KQ8 development is an article concerning the development of King's Quest: Mask of Eternity (aka King's Quest VIII). It is a repository of details concerning early prototypes of the game, up to its final finished version. Note: This article contains some speculation for some of the pictures that lacked explanation.
- 1 Background
- 2 Returning to the Series Roots
- 3 General Game Development
- 4 Losing the Art Director & other staff changes
- 5 Story Development
- 6 World Development
- 7 The Mask of Eternity
- 8 Action and Combat
- 9 3-D Game
- 10 Removed/Changed Material
- 11 Music
- 12 King of the Hill & other Easter eggs
- 13 Programmer's Notes
- 14 Passing the Blame
- 15 Information from Roberta Williams
- 15.1 In Newsweek
- 15.2 The Woman Behind the Mask: A Q&A with pioneer game designer Roberta Williams
- 15.3 You are well recognized as one of the inventors of interactive storytelling. How did it all begin?
- 15.4 Mask of Eternity departs from the traditional two-dimensional adventure game by using a three-dimensional game engine most commonly employed in first-person action games. How is Mask's story conveyed using this technique?
- 15.5 Tell us a bit about Mask of Eternity's story.
- 15.6 What were your goals when setting out to create Mask of Eternity?
- 15.7 Tell us about the puzzle elements in the game.
- 15.8 What is the theme of Mask of Eternity and what does the mask itself represent?
- 15.9 Roberta Speaks Out
- 15.10 Roberta Williams Interview 2006
- 15.11 Roberta Williams speaks out (2011)
- 15.12 Roberta Williams Talks About Sierra Adventure Games - Exclusive Interview
- 16 Information from Mark Seibert
- 17 Ken Williams comments
- 18 Assorted Articles
- 19 Making of Mask of Eternity
- 20 Notes
- 21 Screenshots & concept art galleries
- 22 Museum of Play On Loan Collection
- 23 Credits
- 24 Miscellaneous
- 25 External Links
- 26 References
King's Quest 8 is the eighth game in the King's Quest series. It was always intended to be King's Quest 8, and this is what Ken Williams and Roberta Williams called it, and continue to call it. Like Quest For Glory: Shadows of Darkness, Police Quest: Open Season, Laura Bow: The Dagger of Amon Ra, Gabriel Knight: The Beast Within, Leisure Suit Larry Goes Looking for Love (in Several Wrong Places), Leisure Suit Larry: Love for Sail, the numeral was left out of the packing for marketing purposes. Though like the other mentioned games, the numeral could still be found in the files and other marketing. In fact higher ups in marketing wouldn't allow Roberta to use the numerals, since other big companies' series were no longer including installment numbers, so Sierra was forced to follow the naming trend.
Returning to the Series Roots
Roberta: You know, this game is almost like going backwards for me, in a way. King's Quest I is not as dissimilar from this game as you might think. You had a fantastical world, you had limited actions, the story was simple and straight forward, you even had to fight in a couple of places - it happened in an adventure game way, but you fought. It wasn't very deep really. As I went forward, with each successive game, the story started coming out more, the characters had to be more developed, conversations became more important, and it really culminated with Phantasmagoria, where we doing video and camera work, I think the story began to overpower the game. This game is almost like going back to King's Quest I. You're on a quest, and everything is very straight forward in that sense. There's a story around that - it's not devoid of story - but everything happens in an interactive, physical way.
