game-maker

The Game-Maker Archive: The Brussels Spout (Book 1)

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I had known for a while of Sylvain “Pypein” Martin’s blog. It muses in depth on Game-Maker’s file formats, and tracks a project to port one or more Game-Maker games to the Nintendo DS. My problem was that the site is mostly in French, and seems to presuppose some understanding of its topics. I bookmarked the site and filed it away, and turned to more immediate problems. It turns out that all this time I had been overlooking a cornucopia of Game-Maker games and utilities.

Martin, his brother Pierre, and associate Pierrick Hansen form the core of a mid-’90s Belgian demogroup called PPP Team. Later on they would release some tracker music and projects coded in assembler. It seems, though, that they got their start with RSD’s Game-Maker.

I’m not sure how many games they worked on; many are unfinished, and some appear lost to time and computer failure. Depending on how you count, maybe 17 or 18 games still survive in some form. The games touch several genres, but mostly focus on and toy with the side-scrolling platformer mold. They include a few long-running or frequently referenced series, several one-off games, and a fair number of tributes or pastiches.

Though the earliest games freely borrow sprites and backgrounds from existing sources, the group soon graduates to completely original elements. Even within a series the sprites are rarely duplicated from one game to the next. By the time they start to import graphics from Deluxe Paint, PPP Team seems to have total control over its resource pipeline.

At this point it’s the areas without that control — for instance the music — which glare the most.

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Old Chests, Forgotten Maps, and the Frozen North—Author Joshua E. Turcotte discusses Orb: The Derelict Planet

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If you’ve been following our Game-Maker Archive series, you may recall a swell little Metroid-style adventure called Orb: The Derelict Planet. Thrown into an alien environment, you wander vast caverns, collect upgrades, and traverse hidden passages to deactivate an ancient, killer computer. As one of the better Game-Maker games, Orb has always been a mystery. It seemed to have been developed in a vacuum, and with an unusual amount of planning. It then appeared out of nowhere on the Game-Maker 3.0 CD-ROM, the only known game by its author. After a bit of detective work we managed to track down that author, the writer and illustrator Joshua Eric Turcotte.

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The Game-Maker Archive—Part 16: Trees in the Forest

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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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The Game-Maker Archive—Part 15c: The Easiest Lifting, Act III

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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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The Game-Maker Archive—Part 15b: The Easiest Lifting, Act II

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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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The Game-Maker Archive—Part 15a: The Easiest Lifting

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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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The Game-Maker Archive—Part 14: Laser Light

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by [redacted]

My association with Recreational Software Designs started early, maybe around the time of my first game. I don’t remember the circumstances. Maybe I wrote in with some suggestions. Maybe I was trying to show off my work. Whatever my motivation, I was fourteen and unhampered with caution or tact. I mailed a letter and maybe a 3.5” diskette, and then forgot about it. Weeks later, the phone rang. Against my normal habits, I picked up. The voice, which asked for me by name, sounded uncannily like one of my friends. Being fourteen and tactless, I told the voice that it was an idiot. The voice was confused. I unleashed more rudeness. The exchange continued until the voice identified itself as the president of RSD, a certain Oliver Stone. Tickled with the oddness of the situation, I laughed for a minute or more.

I’m not sure why he stayed on the phone, or indeed continued contact with me. Eventually we developed a rapport. He would mail me pre-release versions of new Game-Maker updates; I would scour them for bugs and inconsistencies. I would mail in my newest creations; he would introduce me to other Game-Maker users and show me their work. This went on for a few years.

For the 3.0 release of Game-Maker, RSD chose to transition from floppies to CD-ROM. In 1995, this was a big step. It was like having a book or an album published. Within a year AOL mailers and demo discs would render the CD common; in 1995, it was still a magical endless data well. So RSD now had a whole CD to fill, and to justify the leap they needed to fill it.

I was prolific, and able to hide my ineptitude behind polish and an intimate understanding of the game engine, so evidently I was just what RSD needed. They contracted me to design six games, and to sign over another two. My rudeness persisted; when asked to contribute, my first impulse was to toss them a couple of my least favorite games. It was only with later discussion that I twigged their desire for new, flashy, and instructive content. With that goal in mind, a certain inspiration struck me. I progressed at about a game a week. Some of the games served to demonstrate certain design concepts; others spun themselves out of a whim.

At reader request, here are those six games, in the rough order of development. I’ll hold off on the overt criticism, and instead try my best to explain what was going through my head. We’ll just see if a sensible train of thought develops.

