, will be evident in each new character change. With these changes, the player begins to understand why Zork chooses to become certain characters, why he imagines himself in these ways. It is with that, the player can not only recognize his behavior, but also develop a personal connection to his feelings.
Here is an example of Zork as a Hero from the genre of Japanese Manga. You can identify with that theme due to the character's anatomy, proportions, facial expressions and hair. This particular style is that of the 'Chibi' form, in which a character becomes a miniature version of themselves. You can see similar features that original Zork has, such as the tone of hair, beard and glasses. Although his figure has changed almost entirely, you can relate back to the original through those assets.
Here is another example of Zork as a Hero from the genre 'War/Military'. As with all characters Zork becomes, his iconic features are still represented here. Although his figure has changed dramatically, you can still feel the presence of him within. For the particular genre, you can see how the Hero has become relevant to that environment. The character's appeal is muscular, bold and strong, showing the nature of the Hero. Also the use of camouflaged clothing, facial scar additions and accessories show the character's background theme, making it relevant to the world in which Zork would be in.
Here is the final Hero concept for Zork at this time. This particular figure represents the theme of 'Western' as recognizable through the clothing and other assets. The colour palette, types of patterns and clothing also replicate that of similar items worn within that era. Yet again, the elements of the traditional Zork are still present. Keeping elements of the Original Zork within each new Hero, will give a base for players to connect to, no matter what world they encounter.
I went through a lot of deliberation as to what genre my project should be and I often found myself going back and forth between 2D - 3D. However, it became more apparent from the type of idea I had come up with, that my game should be an 'Action Adventure' type RPG game. Not to get confused by the two, as I do not want a cross of genres, it is ideally an Action adventure, but it hosts RPG like assets, with that of inventories and collection of items etc.
I wanted to keep similar assets from the original Zork, into my re-imagined version. The reason for this is because I think, although my project is to reinvent, I still think it is important to keep some of the traditional and successful assets, as you can see where the idea has developed/evolved for it's modern audience. What I had in mind, was to keep the use of having an imaginative world that used text/typography as elements that help you as the player in the story, However, not as a text type control. Using typography with graphics and NOT game play seemed like a nice touch to keep my game at it's roots, but present a fresh new look. From researching Zork and the more information I gathered about it from the game aspect and NOT the book, I came to the conclusion that Zork was easiest to re-imagine, as there wasn't much depth to it. However, from reading 'Zork Chronicles' I gained a greater perspective of the concept and managed to channel that information into unique ideas for myself.
Format and Online capabilites:
My re-imagination of Zork will be a 3D Action Adventure game that will run on formats such as the Xbox 360 and Playstation 3. The reason I chose these formats was of the use of the controls on both consoles. My game will include usage from most of the assets on the controllers, and therefore using this type of game on any other machine would cause complications and it would be harder to play. Another reason was based around it's genre, exploration style, combat and use of online play. I really liked the idea of making my game that can play on either Xbox Live or the Playstation network, within our current era, online game play is one of the most crucial and important gaming assets. The majority of current releases within our generation use a lot of primary focus on multi player ideally from an online perspective. With my game itself I want to use the form of online play to expand the single play into a more vast world. Using co op with a friend to help do quests, find certain items or achieve treasures that might be too complex to do on your own. Or play with a friend to help overcome stronger foes, trade and cover more ground when exploring within each of the worlds. Although there is much potential for the singular player to still achieve, I thought it would be ideal to encourage cooperative play to expand the universe of Zork. Having two players means you are two times more stronger, faster and likely to discover things that either play could've have missed before.
Assets and Game play:
As explained in the previous post, Zork uses his eccentric imagination to warp himself into worlds related to the genre of books he is labeling. With that requires one of the most important assets within the game, his label gun. With the power of Zork's mind, he transforms his trusty label maker within every world he explores. It is the primary focus of interaction within the game as it acts as your inventory, to look through your collected items. Not just that, but it also works as a magical device that transforms fired 'labels' into selected items from your inventory. For example, the label gun has a 'magazine' that hosts all the labels/items in your inventory. You scan through each label in the magazine for the item you wish to select, every item you have collected will be written on a label within the mag. To select an item, chose the label with the name of the item you have collected, fire that label from the gun onto a 'surface' within the game suitable to be able to be obtained. Once the gun fires, the label will stick to the selected surface and transform into the item you selected from your magazine/inventory.