General Game Development
The game went through three main phases during development which count as the game's true development (the exact split of these phases is unclear). There were apparently at least two separate designs within the early phase (1995 design documents to the 3D Studio Max work in 1996), the (mid 1997-1998) phase was the third main design period (it also has about two seperate design documents ). The final 'third' phase, can be split into two parts, early phase, and late phase (but essentially are considered a single design). At least four seperate design documents from various points in the games development can be viewed at the Museum of Play, but these do not contain all the details mentioned in interviews, magazine articles, etc (which suggests there may have been others, and/or ideas made in discussions as well). Note: 3D Studio Max v1.0 was apparently used to create many of the game worlds/maps for early phases of the game (while a game engine was being developed over at Dynamix). Due to Dynamix extended engine development period, Sierra switched to building to an in-house engine (which retained only a few features from the original 3Space that they had started development with) for the start of the 3rd and final phase, the truly playable version of the game. All models and animations were being designed in 3D Studio Max v1.0 as well. It is not exactly clear when they started building the actual game within the 3space engine (if it was during the second or third phase of development). Roberta Williams;
- I decided King's Quest was going to go 3-d while I was working on Phantasmagoria. That was in, around 1994, maybe 95, somewhere around there. It was about the time Doom came out, and it just made a splash. Everybody was playing Doom. Other 3-d games were beginning to come out around that time too. It just became clear that computer games were going to be going 3-d. I pretty much made up my mind during the development of Phantasmagoria. I knew I was going to be doing the next King's Quest. I knew, being the eighth in the series, that's tough, gives the desire...You know its going to be the eighth of the series, its gotta be bigger and better than ever, and you gotta keep this thing going, and its gotta be great, and its gotta be all these things. It's really tough to do that. In all honesty its much better to work on a brand new game, that nobody has ever seen before, that nobody knows about. Because you can do anything, the sky's the limit. But to try to do something that's eighth in the series, is really not easy, and so to me to go 3-d was, we had to do that. ...and also I, Mark and I entertained the idea of making it multiplayer also, but that was nixed. It was like, well were doning 3-d, and that's enough, you know, for now. Maybe Multiplayer later.
-Roberta Williams, Talkspot part 2.
- Actually I went through three different designs for that game. Three complete designs. The first two got tossed out for various reasons. Probably a lot of which I got a little over exuberant in design, then just this was impossible, forget it...It was a three year project even so. We were really developing a new technology here, and there were was a lot we had to do, and we were pretty much developing from scratch.
- "The budget for King's Quest: Mask of Eternity, was three million over three years".
- "When I started development on King's Quest Mask of Eternity, we also decided, we were thinking at the time to make it multiplayer, and also 3-d, but we dropped the multiplayer aspect of it. It was just too much to try to develop, and also develop 3-d."
-Roberta Williams, Talkspot part 1
- "I think the first two designs, there were three designs for Mask of Eternity, the first two...as far as the designs, pretty much straight design, I did for the most part myself. Those two, actually parts of the first design, made it into the second design, neither one of those exactly worked right, and we were running up against a time deadline..."
-Roberta Williams, Talkspot part 2 You're right; there were three designs for "Mask of Eternity." (That's the only game I ever did which had so many changes, in just about all of my other games, the first design was that stuck.) Between the first design and the second design everything changed: The story, the puzzles, the worlds, and the characters. Between the second and third design, the story and the worlds were pretty much set, but we still had some major changes and changes and additions to puzzles and characters. In fact, we still were changing and adding puzzles and characters right up to the very end!
General comments about Roberta's plan to go 3D begin around 1994. The concept and art direction began in 1995 just after the release of Torin's Passage, and many of the members were culled from that game (this might also explain some of the puzzle similarities as far as certain tile/platforming/box style puzzles). Primarily a first person game, with small sections of 3rd person (no finished engine at this point). All ideas were on paper at this point (concept art, etc).
I think you're wrong about the first person perspective (and the first person perspective will primarily be when you're "walking.") There will still be third-person views for various "story point" areas and for various puzzle areas -- where a third-person perspective would work better than a first-person one. There is actually MORE we can do for the game, and make it MORE interactive by having the game be both first-person and third-person. Having a totally third-person game has cut back on interactivity because of all of the animation which has to be done for every single "thing" which can be done. By mixing both first and third-person, we'll be able to really "up" the interactivity level. Also -- being able to really 'explore" the world of King's Quest will take on new meaning because you'll be able to "walk" wherever YOU want to -- there will be no restrictions. Therefore -- we'll put all kinds of different things to find and/or do in many more locations than we normally would. Also -- a lot of people say that a first-person perspective, especially when "walking around" is much more personally immersive. This is NOT being done for technology sake -- it's being done because more and more people actually prefer a first-person approach...at least during the "walk" mode. It will feel good...trust me on that. I wouldn't do anything that wasn't great -- and wouldn't feel like King's Quest.
