Interviews

It all started with an email:

“Hi Alex. I've just released a new freeware game, called The Museum of Broken Memories. Just thought you might like to know that you're on the "special thanks" list in the readme (which currently only appears once, after the installation...sort of forgot to make it accessible after that, silly me). The reason for this should be obvious-you have been one of the few people to actively support my games by taking them seriously and writing about them. Thank you. Greetings, Jonas”.

I was honored to get this email and intrigued because I had not heard about Jonas' new game. I downloaded it straight away and later had the opportunity to review it. That review is here.

So, I replied:

“Randy has just assigned me to review your game. I will probably be in touch as I flounder through your puzzles! Perhaps we could do another interview as well? Let me know what you'd be up for. Regards, Alex”.

Jonas' humor is always apparent in his replies:

“Basically I'm up for anything, as long as it doesn't involve peanut butter and broccoli. No, never again will I do that...never! Seriously though, I'm available for just about anything, including an interview. If you have any questions about the game (both about the puzzles and the general content), feel free to ask. I'm a notorious talker, anyway. Cheers, Jonas”.

So, without further ado, here we go...

How goes the game creation business?

Surprisingly well. Oftentimes it's quite a struggle, but right now my projects are in full swing. Still missing a lot of resources, as always, but my next game (part one of The Last Stand, a post-apocalyptic Lovecraftian epic) will definitely be out in the next weeks. We're working our donkeys off, as they say (or would, if they had my sense of humor).

How would you describe Museum of Broken Memories?

With great difficulty. I think precisely the fact that it is the type of story that can only be told through interactive art makes it very difficult to describe. I could say it's about a museum, but obviously that would not be true, since the museum is a rather complex image/idea/metaphor/whatever and can be interpreted in so many ways. I could say it's about war and its aftereffects, but that would still be missing half the point. On a more abstract level, I could try to describe it as some kind of Myst-like adventure game; but that, too, would be unfair. In a way that's a positive sign, but it also makes it difficult to tell people about the game.

What inspired you to make Museum of Broken Memories?

This question is probably impossible to answer. The process by which ideas are created is elusive in the extreme. Certainly the current state of the world-the so-called Western World quickly spiraling towards authoritarianism and imperialism while the rest of the planet is going mad with poverty and terror-was a major factor. Thoughts about past wars were, of course, also on my mind. On a more personal level, the way our wounds and our fears imprison us, and the way we can turn pain into creative energy-that was something I thought about a lot. And, as always, the writings of William Blake were a major influence, as was the poetry of T.S. Eliot and W.B. Yeats.

Why offer the game as freeware?

There's a number of reasons. First of all, I really love the idea of free games. In an ideal society, all art would be free-as I see it, the idea of profit only muddles the artist's brain. Second, I have no desire to make games that are padded. I make games at the length that is required to get the story across in the most fitting way. Thus, for example, Last Rose in a Desert Garden is very short. The Museum of Broken Memories is much longer, certainly by indie standards, but still not gigantic. And that's fine with me, it's how they should be, but I would never actually make people pay for something that is only a few hours long. Finally, freeware gives you artistic freedom-since nobody's paying for what you create, you don't have to please anyone in terms of length, style, or sheer weirdness. If we didn't live in a capitalist system, it would be the perfect way of creating art.

Does this link in with your previous adventures?

Thematically, it certainly does. As several people have observed, I seem to be writing a lot about war. It's certainly not my only theme, but it is a major one. Story-wise, the game is related to my text adventure The Great Machine, since both are part of a larger artistic construct still in the making, called The Urizen Chronicles.

You scrapped the previous inventory and "log-reading to discover codes" based puzzles in favor of a point-and-click find-the-hotspot type game. What prompted this decision?

I approach each game according to what its story requires. Those types of puzzles made sense for The Infinite Ocean and Last Rose in a Desert Garden, but for The Museum of Broken Memories I strongly felt that a more minimalistic approach was needed. It's a matter of where you put the emphasis. The puzzle in Museum of Broken Memories is the story itself. A puzzle that may or may not have a solution.

What makes your adventure games different?

Hmmm. I think I have a different approach to games than most designers-more alike to what you often find in the world of Interactive Fiction (a.k.a. text adventures). I think of games as "Interactive Art"-which is not to say that I don't think they should or could be fun. I just believe that the interactive medium is a form of art, and that it allows for many types of stories and experiences to be transmitted in unique ways. Some funny, some serious, some both. I am trying to explore this medium and to use it to tell the stories I want to tell. This manifests itself as games that are slightly unusual, both in terms of content and of form.

Do you consult with others to design your games?

Normally, no. I may discuss specific aspects with my friends (and some good ideas have developed that way) but the overall design and ideas are mine. A major exception is my next project, The Last Stand, whose brilliant artist (Verena Huber) is also my co-designer, though I'm still doing the writing on my own.

Tell us about yourself.

