Interviews

Interview with Jonathan Boakes

So, it’s been three years since we last spoke, what have you been up to?

Hello there, Just Adventure!

I’ve been locked away in a darkened room for much of the time, surrounded by strange artifacts and dusty books, mysterious journals and fading photo albums.

Diving deep into the research and writing of ‘The Lost Crown’ has left me with a feeling that I could find the cursed item myself, given a sturdy trowel and trusty compass. I thought I knew plenty of esoteric information regarding the ancient folk of The Dark Ages, quirky English traditions and supernature to write the screenplay, but I was horribly wrong.

So, some serious and not so serious study time was required, before pen touched paper. It’s been an eye-opening experience, which I feel has enriched the story as well as my own understanding of the landscape around me; as well as the people, creatures and mythological monsters who once walked here.

Once released from the Darkling Room, I took the opportunity to join a ghost-hunting troop (more on that later), contribute to some fellow indies adventure efforts (Scratches, Barrow Hill, Time Stand Still) as well as capture as much of my surroundings on film, video tape and MP3. I can honestly say that I have never been as involved in games as I have these last three years, and I hope all my efforts shine through the games planned for the near future.

You’re widely regarded as an inspiration for independent game developers.  How have you handled all of the accolades and father-figure adulation?

Hmm, there’s a hint of responsibility here, which I’ll happily skip away from. For myself, I love working independently. The freedom to write, build and paint what I wish is a freedom I will never under appreciate. 

If creating, promoting and publishing an indie effort was inspirational I am thrilled to hear it, but I know indie developers have been around since the dawn of the digital age. If anything, there seems to be less indie material, in comparison to say, the time of the Spectrum ZX and Commodore 64.

I remember digging through bargain bins, down town, picking up quirky games made by individuals. The quality differed wildly from game to game, but there was also something great about knowing you were playing something formed in someone’s head, rather than a boardroom meeting.

Indie zombies, witches and ghosts seemed to have a steamy cauldrons worth of character in comparison to their corporate cousins. Now of course, many of the larger game studios rely on indies to create much of the material which makes its way into the final product, or whole chapters or add-on packs themselves. Most big games have huge mod communities, so I guess the spirit of the lonesome developer lives on, in one form or another.

There are a few others who were involved with you on The Lost Crown, so you can talk a little first about Darkling Room?

Learning new technology, to bring The Lost Crown’s setting of Saxton to life, has been a steep learning curve. I knew, early on during the writing stage, that I was creating a very difficult task for myself, so happily took advice and help where I could find it.

My previous games have used a tried and tested engine/presentation, but I fancied something altogether different for The Lost Crown, so took the opportunity to search around and experiment. I couldn’t have reached the current stage without the help of certain individuals. It was refreshing to have peers, this time round, who understood the process.

Both the Dark Fall games were a lonely experience to create, which both helped and hindered the production. The loneliness certainly fed the material, but the weight of the work could easily get on top of you.

Once I felt comfortable with the technology behind The Lost Crown, I dived into the production with gusto. Apart from a few howls, sparks and voices, the game has been another individual effort by myself, meaning I’m saddled with the screenplay, graphics and puzzle credits, yet again. No one else to blame!

And This Haunted Land?

Ghost-hunting is a spooky hoot! Well, some of the time. When not hidden away in some dark corridor somewhere, with a Maglite for company, you do find yourself wondering what on earth you are doing!

These last few years have seen a massive increase in ghost-hunting groups and interest in the paranormal in general. I think I can say, with confidence, that supernature has not been this popular since the Golden Age of esoteric research in the Victorian era. Many modern research groups, individuals and web-clubs seem to have very open minds, and conduct their experiments through a need to understand the mysteries of the world, or a genuine interest in spirits or…just to have fun, and meet other enthusiasts.

