Graham Nelson Quotations

If you're setting a game during the Cuban Missile Crisis, look through a library. find out what people were wearing, what other issues were in the news, how houses were furnished, what cars were being driven. Especially include things which now seem foreign.

I don't really believe in 'directions' in art; the rope twists as you follow it, that's all.

Players very widely disagree with me about what's hard and what's easy. and in a way, 'I won, but it was a fight' is the best compliment a game can receive.

At the end of April I archived 'Curses' and Inform, and announced them on the newsgroups.

A deliberate choice on my part was for the player to continue to find new possibilities in the early Attic rooms far into the game. I think this builds atmosphere, though it means there's no neat division of the prologue from the middle game.

The most frequent complaint is that it's hard. True. it's a hard game to win Also, many people ask me how to use the secret debugging commands, apparently under the impression that I'll tell them.

The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.

This means keeping many trails open at once, inevitably requiring a fairly 'parallel' plot. This plot should be discovered rather than announced, so show, don't tell.

Writing a really general parser is a major but different undertaking, by far the hardest points being sensitivity to context and resolution of ambiguity.

For a fortnight nobody at all emailed me, or posted a follow-up. Doesn't anyone care, I thought? It turned out my newsreader was broken, and hadn't posted at all.

Then in my early teens, when the home computer bubble was blowing, I had one of the first, an Acorn Atom, and used to write primitive adventures on that.

I try to make puzzles range all the way from easy to hard, and to leave many open at once.

By the new year of 1994, it had grown up into Inform 4 and could produce games twice as large.

I'm rather pleased with the new manuals. I see Inform now as a gauche young adult, having got past the stage of growing out of his shoes every few months.

The 'interactive fiction' format hasn't changed in any fundamental way since the early 1970s, in the same way that the format of the novel hasn't since 1700.

Eventually I found it had been working all along-but didn't show anything on screen until it had the first full page of text. I inserted 30 new lines, and suddenly my toy said 'hEllO woRlD'. An hour later I understood alphabet shifting rather better!

I like to employ a form of repetition, in which the same elements recur but in different and unexpected ways. rather than being discarded as soon as they are understood or passed over.

If pushed, though, I'd say that the next stage will be reached when it it's no longer true that about 75% of the best games were written in 1980's on the way to that.

What I would pay much more attention to are the few points where the player can inadvertently make a career decision. Most players end up back-tracking, though some actually enjoy this.

I have been working on a more serious game, called 'Jigsaw', for about 18 months, but don't hold your breath. it'll be a while arriving.

Remember that 'Curses', being free, is circulated much more widely than shareware games, so it gets more than its fair share of attention.

With 'Curses,' I had a rough design in mind already, and in about a fortnight had the attics, the Unreal City and the garden fleshed out.

The single biggest is to stop the player from getting stuck and getting bored; always think like the player as well as the designer.

It's frequently over-praised now, and I've enjoyed watching a generation of 'angry young men' critics beginning to say, well what's so good?

Once the announcements were actually heard, there was a slow but gathering response. by the end of the first year, an avalanche.