Also -- at this point we THINK it's going to be first-person during the "walking and exploring" part of the game, but that hasn't been completely determined as yet. It may yet turn out to be totally third-person. Obviously, we want to do what would be the most fun and compelling. We're doing some experimenting right now...I "think" we're tending to swing the way of being able to be either first-person or third-person in most of the game, but be ONLY third-person in parts of the game where it makes sense -- or be ONLY first-person in other parts of the game where it makes sense. Therefore, it would utilize the best of both worlds, and feel very open and exploratory to the player
-Roberta Williams, late 1995 It was likely early on in this phase that Mark Seibert suggested to add combat, health items, and weapons, when it was seen that there would be alot of empty space between puzzles, and exploration. In Roberta's donated notes, there is combat in all of the known design documents (in documents that may go back to as early as 1995).
"King's Quest/Mask of Eternity: From the world of King's Quest" phase (1995-1996)
This phase represents two separate designs based on known information. But what material goes into each stage is unclear (there may be grey areas between where the two designs meet).
In an early design document (perhaps early as 1995, the game is called simply "King's Quest"), while this document may exist at the border of the 'concept' stage, many of the ideas that would find their way into the 1996 work were already in the developer's minds (crystal dragon, ice serpents, disguised swamp witch, castle ruins, and many other things), but the main character had a different name, and back story.
There is also an early title marquee/concept art for this phase calls the game, "Mask of Eternity: From the world of King's Quest" (Roberta's name doesn't appear on it, much in the same way her name didn't appear on the concept poster for King's Quest VII), though Roberta and others called the game KQ8 in the development videos from that period (the concept art may represent the period in which Roberta was deciding to pull her name from the game's development, see below (though there are reasons to question this anecdote or the context surrounding it, since Roberta's true vision remains from early ideas 1995 all the way to the finished product, see Passing the Blame below), and a May 1996 preview through Gamestop. It was also called King's Quest: Mask of Eternity, or King's Quest 8 during development notes included in Interaction magazine released around the same time (see Fall 1996 issue). It seems very clear at this time that Roberta still considered the game as hers, and she was pushing for a very ambitious game design on her staff. More than likely, at this point there was simply no reason to Roberta's name on the announcement 'poster', but had the game came out in 1996 its most certain she would have had her name at least on the back of the box. This appears to be when the 3D material and artwork started to actually be made. Most of the assets in this phase (maps, models, & animation) were mostly designed on 3D Studio Max v1.0, and animated with use of a 'monkey' (controller apparatus). It is not clear if Sierra had access to any game engine at this point, or was simply just building assets in 3d Studio Max in preparation to use within a game engine when they were ready. Published in Interaction, Fall 1996 issue, published while Ken Williams was still the CEO of Sierra Online (he was still there as late as October 1997, if not later). Early on during this period (sometime before May 1996, possibly as early as 1995) Ken mentions that his wife was designing a 3D King's Quest game, and that she was looking at games such as Duke Nukem, Warcraft II, and Super Mario 64 for inspiration. He pointed out the game would include challenges that use physics.
Around this time she was having quite a few problems with technical issues, and other issue, preventing Roberta from completing the game as she had originally intended. Because Dynamix new engine wasn't ready (still in development), the MOE team was forced to start building a new engine from scratch. It's not exactly known when the trouble began. She also hit other technical issues along the way as well. There is a quote in the Roberta Williams Collection making of video in which Mark Seibert (from the 1996 phase) in which he states that she had ideas that the team thought were "impossible" with the technology they had available; "...she comes in with these ideas, and you just go, you can't do that, its not possible" (Roberta wanted them to create the tools so it would be possible). Roberta further references technology limitations in Talkspot interviews as well; "...Probably a lot of which I got a little over exuberant in design, then just this was impossible, forget it...We were really developing a new technology here, and there were was a lot we had to do, and we were pretty much developing from scratch." In addition, it was early during this period that Mark Seibert mentions he had to convince Roberta to fighting and enemies to the game (to fill empty areas). She may have initially argued against the inclusion of combat, but ultimately she agreed it was a good idea (her ideas to include combat go back to at least early 1995, and there were even more ambitious ideas for magic/spell systems, and even more enemy types).
