[..] [G]ames are the aesthetic form of everyday objects. Of ordinary life. Take a ball and a field: you get soccer. Take property-based wealth and the Depression: you get Monopoly. Take patterns of four contiguous squares and gravity: you get Tetris. Take ray tracing and reverse it to track projectiles: you get Doom. Games show players the unseen uses of ordinary materials.
[…] The true accomplishment of What Remains of Edith Finch is that it invites players to abandon the dream of interactive storytelling at last. […] To dream of the Holodeck is just to dream a complicated dream of the novel. If there is a future of games, let alone a future in which they discover their potential as a defining medium of an era, it will be one in which games abandon the dream of becoming narrative media and pursue the one they are already so good at: taking the tidy, ordinary world apart and putting it back together again in surprising, ghastly new ways.
Video game archaeology perhaps is the first example of a new New Archaeology, one that is post-material and post-human, one that not only intersects past and present, but that also uses the screen as the sole method of accessing new archaeological spaces. These spaces are made by people (or by machine) for other people to use, and are invested with creativity and examples of material culture. They are kinetic and also kinesthetic. They contain their own space-time. Each game is its own discrete entity, its own site. At the same time, each game exists in multiple, identical copies, circumventing the problem of the “unrepeatable experiment” of total excavation. They pose both classic and new questions to the archaeologist who operates in both the real and the virtual simultaneously using very real archaeological craft.
The graphics were simple and borderline abstract, but they were also an experience unlike anything most households had ever seen. The box art was meant to coalesce that excitement into something tangible. A static screenshot from the game couldn’t possibly relate how dynamic the experience was to a neophyte audience. The impressionistic nature of the 2600’s graphics also allowed for ample interpretation of what that experience would resemble.
A early mock-up of the Maniac Mansion UI, which would influence many later Lucasfilm adventure games.
A map of the mansion, interestingly the limited disk space of 320k played a big role in the mansion size and layout.
Done with the Unreal Engine. UE4 Archviz / Lighting – YouTube