My current interest, in the paranormal, came about researching The Lost Crown. I’ve featured ghosthunting gadgets in the previous games, but wanted to create something a little more true to life. Nite-vision footage, EVPs (electronic voice phenomena, where voices can be heard in white noise) and similar technologies have very distinctive characteristics. It was important for me to represent the ghost-hunters kitbag as accurately as possible. So, rather than read up I decided to dive straight in, and find some haunted castles, crypts and caves. It’s been a blast, and truly inspirational.

For those who are not yet familiar with the game, could you give us a synopsis on The Lost Crown?

The Lost Crown is about treasure seeking and ghost-hunting on England’s fog shrouded coastline, during the build up to the festival of May Day. Myths, monsters, legends and mystery collide head-on during a weekend when the veil between our world and the otherside is at its most transparent. A perfect time to uncover secrets, locate legendary figures and seek long lost treasures, whose location was known only to the long since dead.

Playing as Nigel Danvers, you will explore the spooky Harbour Town of Saxton, encountering a wide mix of characters to share your adventure, or hinder it. From gravediggers to sly detectives, it will be up to the player to glean as much information from Saxton’s eccentric characters as they can. With the aid of ghost-hunting gadgets, and companion Lucy Reubans, brave gamers will also be able to communicate with ghosts and creatures of times gone by. 

If I remember correctly, Darkfall: The Journal, was essentially a one-man production.  What are the major differences between working as a one-man production and now working with a team?

Yes, Dark Fall was a one-man production. So was Dark Fall 2. The only difference was the possibility to get the game on shelves, rather than post it to gamers from my humble home. I write, finance and create my games myself. That gives me plenty of freedom to produce games which are highly personal, and individual.

The last two years have seen me working on my own, perched precariously on the cliff tops in Cornwall. I’m a whisper away from some fellow indie developers (Shadow Tor Studios), but I tend to keep myself to myself. It was great to have support with the technical side of things, at first, but I really looked forward to getting back to my typewriter, bottle of wine and that sparse room, lit by a single bare bulb. The location of the room has changed, but the room remains, all the same.

Can you give us a run-down of The Lost Crown from its initial conception to completion? How did it change along the way?  What problems were encountered?  What aspects pleased you the most?

My passion for the English landscape, which is both realistic and romantic, combined with my love of the ghost story inspired The Lost Crown. Initial, and fanciful ideas, to dramatize M.R.James ‘A Warning to the Curious’ were expanded upon, to include ideas harvested from other works as well as tell many new stories, and create an original world. A world, which is thought to have existed once, in that pre-war utopia of the 1930’s. Creating a direct interactive dramatization of any pre-war ghost story would be problematic, given that so few featured female characters or likable protagonists. Piecing apart stories, such as The Signalman or Warning to the Curious, revealed much of the ‘action’ took place in long monologues, often delivered by some blustery old Englishman, with a larger than life moustache! A short story can do wonders with these elements, but 30 hours of gameplay?! Maybe not. So, I decided to start from scratch, and write a new story.

I’ve recently become interested in archaeology. Or, should I say ‘more interested’, given that some form of archaeology featured in both Dark Fall games. Watching Matt Clark produce Barrow Hill was a lovely experience. It revealed a new landscape to me; one which has been heavily influenced by man, beast and weather. The trained eye can spot an infinite number of clues, dotted across our world, which pinpoint primitive settlements, lost civilizations or habitats (such as ancient woodlands) long since gone from our rational world. So, if these locations had ghosts, what would they like to tell us, warn us about, or want from our world. I guess that was my starting point, storywise. Two years later, The Lost Crown is proud to boast a bewildering array of ghosts and paranormal activity from insanely differing time periods. Why look for Grey Ladies or the wives of Henry the Eighth, when you can seek legendary Saxon Kings or mythical dragons! Alongside these fantastical ghosts, there are humbler unsung spirits to locate, such as melancholy evacuees, forgotten train signalmen and the miserable victims of the Black Death.