There were apparently some technology limitation issues limiting Roberta's vision, as some things were deemed too impossible by her staff. Material was being scrapped, and ideas were switching around. For example one character switched from being a red cap goblin, into a leprechaun, and back to the red cap goblin before they finally decided on scrapping the character (incidentally the character became the Spriggan leader in the finalized game). A programmer's note in the message files of KQ8 mentions that the 'goblin' would drop the breastplate, and that connor would have said something after defeating it. Quite a bit was scrapped during the first design of this phase, moving onto the second design, and quite a bit more would be scrapped before moving onto the third and final design.
The name 'Connor Mac Lyrr', shows up as late as the Spring 1998 issue of Interaction Magazine, by then the game was actually far into the final version of the game. If it hadn't been dropped by that time, it was dropped not much later.
"King's Quest: Mask of Eternity" (1997-1998)
This was the proper playable phase, when things were beginning to be finalized and the game not only included locations but also puzzles. The earliest screenshots of it appear around spring of 1997. The concept box art at this time added King's Quest into the title, calling it King's Quest: Mask of Eternity, but the focus was put on "Mask" in large letters. 'King's Quest' was in much smaller letters using the classic font from KQ5, KQ6 & KQ7. Roberta' name still appeared to be missing from the promo titles. The promo video from KQ collection series, called the game simply Mask of Eternity, with no King's Quest listed at all. While its possible that Sierra was looking into possible game engines earlier on in the development. This seems to be the period when they were starting to work on a playable game using a version of the 3Space engine by Dynamix. The game engine itself was being developed by Dynamix, but early on they would only have had access to a less sophisticated versions of the 3Space engine, it is claimed that early on it was a heavily-modified version of the one used for Red Baron (but perhaps the same used for EarthSiege 2). This was likely when the proper use of 3Space engine began. However it would be utilized was not designed for adventure games in mind, but for mainly flight sims. They would have to use a modified version, and were hoping for the more robust, upgraded copy of the 3Space Dynamix flight simulator engine (in development for Red Baron II and other Dynamix flight sims) to build the prototype levels. At beginning of the third and final design, they started with the earlier version of 3Space engine, but later replaced it with their own in-house engine due to the lack of the updated version from Dynamix.
- "We started with the engine from Red Baron, but pretty much left only the rendering portion of it for the software engine, pretty much everything else we rewrote up here at our location."
-Mark Seibert, Talkspot part 2, December 1998. Early portions of this phase used a few art assets left over from the earlier phase, but things were starting to change towards the appearance in the finalized game. With a finished game, Roberta and Mark then went on to work on voice casting and voice director for the finished project. Roberta and Mark helped write the documentation. Roberta's comments concerning her story and script for the finished game;
- "Well, ya, it's different if you compare King's Quest: Mask of Eternity, to the story writing process of Phantasmagoria, much different. Phantasmagoria was written in a much more script format, much in the way you would think about writing a movie script, only much longer. Your average movie script is 100 pages long. Phantasmagoria was just about 600 pages, and that's because you had to write in all the contingency scripts for various other paths you can take, and things you can do beyond the stuff your supposed to do in order to play the game and advance the story. With this game being much more open and being much more exploratory, because you can go literally anywhere you want, you can wander in any corner of the world, behind any bush, behind any house. It creates more problems with the story writing, but it opens up much more of the interactive aspects. So you just have to be a little more creative in interspersing your story in there. I could go into greater details on how to do it, but I think that would be too long for now. The secret though is learning how to intersperse story with an interactive experience.
