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Jeremy LaMar is perhaps best known under the handle SnigWich, for his Megazeux games such as Bernard the Bard – often ranked amongst the best games ever produced under Gregory Janson’s engine. More recently, under his new name Otto Germain, he has returned to his roots as a cartoonist. Before any of that, he was renowned for his RSD Game-Maker work – and he never even knew it.

At some point two of LaMar’s early Game-Maker games, The Return of Blinky and Blinky 3, made their way to a section of America Online known as AOL Kids. There, they gained a small yet fervent cult following. In the following years, a Blinky wiki and fanfics and video tributes would spring up around the Web. Even years after the AOL Kids area vanished, LaMar’s fans kept up the devotion. At least one poster to a DOS games forum claimed that the Blinky games inspired him to pursue game design.

When you consider the obscurity of most Game-Maker games, indeed of Game-Maker itself, this level of enthusiasm is remarkable. To be sure, LaMar’s games are amongst the most polished produced with RSD’s tools, both in terms of the design sensibility and in their mastery of the materials available to them. One does wonder, though, how much circumstance and exposure play in a game’s fortunes. One also wonders what other small communities might even now be obsessing over even less likely games, and to what extent those players might be inspired to greater things.

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There were three main ways that Game-Maker users communicated. Either they knew each other in person, which was nothing unusual but could lead to larger and more nuanced projects than an individual could tackle, they communicated through the post, which was slow but both mysterious and intimate, or there were the BBSes.

Before the Web caught on (or even existed), the big deal was local dial-up boards. Most of them were text-based, and most were fairly slow. You would connect, check your personal messages, see if anyone had posted any new discussion topics or responses, perhaps fiddle with a multiplayer door game or two — and then you would head to the file area.

Most boards had a ratio: you can download so many bytes for so many bytes you upload. A bad ratio was close to 1:1. Somewhere between a 2:1 and 4:1 ratio, the file area would come to life. Users would be just motivated enough to keep sharing material, yet wouldn’t feel pressed to dump just any junk on the community. This is the environment where shareware thrived; when the Web took over, the whole shareware model went into whack.

If you found the right board, BBSes were also the perfect environment to share and discuss Game-Maker games. Mark Janelle ran the Frontline BBS with RSD’s semi-official blessing. Other users ran their own boards or carved out corners of existing communities.

A problem with BBSes was their dial-up nature. Unless the board was very local, you were in immediate danger of old-school long distance phone charges. If the board was in the same state but not in the same county, you were particularly screwed. So despite Janelle’s and RSD’s efforts there was never a unified Game-Maker community. Rather, the community consisted of countless islands of independent development, that would occasionally cross paths and trade ideas.

Although it was located in the middle of nowhere — specifically Kennebunkport, Maine — which must have made a daunting long-distance charge for most users, the Frontline BBS was the most prominent place for these paths to cross. That makes sense; it was the only board referenced in the Game-Maker box. The board therefore carried some valuable artifacts of shared Game-Maker culture. Whether or not those artifacts are in themselves excellent is sort of beyond the point. What’s important is that they are formative and sort of iconic to the Game-Maker experience.

These four games, by two authors, are amongst the first Game-Maker games that many users will have played, aside from RSD’s demo games and those users’ own creations. Unfortunately not all of them still exist in precisely their original form, but one takes what one can get.

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We have previously discussed Sherwood Forest Software. They’re an outfit of two Pennsylvanians, Rob Sherwood and Dan Whalen, who latched onto Game-Maker early, pumped out game after game without ever really learning the tools or apparently play testing the results of their efforts, and then quickly vanished.

What is curious about Sherwood’s games is that often the concepts are, if not brilliant, unusual and full of potential. As they went on, some of their sprite and background design was even rather charismatic. Yet their actual design is bewilderingly slapdash, to the point where there’s a certain fascination, perhaps even an education, to poring over their catalog.

There is evidence of at least 11 games by the duo, most of which were released within about six months in 1992. The latest games seemed to trickle out somewhere in 1994. Previously we breezed over four of them: Big Bob’s Drive-In, Shootout at Dodge, Rocket Fighter, and Robo Wars. Thanks to some of the methods outlined in a subsequent chapter, we now have three more games to discuss, this time in a little more detail.

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Bergervoet is a Dutch fellow who goes under the developer name Multigames. In 1998, probably about two or three years after RSD pulled support for Game-Maker, he found the software and threw together a few games. For his inspiration… it’s not that he just lifted sample material and called it his own; he drew all his own sprites and tiles, and I think recorded most of his own sound effects. And unlike Felix Leung it’s not that he directly quoted popular references and based a game around them. Strictly speaking, everything in his games is original. It’s more that his games are strongly inspired by other, existing games.

There’s nothing unusual about that, of course. Without Mario Bros. we wouldn’t have Bubble Bobble. Without Bust-A-Move/Puzzle Bobble, we might not have a casual game industry. What’s unusual is that all his games are based on, well…

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Previously we discussed Felix Leung, who did a pretty good job of co-opting familiar properties and filtering them through his own fairly advanced understanding of Game-Maker to create original, often bizarre, conglomerations. You could say that he crossed the line in places, and then danced back over it, and then tied the line into a sheepshank, but it’s easy to understand his method and reasons. This next fellow is a bit more brazen, and therefore a bit more puzzling.

In 1994, a fellow from Vallejo known variously as C.H. and Viper decided to grab everything in sight and call it his own — but then, at the last minute, to give it just enough of a bewildering spin to make it memorable. His first port of call, understandably enough, is Gregory Stone’s Nebula.

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I’m not saying that everything has to be original. We’ve gone over this before; some of the best ideas in history began by ripping someone else off and then veering off in an original direction. One of the best ways for a budding artist to learn form and space is to trace everything in sight. That’s the way that we think; we take what’s in front of us, and we bend it and shape it until it suits our needs. The best of us just do a very good job of hiding our influences — and then if someone spots them, we call them influences.

These guys… they weren’t so good at hiding it. Over the next three columns I’m going to go into some of the stranger creative blanks in the Game-Maker community. What can be confusing is the amount of genuine talent at work — or, having grabbed and run, the bizarre directions they took their borrowed source material. One of these artists pushed Game-Maker in a way that few others did. Another chose the strangest route of influence, but at least made all his own material. The other guy just didn’t care what people thought. Most of these games I find inexplicable, one way or another.

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