![]() And it seemed to me that what the kind of games that Charles does is telling stories as well, not an interactive story, but telling a story through a series of challenges and puzzles for the player to get through, to find out how the story progressed.Īnd so I’ve always liked the thing you have to do in comics, where you pare down the illustrations and pare down the dialogue to the most effective minimum. So I always really prized that about comics, that they were very accessible way of telling stories. It’s the marriage of words and pictures, the tools that you need to do it are minimal, it’s paper and pencils, really. GC: Was the original game intended to be a kind of interactive comic book? I never thought of it in that way at the time, even with Dave involved, but I suppose it was.ĭG: What I’ve always been interested in is stories and the comic book medium is a great medium – very cheap, very accessible medium – for telling stories. And as it turned out we were unable to do that but that’s where the relationship, and I would like to say friendship, first started. And really realising that the whole of culture was being changed by these seminal works and it was on that basis… I actually got hold of Dave in about 1989, both as someone admiring his work enormously but also with a view to trying to secure a license to do a video game of Watchmen. One was Akira, and just being blown away watching it, and then reading Watchmen, which, again, was incredible. So although I suppose in one way it was work for hire it was a hugely enjoyable experience and as much fun as I’ve ever had doing comics.ĬC: Bless you! From my perspective, I’ve always loved Tintin and two things really struck me at the end of the eighties. And they were a really nice bunch of guys, me and Charles seemed to hit it off from the start. ![]() And having met Charles and his team, I could see that the name of the game was collaboration, which is what I’ve always liked. So when Charles approached me, I thought ‘Hey, this would be a really interesting thing to get into’. So I was very familiar with games in a passive way, and I could see that there was a lot of excitement and a lot of creativity. And it would be like Christmas for my son and he played him. And because lots of people who like games like comics I made contacts with the games industry and I used to go out and see the editorial of The One magazine and they would give me a big sack full of games that they reviewed and I’d bring those home. So I used to… he immediately grasped how to play computer games, how to pretend he was flying a Harrier Jump Jet when all I could see was an ‘L’ shape of pixels. I was going to do the household accounts or something, but my son, who was born in 1979, was just the right age to play games on it in the days when you had to load from a cassette. And I remember I bought an Amstrad computer with no clear idea of what I was going to use it for. DG: From quite an early stage, it was clear to me that computers were the future.
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