-Roberta Williams, MOE Talkspot interview, December 9, 1998, Part 1.
In some ways, it was harder creating Phantasmagoria and in other ways it’s harder to create KQ: Mask of Eternity. (By the way, I feel to the need to stress that this game is “King’s Quest” first and foremost. “Mask of Eternity” is the subtitle. Basically, it’s “King’s Quest 8.” I noticed that you keep referring to the game as “Mask of Eternity” - but not really referencing “King’s Quest.” I need to make sure that people who read this understand that this is DEFINITELY a “King’s Quest” game.)
Anyway - with Phantasmagoria, we weren’t really creating a new game engine, but we were dealing with a lot of issues concerning integrating video, actors, silicon graphics, blue screen effects, etc. - within our old established adventure game engine. With King’s Quest: Mask we are dealing with a game series which already has an established look and feel, but we are creating a brand new 3D engine to evolve the series and bring it up to the expectations of today’s audience. Both were difficult in their own ways; it’s difficult to say which is/was harder. (None of my games are easy! It seems that each one in its own time was difficult! But…I love a good challenge.)
I certainly HOPE it survives in this 3D era - and why shouldn’t it? It’s a 3D game, too! “King’s Quest: Mask of Eternity” is a true 3D, third-person adventure game…with some action elements. It’s very “now.” It definitely has its roots in “King’s Quest,” but it also is new and fresh…the whole look and feel is updated. There is a new character to meet, Connor of Daventry, and you can explore SEVEN beautiful 3D worlds to your heart’s content. We also added some “action” elements to give the game more of a “real-time” feeling and to enhance the 3D experience. You kind of know the story - but there are also lots of puzzles to solve in this game, too. The puzzles fit very well into the 3D aspects of the game.
-Roberta Williams, 1998 What is harder or easier to design the physic and logic puzzles for Mask, than it was for puzzles in the old days?
- "Once you get used to it, it's probably just as easy, but its sort of getting your mind around the idea of designing for more physicality, than before. Every time I've made changes to how you approach the adventure game, you always have wrap your mind around how to do it. When I designed for parsers, then a lot of the way I would design puzzles would be based around the parser, based around being able to communicate through sentences, then when we went to the icon bar, then I needed to, we needed to be a little more creative about designing around the idea of using inventory objects, and do a little bit more, and using visuals on the screen better...But when we get into 3-D, and the objects are really there, in a physical form as far as the computer is concerned, and you can rotate the camera, and look all around it, you can go behind it, objects are inside of them, and look up, climb up, climb down. They could have a solidity to them. So you are able to manipulate objects, much more physical way, and it does require you to think differently as a designer, and I can't say that it was easy at first. I think that I might have stated at one time that three designs were done for this game and the 3rd one, was the one that finally stuck. I think part of the problem was figuring out exactly what to do with 3-d and physicality with adventure games.-Roberta Williams, Talkspot part 2, December 2008.
- I think just as we went through the puzzle design, and it's always just keep in mind what can we do in 3-d, that couldn't be done in 2-d. How do we really make this a 3-d adventure.-Mark Seibert, Talkspot part 2.
- Ya, I think a good example might be there is one puzzle, where we, there is a mill house, that's has a water wheel that's on the river, so you walk along the river, and you can see the water wheel is turning, and its being turned by the water in the stream, and you go inside the mill house, there's a turning...mill stone. ...and it's turning and turning, its a big millstone, and up above the millstone is a loft where you can see there is a rope and hook that you want, you know you want to get it, because Connor mentions he might be able to get it. So the only obvious way to get that rope is by jumping onto that mill stone and jumping up again, but every time he tries, he gets knocked off by this turning mill stone, so he needs to think of a way to stop the mill stone from turning...So anyway you are looking around, and you know you want to get that rope and hook, and try jumping, and you can't do that. There doesn't seem to be any other way inside the Mill House, and be able to get up there, so you go outside, and look around. You can walk all the way around this mill house. You can walk up and down the stream. You can even walk up to that turning water wheel, and get thrown off into the water. But then you notice this tree, and if you click on it, you get sort of a look message, and he says, oh it looks like its leaning over the river. So you can use, get an axe at some point in the game, and he actually chops it down, which causes the tree to fall, and it falls across the river, and it dams it up. Then of course it stops the river from flowing, which stops the water wheel, which stops the millstone inside. So now you can jump up on it, without being knocked off by this turning mill stone, and get your rope and hook. That's an example of using more physicality when it comes to puzzles.-Roberta Williams, Talkspot part 2.