This type of mechanic is only used for access to the inventory system and select items you have collected. Other objects such as weapons are already equipped once collected/found. Keeping this method makes the game play less confusing and easier to understand. It also is a perfect way to keep the use of 'typography' within the game as previously mentioned. I want to keep some elements of the text based adventure in my new concept.
Using Typography:
Aside from the use of the label gun, I also wanted to include typography within the environment of my game. With the first 'Zork' game, the entire production was made through the use of text, from movement to combat etc. Everything was narrated on screen as you explored and even to this day, it really interests me to continue to use text even with a contemporary game. In my particular remake, I want to use text to decide paths in environment. For example, if you the character has four routes to take, one in the mountains, the forest, a castle and the other a desert, I wanted to highlight the directions to take above those routes. A bit like a road sign, but floating in the distance above the chosen path/environment. Over the desert it could say 'East' in a large font floating above the route or 'North' above the castle, etc. Althought this is a minimalistic use of aesthetics, I really like the idea of keeping text a useful tool within the original, just like the 1970's Zork. This theme will direct the player into new areas and give them choices to make on where they explore. To complete this idea, I will include an actual 'Compass' in the working HUD. This will be able to remind the player the direction they are taking when trying to find certain areas for quests etc, so the environment is will always be easy to explore. It also adds the 'adventure' type atmosphere of the game, which what my remake primarily entails.
Throughout researching Zork I have learned a great deal of the Universe, from game play, mechanics, story and concepts. In doing such heavy research, I have made a solid basis on which I can re-imagine the Zork world and recreate it for a modern audience. From looking at existing examples, references, reading books and playing the game itself, I have developed an Idea which I think will be a unique and compelling adaption to the series.
The Idea:
You play as a character named Zork. He is an eccentric, nerdy, booking loving gamer dork who works part time as a librarian assistant. In the library he works, there is a Rare book known as the 'Games Master' which when obtained will help that lucky person 100% every game in the entire world, some believe it is 'magical'. With Zork's thirst in wanting to obtain this special book, he begins visualizing himself in scenarios where he can do this. One night on a close down shift, Zork starts labeling books in different genres around the library, consistantly thinking about getting his hands on the book. As he labels the first book on the shelf, he starts visualizing how he could become victorious on a quest to get to this artifact. In that mind frame, Zork begins imagining himself within the books he labels, as a hero on a quest out to find treasure that will lead him to the 'Games Master'. With the power of his eccentric mind, Zork adapts scenarios in his head depending on the genre of the book he is labeling. Transforming himself, into any character or Hero he sees suitable for that book. In one moment he could be a Cowboy the next a 1950's Gangster, in this mind, worlds and characters are built around his dire quest, to win over the 'Games Master'.
Goal:
Character must collect a hidden treasure within each book. Once all treasures are collected, they can obtain access to the room in which the 'Games Master' is held. However, each quest will differ depending on genre, with difficulties. Complete quests for others, fight enemies blocking your way, collect items and explore the universe of that genre and in doing so will reward you as the player, to get closer to the final goal...The 'Games master'
Objectives:
Defend yourself agaisnt powerful enemies that block your path to success. Collect items that can be used to heal, create or trade with other characters in the story. Survive in the world of that specific genre, adapt to your ever changing surroundings and explore, it is the ONLY way to obtain the hidden treasure within that book/genre. Once obtained ALL treasures in ALL different books, you will be able to progress to the final treasure.
Due to the lack of a back story within the actual Zork game, I decided to purchase the novel 'The Zork Chronicles' by George Alec Effinger. The reason for this is I wanted to grasp the visual world of Zork through a more detailed narrative of the story. Within the game itself, Zork is quite simple with it's description of characters, environments and emotions within the story progression. I gathered, reading a book based around the events of the Zork Universe, it would open doors for me in terms of understanding what it actually entails. Within doing this I will have more ideas on where I can 're-imagine' concepts. I strongly believe having a firm knowledge of Zork will improve my reinvented idea :)
What interested me the most with this book as that the story read through as you were experiencing the actual game play of the first Zork. However, it was from a different character's perspective and not your own, in fact although you read the book as you explored in the game, the events differed as if there had been significant time changes/developments between the book and the game itself. For example, characters would find the 'White House' and interact with the 'Mail box' and took part in all the explorations from the game, but it differed with aesthetics and other details. From playing the game myself it was quite interesting to see how the whole story felt different through reading it in more depth than playing it.