I'm Greek/German (though I am an internationalist and do not identify with countries), trilingual, and unfortunately currently living in Germany, attending university (doing English and American Studies). The main foci of my studies are the Civil Rights movement in its various forms (especially Malcolm X) and the New English Literature (especially from or relating to the Caribbean).

I do a lot of theater (mostly acting, have also written and directed and will do so again), writing, and creative stuff in general. I wrote and directed a feature film, which took an awful amount of time and effort and is now slowly being assembled into a more-or-less coherent whole. According to my latest estimates, I am currently working on approximately ten thousand different projects (give or take a few hundred).

Do you play computer games? What's on your PC at the moment?

I certainly do. In addition to adventures, I'm very fond of RPGs and strategy games. Unfortunately, my computer is slightly oldish, and I can't afford a new one (poor working class student...), so a lot of new games won't run. I've been playing Age of Wonders II (quite good), UFO: Aftershock (OK, but no X-Com) and Master of Orion II (still rules).

Though I normally play a lot of adventure games, working so much on The Museum of Broken Memories has sort of kept me from that recently. As for RPGs, I really feel like replaying Gothic II, or possibly Fallout. And I am always thinking of replaying Quest for Glory, my favorite game series. And while I'm at it, let me mention Soulbringer-possibly the most overlooked RPG of all time. If you're reading this and don't own the game, stop reading immediately and go find it.

What is the best independent adventure game you've seen/played?

Freeware or commercial? Of the commercial ones, the one I liked best was Dark Fall-very good work, with a great attention to detail. In the world of freeware games, there are quite a few good ones. Out of Order is probably my favorite-it was absolutely hilarious. I've written my share of comedy, and I firmly believe that it's much more difficult than tragedy or other forms of "serious" art. And, despite what some people (known as "idiots") may think, just because something is funny doesn't mean it's not valuable. The Daily Show, after all, is still the best antidote to the insanity of modern television.

There are of course many other works worth mentioning (Mourir en Mer, for example, was quite original), and many interesting projects-I can't wait for the Quest for Glory II remake.

Any secrets to increasing the longevity of adventure games?

As individual works or of the genre as a whole? In terms of individual games, longevity should not really be a concern. The artist's mission is to tell the story that needs to be told, in the best way he or she is capable of. If it's a story/game that is fun to be played again, so be it. If not-it's not a crime, as long as the designer stays true to his or her vision. As for helping the genre survive-just make really good games; the rest is more related to the economy and society in general than to anything that game designers have to do.

What is your opinion about 3D graphics in adventures games?

They are an option, not a necessity. I've played and enjoyed 3D adventures that were well-done; but I've also played games where I thought the use of 3D to be a fatal game design mistake. My favorite use of 3D is still in Quest for Glory 5-what a brilliant game. In and of themselves, 3D graphics are neither a positive nor a negative trait. They are a design choice. It is a shame that this isn't better understood, because there are more than a few games that would benefit from a different graphical style.

What about having "action" parts to an adventure game?

In theory, I'm fine with it, as long as it fits into the game's story and general design. What annoys me is when action is used because someone thinks it's "cool" or "modern" or makes the game sell more. Argh. But I firmly believe that a designer should be free to tell his or her story in the way that it needs to be told. If that includes action, so be it.

What has the response been to your current game and previous games?

So far the response to The Museum of Broken Memories has been surprisingly positive-many people seem to find it very touching, which makes me very happy. As always, there are those who find it boring or pretentious, but so far they're in the minority. However, the game hasn't gotten that much publicity yet, and I believe that eventually things will even out much like they do with all my games: 50-50 love/hate. With the exception of The Great Machine (which most people hated, but a few people loved very much), that is what the response has mostly been like.

How does someone get involved in creating games?

There's no specific trick to it, really. It all depends on whether one just wants to be part of a project or to actually write and design games oneself. Both options require talent and effort. If you actually want to make your own games, in addition to various resources (such as graphics and music), you will also need a way of putting them together, such as a programming language or game making software. Thankfully there are many sites where you can get useful hints and tips.

Any advice for would be adventure game creators?

Above all, remember that you are artists-and with that comes both freedom and responsibility. Do not let the ideas of others box you in and kill your creativity. And don't let your own fears or prejudices get in the way of what you are doing. Art is, in many ways, a transcendental process. Paradoxically, it is also firmly rooted in material reality. Neither aspect should be forgotten. And never forget that what you are doing-whether it's funny or serious, long or short, silly or thoughtful or both-is *important*.

Never underestimate the power of good writing, and of putting some thought into your game. Never underestimate the ability of the interactive medium to shock, amuse, touch and generally affect the player. And check your spelling. Tyepoz arr annoiyn.

Plans for the future?

Aside from overthrowing the system and establishing worldwide socialism? Finishing and publishing the novel I'm working on, finishing my film (and the next one), and getting to the point where I can make a living off writing books and making films. As I pointed out, I have a lot of projects.

Are you sick of my questions?

Not at all. Are you sick of my rather long and boring replies?

Thanks for your time, Jonas. His games, stories, and other creativity can be found at www.jonas-kyratzes.net.