Gamers also wanted to get the next bit of story out of them, wanted to do something new in their comfortingly recognizable worlds. ![]() And yet this was only a part of the reason people stayed loyal to them. As anyone who has observed the progress of those series will readily attest, their technology did advance dramatically over the years. ![]() Some of the most iconic names in 1980s and early 1990s gaming operated in this mode: Zork, Ultima, Wizardry, King’s Quest, Carmen Sandiego, Leisure Suit Larry, Wing Commander. Game sequels likewise promised their players a continuation of an existing story, or a new one that took place in a familiar setting with familiar characters. Like so much else during gaming’s formative years, fiction-driven sequels were built off the example of Hollywood, which had already discovered that no happily ever after need ever be permanent if there was more money to be made by getting the old gang of heroes back together and confronting them with some new threat. ![]() It seems to me that game sequels can be divided into two broad categories: the fiction-driven and the systems-driven. How do you make a sequel to a game that covers all of human history?Īt the risk of making a niche website still more niche, allow me to wax philosophical for a moment on the subject of those Roman numerals that have been appearing just after the names of so many digital games almost from the very beginning.
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