The story itself is about a character named 'Glorian' who goes on a mission with a prince 'Mirakles' to help him rescue his mother from the depths of evil. Glorian is a famous character who is skilled within shape shifting, his efforts however often go unnoticed within the Zork Universe. He is often assigned to do certain missions based on his shape shifting abilities. Within his quest with Mirakles, he often changes into other beings to benefit him and his comrades against certain complications. In the story you meet many new characters and foes that are very well described to a better degree than the game, you begin to react to the character's personalities through their dialogue, skills and attributes. I often found myself quite compelled by the way the story was being told from the glorious parts, to the devastating, it was a very well written book.
The most important element with the Zork book for me was that it was far better than the narrative in the game. Although that is quite a harsh statement, as evidently the game itself was quite primitive and a lot older, it had time to mature over the years and was able to captivate writers to re-imagine the story, to bring it more depth and coherence. For once the narrative and environments felt solidly connected, I felt like I was there understanding the true world of Zork, what it actually was and what sort of beings/realms existed. Without purchasing this book, I would not have been able to get such a great understanding and honestly feel I have a better knowledge of the game, and in that will give me a serious benefit over my re-imagination project.
Bibliography:
. The Zork Chronicles George Alec Effinger [accessed 6th October 2011]
Since Zork was released in 1977, it expanded into a huge franchise that was recognizable across the globe. Through it's popularity it evolved and grew with technology. From this success, Zork began producing more titles that started to include graphics, animation, colour and eventually appeared in 3D!
The focus on 3D:
Although Zork stilled played as a text adventure and now had the inclusion of 3D graphics, it still managed to create a stunning atmosphere. From these selected images below, you can see how each screen replicates different surroundings within the game. This gives the story more 'meat' and depth, which allows us as the player to finally see what the game tried to explain from the beginning. Places that are supposed to have an 'emotion' can now be portrayed within the imagery without heavy use of text. It is instantly easier to react to your surroundings as you progress through the game, as you can see what is happening around you. However, I still personally preferred the idea of having no graphics, so it was purely up to the gamer to imagine the fantasy world. There is more room for a player's imagination to run free, to experiment and enjoy a world they can create themselves.
I found a video that shows some game play footage of 'Return to Zork' it is interesting to see how sound, animation and graphics are used to tell the story. I also noticed how the text adventure, became more based as a point click type game. Lack of focus as text to write a command but more based on clicking at areas to move around the world. Although text is still used to explain parts of your surroundings. I also like how you can access an inventory of all the items you have collected.
Here is a screenshot from an earlier Zork without animations, but still used the point and click system with coloured graphics:
This style has been replicated in many games from past to present. Point and click based games are usually found within games like investigation games, puzzles and some adventures. Text is still used to connote story and game play, but with the inclusion of graphics invites the player to be able to physically explore there surroundings and have the freedom to interact with anything they see. Text based adventures restrict that exploration. Some examples of these games are:
. Professor Layton
. Monkey Island
. Disc World
. Broken Sword
All of these games have been incredibly successful within combining text based adventures with graphics. It produced a new genre of video game that is still incredibly popular today.
Zork also managed to make a various number of fictional books that were both ideally used to give the game an actual plot. Although I like the way Zork originally focused on inviting the player's to use their imagination and create their own story, it just seemed to be a little hollow without knowing anything about this fantasy world. All the creatures, environments, characters, items and treasures, it felt so odd that there was no explanation of the concept. However, after Zork's success, Infocom began publishing various books that explained the entire realm of the game.
Some books differ slightly with others, most obvious of course is the story but also the type of books they actually were. Some Zork books were actually written paper versions of the game, that also included back story. So instead of playing on a computer, you played through the book through similar mechanics of choice, but instead of 'cheating' your way through, the game play was determined with the use of a Die. The books that interest me the most are the ones that are based around events and back story that take place in the world of Zork. With that in mind, I decided to purchase a book myself to read through and figure out more about the game's story focus. I wanted to be able to understand more about the world from different perspectives than the traditional narrative from the 1970's game.
