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.