In terms of production, the look and texture of The Lost Crown has been the greatest task. The initial look, from two years ago, was very ‘punk’. Lots of ripped photographic locations, fragmented figures and crusty sounds. I really loved the look and feel of the thing, believing it came across as a re-found artifact, damaged by years of neglect, but my play testers had a different view! So, I went back to my SLR, and chose to mimic the look of film, from the 1950’s. The world of Saxton has a filmic quality, with some scenes looking positively ‘backlit’, like scenes from ‘Night of the Demon’, or the fabulous, but underrated, ‘The Uninvited.’ It’s a surprisingly hard look to capture, given you are mimicking an accidental look (back projecting was supposed to look like the real world!).  Once I’d worked out a method, I was able to mould the real world setting for The Lost Crown,( Polperro Harbour, Cornwall), into the fictional town of Saxton, complete with vignettes, huge full moons and an ever-present fog.

As a result of both my writing and the design of the game, I can happily say that The Lost Crown is probably the most English game ever created. I recognize the tone, texture and feel of the game world as the one outside my window. Part of me knows that some will find Saxton’s particular atmosphere an acquired taste, but it’s the game I wanted to produce, featuring the landscape I know, and admire.

What, in your opinion, are the biggest improvements from your first Darkfall game to The Lost Crown?

Movement! Dark Fall: The Journal was created knowing both my own limitations and the limitations of the game technology. So, a very still, spooky haunted house story was conjured up, exhibiting a sense of expectancy a little like ‘the night before Christmas’.  It worked wonders for that particular game, but I wanted something more dynamic for The Lost Crown. A world which moves, breaths and flows with fog, water, weather and people. I would say my ability to produce those elements is my biggest improvement. Secondly, I am hoping the story telling is a little more refined. I’ve always described Dark Fall as a non-linear story with a beginning, middle and end. 80% of the game world was open, from the very first screen, which I think was quite unique. Whereas, I have utilized the ‘cut-scene’, day to night transition and characters to move the story forward in The Lost Crown. The game has a definite beginning, middle and end, but I feel gamers will take very different routes to get there.

Is The Lost Crown in any way a follow-up or sequel to the Darkfall games or is it just a natural extension of your body of work?

The Lost Crown exists in the same world as Dark Fall, and features some similar ideas: There are students looking for ghosts. A dark, secret is waiting to be uncovered. The ‘ghosts’ are characters, rather than one dimensional villains or victims. But, as a whole, the game sits some time after Dark Fall, and before Dark Fall 3 (being written at the moment). If you’ve played Dark Fall, you will certainly recognize elements in The Lost Crown, but they in no way are essential to the story or final denouement.

Are there any plans afoot to transfer Darkfall: Lights Out to the Nintendo DS?

Not that I know of. I looked into other platforms, like the Mac, but haven’t heard of anything being produced. It’s a shame my Mac versions of DF’s 1 & 2 were never released. Knut Mueller, of the Rhem games, put them together, but the publishers chose to keep them to themselves, mores the pity. Hopefully, we will see them released at some point, but right now, it’s a bit of a mystery.

Knowing beforehand that you are a perfectionist, if you could, are there any improvements  you would make to your earlier games, or looking back, are you now satisfied with them as they were released?

I played Dark Fall earlier this year, after a friend asked to see it. Believe it or not, I didn’t actually have a copy of the original version! The Adventure Company edition saw quite a few changes, some for good, some for bad, but I’ve always liked the original (complete with rogue hotspots, typos and grammar crimes!). So, I ended up in a bidding war for a copy on Ebay! Eventually, after paying a stupid amount, the game arrived from Spain (of all places). It was very odd to get my own game back in the post, after sending it out 4 years ago. There was even an ink smudge on the inlay note. Weird. Anyway, I digress…

…it was great to play the game again, but it did reveal some negatives. For example, I wish I’d made certain elements essential to progress the story. Communicating with the ghosts via the Ouijaboard could have been a spooky experience, if you were literally begging for information to save your soul….or…. take on ghost form yourself, or use the sight of a ghost, to enter a location long since gone. I should shush, really, given that some ideas have made their way into The Lost Crown, and the future games.

