Wasteland Digital Antiquarian Retrospective
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Jimmy Maher, known by most CRPG aficionados as the Digital Antiquarian for his invaluable work on the history of digital entertainment, has written a lengthy retrospective article on the original Wasteland, a post-apocalyptic turn-based RPG developed by Interplay and published by Electronic Arts.
As per usual, Maher analyzes the game from a historical perspective while also offering an insight into how it plays, and he caps it off by offering a few personal opinions on the title. Wasteland's troubled development, the differences in design philosophy compared to other titles of the era, its commercial results at the time, and its legacy are all mentioned inside the piece.
I've quoted a few excerpts that I think paint an interesting picture:
Stackpole:
Programmers design beautiful programs, programs that work easily and simply; game designers design games that are fun to play. If a programmer has to make a choice between an elegant program and a fun game element, you'll have an elegant program. You need a game designer there to say, (Forget how elegant the program is we want this to make sense, we want it to be fun.)
I was at a symposium where there were about a dozen people. When asked to tell what we were doing, what I kept hearing over and over from programmer/game designers was something like (I've got this neat routine for packing graphics, so I'm going to do a fantasy role-playing game where I can use this routine.) Or a routine for something else, or (I've got a neat disk sort,) or this or that. And all of them were putting these into fantasy role-playing games. Not to denigrate their skills as programmers but that's sort of like saying, (Gee, I know something about petrochemicals, therefore I'm going to design a car that will run my gasoline.) Well, if you're not a mechanical engineer, you don't design cars. You can be the greatest chemist in the world, but you've got no business designing a car. I'd like to hope that Wasteland establishes that if you want a game, get game designers to work with programmers.
This vision, cutting as it does so much against the way that games were commonly made in the mid-1980s, would have much to do with both where the eventual finished Wasteland succeeds and where it falls down.
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Wasteland is one of the few computer games in history in which those who worked on the softer arts of writing and design outnumbered those who wrote the code and drew the pictures. The ratio isn't even close: the Wasteland team included exactly one programmer (Pavlish) and one artist (Todd J. Camasta) to go with ten people who only contributed to the writing and design. One overlooked figure in the design process, who goes wholly uncredited in the game's manual, was Joe Ybarra, Interplay's liaison with their publisher Electronic Arts. As he did with so many other classic games, Ybarra offered tactful advice and generally did his gentle best to keep the game on course, even going so far as to fly out to Arizona to meet personally with St. Andre and Stackpole.
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The skills system makes Wasteland a very different gameplay experience from Ultima V, its only real rival in terms of 8-bit CRPG sophistication at the time of its release. For all its impressive world-building, Ultima V remains bound to Richard Garriott's standard breadcrumb-trail philosophy of design; beating it depends on ferreting out a long string of clues telling you exactly where to go and exactly what to do. Wasteland, by contrast, can be beaten many ways. If you can't find the password the guard wants to let you past that locked gate, you can try an entirely different approach: shoot your way in, blow the gate open, pick the lock on the back door and sneak in. It's perhaps the first CRPG ever that's really willing to let you develop your own playing personality. You can approach it as essentially a post-apocalyptic Bard's Tale, making a frontal assault on every map and trying to blow away every living creature you find there, without concerning yourself overmuch about whether it be good or evil, friend or foe. Or you can play it relatively speaking cerebrally, trying to use negotiations, stealth, and perhaps a little swindling to get what you need. Or you can be like most players and do a bit of both, as the mood and opportunity strikes you. It's very difficult if not impossible to get yourself irretrievably stuck in Wasteland. There are always options, always possibilities. While it's far less thematically ambitious than Ultima V unlike the Ultima games, Wasteland was never intended to be anything more or less than pure escapist entertainment Wasteland'˜s more flexible, player-friendly design pointed the way forward while Ultima V was still glancing back.
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Other parts of Wasteland feel like equally heroic but perhaps misguided attempts to translate things that are simple and intuitive on the tabletop but extremely difficult on the computer to the digital realm at all costs, full speed ahead and damn the torpedoes. There is, for instance, a convoluted and confusing process for splitting your party into separate groups that can be on entirely separate maps at the same time. It's impressive in its way, and gives Wasteland claim to yet another first in CRPG history to boot, but one has to question whether the time and effort put into it might have been better spent making a cleaner, more playable computer game. Ditto the parser-based conversation engine engine that occasionally pops up. An obvious attempt to bring the sort of free-form conversations that are possible with a human referee to the computer, in practice it's just a tedious game of guess-the-word that makes it far too easy to miss stuff. While I applaud the effort St. Andre and Stackpole and their colleagues at Interplay made to bring more complexity to the CRPG, the fact remains that computer games are not tabletop games, and vice versa.