Losing the Art Director & other staff changes
Around this time in early to mid 1997, John Shroades became disheartened with the 3D technology in the first iteration of the game (1996 version) and early part of the second, believing 3d technology wasn't quite ready for the kind of game Roberta Williams wanted to design. He left Sierra, and started working for Microsoft.
- I was the art director on Mask when it started. Mask had a big influence on why I and others left Sierra. It was obvious Sierra had, unfortunately, lost touch with the direction of the game industry in the mid 90's...The disappointing decisioin to force Mask into a 3d engine before 3d was ready for that kind of experience couldn't deliver the visuals needed... in the mid 90's the game audience started demanding a deeper or more fast paced experience and the slow story experience was a smaller audience that was difficult for game companies to justify production for...I know it was a forced project trying to use a technology that wasn't ready to deliver that kind of experience.-John Shroades, Sierra Memorabilia on Facebook
This left KQ8 without its head artist. Forced to replace the director, Roberta filled the void with Jason Piel. While some of John Shroades influence remained (including his ideas for the appearance of the Mask itself), under Jason some of the character ideas and concepts were changed, along with some of the art direction. Around this time Roberta was also toying with changing the game engine to something more powerful, and this required upgrading or replacing many of the assets so that they would push new technology further. This is one of several things that pushed the deadline even further back. The game would lose several other staff members between 1997 and the release of the game (they may even be the ones John Shroades convinced to abandon the game when he left); Including Adam Szofran, one of the game programmers, was responsible for sound, UI, and some physics development for King's Quest 8, the first fully 3D title in the long-running game franchise.  He stopped working on Mask of Eternity in 1997, but continued to work for Sierra until February 1998, before moving over to Dynamix where he worked until October 1999.
Layne Gifford, who was responsible for creating textures, 3D objects and levels from specs given by designer. He continued to work for Sierra up into 1998. Al Eufrasio, one of the game's animators also worked for Sierra up into 1998. It is unclear but they both may have also left the Mask teams around the same time John Shroades left, but continued to work for Sierra in other capacities. The loss of these staff members are referenced on the grave stones in the releases game.
Mask of Eternity's storyline went through several phases as the story of the game was developed. Roberta also has said; "The only character from previous King's Quests will be a couple of cameo appearances by King Graham. I felt that it was time to feature a new character to the saga of King's Quest as long as we were updating the whole look and feel of the series." Ultimately there was also an appearance by Valanice at least an image of her in a wall painting. Roberta had stated that the general idea of the story remained the same throughout the various phases, but that she never really changed her ideas very much (though some material may have been reduced).
- Were there any other storylines thought about before the current one? Describe a few of them.
- Not really. The basic idea of a golden, all-powerful, sacred "mask" having something to do with a terrible crisis in the land was pretty much the essence of the story from the very beginning. And having a "normal guy" who lives in the kingdom of Daventry be the one to fix this problem was also part of the storyline. Now, as to exactly who he was, and what exactly he had to do to fix the problem, took a bit longer to figure out. We went back and forth on that one for quite a while!.
Here is a listing of what is known.