Apparently, you’re a big believer in the paranormal, ghosts, lost souls, etc.  Can you elaborate a little on that subject?

No, not a big believer. I’ve always thought there’s more to the world, but doesn’t everyone? Whether it be ghosts or higher powers. Part of joining This Haunted Land was to find, prove or disprove local tales, and seek answers. I haven’t seen, or heard, anything, to date, to prove the existence of ghosts, but I live in hope. The need to believe in an afterlife is a universal one.

The Lost Crown will feature photographs of unexplained entities captured by yourself while researching the game. Have these photographs been incorporated into the gameplay and if so, how will we recognize as compared to other parts of the game?

Saxton, the setting for The Lost Crown, is based on a real place; Polperro Harbour in Cornwall. (Here’s a satellite map link: Polperro Harbour). Like all old English towns, Polperro is steeped in supernature and legend. The history dates back to long before the Doomsday Book and Anglo-Saxon Chronicle, so there’s mystery, magic and mayhem to find around every corner, and deep within every crevice, cave or crypt. Many of the photographs, taken for The Lost Crown, were captured during ghost-hunts, research trips and explorative missions. Meaning, much of the material features the ‘unexplainable’, such as mists, light streaks and shadowy entities. So, the eagle-eyed among you should  have fun looking over both the game screens, which Nigel wanders about, as well as his evidence to spot what’s real, what’s unreal, and what’s just downright strange!

Any fear of repercussion from any of the spirits whose images will be featured in The Lost Crown (without their written permission I might add!)?

I received written consent, from many of the spirits featured, from Mr.Crow’s Ectoplasmic Agency for the Non-corporeal Artiste. Some had misgivings about being presented in good ol’black and white, but my assurance that they would be fairly represented seemed to calm any chilly doubts…

Did any unusual ‘incidents’ occur during the research and development of The Lost Crown that were not captured on film?

Well, apart from power cuts, floods, violent sea storms and the habits of the local fisherfolk, I do have some strange tales to tell.

Strange Voices: I never really believed in EVP’s up until recently.  EVP is the name given to the strange, almost inaudible voices caught on tape, but almost hidden within the buzz of white noise. But, I now have several studio recordings from the voice sessions carried out for The Lost Crown, which have altered my opinion. I’m using superior equipment to that used previously, so rely on the technology to do a good job of picking up the subtleties of the human voice. I didn’t expect to get more than one voice though! Honestly, speaking, I can give no rational explanation of how words like “cruciform”, “whistledown” and “stairway” have appeared on the digital versions. A couple of years ago, I would have sworn blind that the recognition of words was pure invention, but now…well….now, I’m not so sure. I seem to remember a fellow adventure developer finding voices on their voice recordings, a while back. If they’re reading this, I’d love to hear more!

The Twigman of Trelawne Woods: Secondly, many unexplainable faces can be seen in the visuals of The Lost Crown. A favorite of mine, is a character I’ve nicknamed ‘The Twigman’. Midway through the screenplay, gamers will encounter The Carrion Wood; an ancient woodland, full of long forgotten monuments and mine shafts. The location is composed using a woodland built by myself, in 3D, and backdrops photographed in the field. All the tree textures, ferns and floors are from a real place; Trelawne Wood, near Watergate in Cornwall, which was also used for the backdrops (here’s a maplink: Trelawne Wood). Of the 20 or so views, produced for the game, I can spot a figure in almost all of them! He’s a strange looking fellow, composed of twigs, brambles and bark, and is no doubt a figment of my imagination….but…it’s odd that he appears in almost all the photos…regardless of angle, lighting and distance. I’ll be interested, in a couple of weeks, to hear if anyone can spot him….or, is it just me?!

Thanks Jonathan, it was a pleasure speaking to you again and I’m sure The Lost Crown will be a huge success for you.

Thanks Just Adventure! I look forward to reading the feedback. The Lost Crown is an unusual game, which I am sure will generate lively opinions. Happy ghost-hunting!

The Lost Crown Screenshots, Trailer, Character Profiles, Case File