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The Game-Maker Archive—Part 13: The World Wide Haystack

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by [name redacted]

Over time Recreational Software Designs’ Game-Maker may have become obscure, but in its time it was both progressive and widespread. From a small family business in New Hampshire, the software traveled to Russia, to South America, to Singapore, to Australia. It sometimes seemed that every other game was from a new country. This was before the Web, when consumer software spread through magazine advertisements and shareware spread through bulletin boards, so people had to spend some real effort to seek out the software and trade its games.

Then attention shifted to the Web, and those BBS archives started to gather dust. It’s kind of like moving to a new computer; you transfer the most relevant files, then leave everything else sitting around on your old hard drive. Maybe, months or years down the line, you will remember an old file or application and dig it up again. Mostly, you forget. Somehow, despite its pervasiveness in the BBS scene, Game-Maker never quite made that transition.

And yet because of that pervasiveness, you can find echoes of Game-Maker everywhere if you know how and where to look. The Web contains huge unfiltered archives of content gathered from bulletin boards, dumped either directly from those boards or from late-’90s software bundle CDs. Abandonware and DOS software archives, in languages from Russian to Esperanto, are dotted with Game-Maker games. You just need the right search keys.

Obviously it helps to know a game or publisher name. Failing that, you can recognize the Game-Maker file structure at a glance. Every game consists of an unusually large collection of raw data files — some combination of .PAL, .BBL, .CBL, .MBL, .CHR, .MON, .MAP, .SND, .GAM, .VOC, .CMF, .GIF, and .TXT files, with a handful of others. Furthermore, nearly every Game-Maker game contains a few common files: SNDBLAST.DRV, CONFIG.DAT, CONFIG.BAT, CONFIG.HLP, GMHELP.TXT. A few other files pop up frequently enough: GMTITLE.GIF, GMTITLE.CMF, GMSONG1.CMF.

Not every game you find will be a winner, but if you keep poking around you will find a few weird gems. Like, for instance…

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The Game-Maker Archive—Part 12: Cut-and-Paste Opportunism

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by [redacted]

For its time, Recreational Software Designs’ Game-Maker offered users the world over to put practice to their game design ambitions, within certain strict limitations. Mostly this ambition took on an informal shape. Users connected with each other through bulletin boards and shared ideas and resources. They explored how to subvert the engine’s limitations, and how to adapt their own wild ideas to practical realities. A few users, like Mark A. Janelle, took the business implications of shareware very seriously, while still contributing to the overall Game-Maker culture. Other users kind of took the engine and ran.

Instead of seeing Game-Maker an opportunity to explore game design and to make social connections without any of the usual hurdles, they saw it as an opportunity to turn around a quick profit with a minimum of investment. Although I admire a certain ambition, I’m not sure if Game-Maker was really the best tool for the job.

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The Game-Maker Archive—Part 11: Mark A. Janelle

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by [redacted]

Although he only produced one game of which I have empirical evidence, Mark A. Janelle is one of the more significant figures in the Game-Maker story. A very serious fellow, Janelle was one of RSD’s first customers to make a shot at a professional exploitation of the Game-Maker software. He also managed the dial-up Night Owl BBS, which served as the semi-official Game-Maker community hub. Every copy of Game-Maker included a leaflet for the BBS.

After some recent discussions, I seem to recall some widespread connection issues. Either the BBS was only up during evening hours (as the name would suggest) or the number on the leaflet was incorrect. Either way, many people had trouble logging in. When one did log in, the place was a bit stiff and, again, serious. And being hosted in Kennebunkport, Maine, it was a hefty long-distance charge for almost anyone — even those who lived in-state, as I did. Still, it was a good place to make connections and branch off to other sub-communities and smaller BBSes.

My memory is a bit hazy; I think the Night Owl BBS may have changed names, or the Game-Maker section may have moved over to other boards. On that list of 1990s Maine BBSes, I recognize a couple of other boards associated with Janelle’s name.
As important as his BBS was to the Game-Maker culture, what even more people probably recognize is his game.

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The Game-Maker Archive – Part 10: The Integrator

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by [name redacted]

One thing that Game-Maker serves to underline is the sheer talent that goes into game design. Especially by 1995 standards, Game-Maker makes it simple to whip up some graphics and sound resources, click a few flags, slap them together, and call it a game. Depending on your tools and the time you invest, you can get your game looking rather snazzy. Depending on the thoroughness with which you read the manual and study the program’s quirks, you can pull some clever tricks with Game-Maker’s engine. Yet a videogame is more than a bunch of sprites and levels and samples.

