Of the sixty or so videogames I have developed, perhaps my favorite was the Heroes of Might & Magic series, thanks in large part to how well we development leads got along with each other. While we worked very hard, we also took the time to have fun with each other. For example, after I had returned from a week’s vacation with my family, my lead designer, Greg Fulton, had told me that they had added a new character to the Armageddon’s Blade expansion in my absence, and he wanted me to review and approve it.
The character the had named the character they added “Sir Mullich”, and the artwork was based on a photograph of me dressed in a Renaissance Fair costume that I had put on a few months earlier for a photograph used as reference for the town leaders in Might & Magic VI, a role-playing game set in the same fictional universe developed by our sister team at New World Computing. However, it was the character’s description that really got to me: Generally stoic, Sir Mullich is prone to spasmodic fits of uncoordinated excitement believed to intimidate his troops into working faster. As I read it, the rest of the team hovered about, waiting to see how I would react.
Fortunately for everyone, I laughed at their joke about my leadership skills (or lack thereof), but told them that they could keep the character (and its description) in the game. Little did I realize how long that character would live on. Not only did Sir Mullich appear in all of the Heroes of Might & Magic games that our team launched from 1999 to 2002, but the character lived on in the Heroes games that Ubisoft continued to develop after buying the franchise from our parent company, The 3DO Company.
“Sir Mullich” also lives on in the many Heroes sites that the series’ fans publish, and I was amazed that when I entered the name into Google for this article, it received 10,600 results. Even more unsettling, I occasionally receive fan mail from all around the world, sometimes with the fans posing with a picture of me. I may not be famous in America, but apparently I have a large enough following in Eastern Europe for my photo to have been hung up in a gamer’s lounge in Poland or there to be Russian fan art of Sir Mullich in DeviantArt.
What most tickles me is the artwork that is produced for this character, which seems to make Sir Mullich less spasmodic and more heroic with each iteration. Just this morning, my contact at Ubisoft, Julien Pirou sent me some fantastic artwork of Sir Mullich created for Might & Magic Era of Chaos, a mobile game released in China. It’s a far more heroic depiction of me than anyone in real life would think, and having created a game that has a worldwide appeal two decades later actually makes me feel more humbled than heroic.
An even stranger experience for me was meeting the real-life incarnation of a video game I had worked on. The protagonist of Dark Seed II, a horror-themed adventure game I had produced for game publisher Cyberdreams based on the artwork of H.R. Giger, was named Mike Dawson. This character was the same as the hero of the first game in the series, whose name and likeness was based on the original game’s programmer.
When I joined Cyberdreams in 1993, Mike Dawson had already left the company, but I did get to meet him twenty years when I joined The Los Angeles Film School, where he taught Game Programming courses. Far from being the tormented and tortured soul from the Dark Seed series, Mike is an impressively normal guy (albeit with a sly sense of humor), but one who is far more heroic than his video-game counterpart for being an absolutely outstanding teacher who just celebrated ten years at The Los Angeles Film School, where he consistently receives the highest praise from his programming students.
So, what’s it like to be someone who is far less heroic than his video game counterpart but having known someone who is actually far more than his? I’m good with that. I originally got into game development to use computers as a storytelling tool, and so I’m thrilled to entertain people with fictional stories that they continue with their own fan art and fan fiction. But even more importantly, it’s given me many opportunities to meet people like Mike Dawson who inspire me with their real-life stories.
Halloween has always been my favorite holiday, even more so than Christmas. As a child I loved dressing up in costume and going trick-or-treating. It wasn’t so much the collecting candy that I enjoyed but going out at night and visiting unfamiliar houses, which were made even more foreboding with cobwebs, skeletons, and graveyards on the lawn. It felt like I was doing something dangerous, and trick-or-treating was about as dangerous a think that this straight-and-narrow kid during his middle-class, suburban childhood.