As Game-Maker’s own structure suggests, to a large extent a game’s content is just window dressing for the main executable to call up and sell itself to its audience. Unless there’s something more fundamental to justify and connect that information, it’s all just data. Facts. It doesn’t have a perspective; it make an argument. It doesn’t communicate a coherent idea.

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The Game-Maker Archive: Easy Lifting

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by [redacted]

Indie game design being what it is, especially for younger developers the impulse to kife elements from your favorite games is almost irresistible. Witness Duke Nukem (icon of the shareware movement), which not only copied its catch phrases from Bruce Campbell movies; the 2D entries blatantly ripped art resources from Turrican and other Amiga games. Depending on your philosophy, you might call this reappropriation lazy, criminal, postmodern, or pragmatic. Frankly, theft is a fact of the creative process. The creative aspect depends on how far you take the theft, how well you reinterpret the material you’ve stolen, and how well you cover your tracks.

Game-Maker being set up the way it was, a certain amount of reappropriation was almost encouraged — particularly of RSD’s own sample games. Some of the results were more blatant than others. The male and female characters or the background tiles found their way into practically everyone’s games at some point or another. I had a few original sprites and tiles lifted, myself. Generally all it took was an e-mail to the derivative author, and I would get a credit and a virtual handshake. It was a pretty loose culture.

And of course that loose-fingered approach had little real effect on the quality of a game. Granted, the more borrowed elements generally the lower the bar. Still, it’s interesting to see what can grow from someone else’s seeds.

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The Game-Maker Archive: Sheldon Chase and the Woman Warrior

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by [redacted]

Toward the end of Recreational Software Designs’ support of its Game-Maker development suite, Sheldon Chase became a kind of pervasive presence. Somewhere around 1995 or early ‘96, he hit on the notion of digitizing Eadweard Muybridge’s early motion photography for use as character sprites — sort of a retro Mortal Kombat effect, if you will. The result was a few drafts of a silvery, jittery nude model. After a bit of anti-aliasing and some animation tweaks, and finally some wardrobe assistance, he presented to RSD a stock female character for inclusion in future software updates.

Much as RSD’s Sample hero formed the template for uncounted male protagonists, Chase’s Muybridge lady became the starting place for legions of (often lurid) sprite edits. If for that reason alone Chase’s input would be notable. Yet his Woman Warrior games also exemplified several unusual and advanced techniques, as well as a curious borrowed aesthetic that sticks in the mind.

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The Game-Maker Archive: Mark Hadley

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by [redacted]

I’m always impressed when an artist takes some kind of a stance with his work — be it technical or political or social or personal. Well, let me buffer that. I’m impressed when an artist has something to say, and choses to use his chosen medium to explore that idea rather than just get caught up in the trappings of the medium for its own sake. If you give me, for instance, a really excellent, polished shooter that plays like a remix of four other games I’ve already played, then okay — that’s some decent craft there, but to what end? It’s not saying anything. Then if you give me something simple and awkward, that tries its hardest to translate something unrelated into the language of the medium — say, the artist’s obsession with physics or an overactive curiosity about the man who sells hot dogs down the street, then I feel like I may get something out of the work. Maybe not a whole new perspective on life, but maybe a few angles I hadn’t noticed before.

I don’t mean to big up Mark Hadley’s games too much, but I find it curious that his games try to have a sort of a point to them beyond simply being another videogame. Given the limitations of the software, whether they succeed is almost beyond the point. The effort is what counts.

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The Game-Maker Archive: Mike Perrucci

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by [redacted]

Most of the Game-Maker material I know, I’ve known about since high school. When the program was new, there was a thriving development community. When RSD stopped supporting Game-Maker, interest dwindled, the community dissipated, and it became difficult to find any mention of the program. Occasionally, though, I run into a developer who missed the wider loop and just kept on developing in private. The most productive of these isolated cases is also one of the more talented Game-Maker artists of all, Mike “Mazeguy” Perrucci.

Although Perrucci’s two finished games are an apparently simple overhead-view game and its sequel, there’s much more going on than you catch at a glance. For one, the guy never repeats himself. Never mind between games; within each game, no two levels are remotely similar. Typically each stage can boast not just distinct backgrounds and enemies but different mechanics and often a slightly different character sprite, with different animations and abilities to suit the level’s theme.

Where these games really excel are in their creative use of background animations and monster birthing — two of the most powerful, yet least exploited, Game-Maker traits. Between the two, there’s almost no end of effects that you can fake — as aptly demonstrated in Perrucci’s second game.

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