Since I couldn’t walk amongst vampires, werewolves, and mummies every day, I developed an interest in the Universal Monster horror film franchise and watched the ghoulish adventures of Frankenstein, Dracula, and my favorite, the Wolf Man. I begged my mom to let me stay up past midnight on Saturday nights to watch a late night horror film show on a local television program, and that introduced me to zombies, demons and other supernatural creatures. Later on, as a teenager, I’d go to the movie theater with friends to watch films coming out of the new slasher horror film genre: Halloween, Friday the 13th, and A Nightmare On Elmstreet.
Of course, it wasn’t enough to be a member of the audience, I had to be an active participant in the horror genre. No, I didn’t become a serial killer, but I did buy myself a Ouija board for contacting the Other Side and tried to hold seances. When no one from the Other Side showed up, I built haunted house attractions in my garage and charged them a quarter to pull them on a wagon through scenes of bubbling cauldrons and simulated horror.
Eventually I moved on to college and discovered how a computer could be used for a storytelling medium. What a perfect way to tell a horror story, I thought! A computer was able to create an environment that was both immersive and surprising, yet do it in a way that was completely safe. What better way to lure in my unsuspecting victims?!
Unfortunately, fantasy and science fiction were the favored genres for video games, not horror. When I joined The Walt Disney Company as a game producer, I wanted to produce a video game based on my favorite Disneyland ride, The Haunted Mansion. However, it was a tough sell. Instead of recreating the “frightfully funny” experience of the ride, I wanted to explore ways to make a computer game actually frightening, just as I had experimented with my earlier game The Prisoner in making players feel trapped and manipulated. But Disney wasn’t willing to take such risks at that time — especially not with one of their more cherished attractions, and I was never able to get the project beyond the talking stage with developers.
I found a more receptive employer for my more macabre ideas when I joined Cyberdreams, a small game publisher specializing in game developed in collaboration with famous names from the science fiction, fantasy, and horror genres. One of my first projects was to produce a sequel to the award-winning horror game Dark Seed, based on the artwork of H.R. Giger. I put together a Dream Team of horror writers: Raymond Benson, who had designed Stephen King’s The Mist for MicroProse; Keith Herber, who had written scenarios for the H.P. Lovecraft horror RPG Call of Cthulhu (which I played quite extensively while I was at Disney) to write dialog; and horror novelist John Shirley to critique the story, which chronicled protagonist Mike Dawson’s descent into madness as he crosses from our normal world to the Giger-inspired Dark World. Alas, the game turned out to be less than the sum of its parts, and it received mediocre reviews.
Much more successful was another game that I produced at the same time, I Have No Mouth, And I Must Scream, based on Harlan Ellison’s classic short story about the last five people on Earth, kept alive and psychologically tortured by a malevolent, all-power computer. We embellish the short story by telling the backstory of each of the characters, each about such horrific topics as cannibalism, physical abuse, rape, and the Holocaust. This game was a mishmash of science fiction, fantasy, and horror genres, but it all came together somehow and went on to win many awards.
I thought I would have similar luck when we signed a deal with Wes Craven, director of A Nightmare on Elm Street, Scream, and other horror films. He provided us with a scenario about a house that came alive, but being a very busy person, allowed us to take the concept from there. I got as far as producing a prototype of the game to show at the 1997 Game Developers Conference, but even though it won About Games magazine’s Bronze Medal for Interactive Fiction, Craven’s agent was not impressed and she cancelled the project.
My greatest success in the horror genre came when I joined Activision, and I was assigned to produce the in-progress development of Vampire: The Masquerade – Bloodlines. The developer, Troika Games, was behind schedule since they were using Valve’s Source Engine, which was still in development. I managed to get the game on track, but it was so overdue that we run out of funding when it still needed a couple more weeks of polishing. Fortunately, the fans took over with mods to fix some of the problems after it was launched, and the horror game has since been recognized as one of the best computer RPG’s of all time.
Still, I haven’t felt I had a chance to fully experiment with how to best design a game to create a frightening experience, as all of the games I produced relied more on a horrifying premise for telling their story. Perhaps some day I’ll be given a chance to develop game mechanics that create the sensation of fear. After all, the night is still young.