The games story development began very early on (mentioned around late 1995, but may date as early as 1994) which can represent the earliest phase of the game's development of concepts. When Roberta Williams and Mark Seibert started working on the game they began to discuss what character to use. There were several discussions on making the character Alexander, but in the end a new character won out. Roberta apparently chose to make another character, because she felt she couldn't do anything more with the Royal Family, King Graham was getting too old and Alexander was living in the Land of the Green Isles.So they ultimately chose to design a new character. At first the unnamed character was to be a marble statue of a knight that was brought to life at the moment of the cataclysm that turned everyone living into stone. The game was primarily going to be in first-person, and switch to 3rd person for cutscenes, and certain puzzle areas.
KQ8 will be set in Daventry -- at the beginning of the game, at least. YOU will be a brand new character -- a marble statue of a knight which has been brought to life through an accidental reversal of a spell which turned King Graham and his family into stone (by an evil sorcerer)...As far as King Graham, Alexander, Valanice, and Rosella are concerned -- they ARE in the game, but they are the poor victims of the evil sorcerer's spell. YOU -- as a "former" statue-turned-alive-knight -- are the main character of King's Quest 8. You can save the royal family from the evil spell they've been placed under. You -- as the knight -- can save them and then get the chance to become a "real man" in the end (a la Pinocchio). Princess Rosella might be SO grateful that he saved her and her family that...who knows?
-Roberta Williams, late 1995 The 'badguy' was going to be a witch (or sorcerer).
At first the story of KQ8 was going to involve a sort of “evil magic” which causes everybody in Daventry - including King Graham and his family - to turn to stone while, conversely, this same magic would cause a reverse effect on a stone statue…bringing it alive. Then - this “guy” would have to set out to figure out the cause of this evil magic and try to save the people of Daventry by defeating the source of this evil. As the story (and the game) developed, though, the story began to change.-Roberta Williams, 1998
...and a comment by Mark Seibert (in 1998) making reference to the unused idea.
Marble statue... you mean Connor as being the marble statue? You have to excuse me here, this game has gone through so MANY redesigns that I'm not sure which version you're talking about. My guess is that you're talking about when Connor was a one time supposed to be a statue come to life. Well, the story is close to the same, except that Connor is not a statue guy. He's just a guy that lives in Daventry. As for the interesting plot... yes, but I don't want to give it away.
During the late 1995 to early 1996 stage of development ("King's Quest" as it was known in the notes), the Character was initially known as Brendan and would have been the son of a widowed mother (which she noted was a common idea in 'these kinds of stories', for example Jack in the Beanstalk). Some of these ideas appear to have probably been shifted over to Connor's neighbor Sarah, and the Widow Burke in the final game. Bost most of these ideas in this document are the same ideas that would ultimately be used or influence ideas in the 1996 material.
'Mask of Eternity: From the world of King's Quest' phase (1996)
The charcter's backstory is changed again, now the son of a fisherman of Daventry living near Daventry's harbor (one of the later removed areas), and was initially named "Conner" or "Connor mac Lyrr". These are some of the few references concerning this phase of the game;
The backstory: Twenty years before the time of the game, a magic mask analogous to the Holy Grail exploded into seven pieces which - surprise - were scattered hither and yon on the cosmic winds. In this newest King's Quest installment, we meet Conner, the son of a poor fisherman, born at the instant of the momentous explosion and marked, figuratively and literally, by a piece of the enchanted shrapnel. In the present-day of Conner's 20th year, a horrible chaotic spell sweeps across the land - never mind why, it just does - turning all mortals to stone except the auspicious Conner. His only hope to restore the pebbled populace of Daventry is to locate the seven fragments of the mask...-Gamespot, May 1, 1996
Here is a section from an article published in InterAction magazine while Ken Williams was still CEO;
The Mask of Eternity is no mere sword and sorcery adventure. You enter the Kingdom of Daventry as Connor mac Lyrr (the son of a fisherman), who alone has been passed over by an evil spell that turned every mortal inhabitant to stone. Connor must find a way to restore them to flesh and blood. At the heart of the dilemma is the The Mask of Eternity, which was broken into seven pieces and scattered by the Cosmic Winds to seven different lands at the moment of Connor's birth. A piece of the Mask touched Connor as he was born, leaving a vivid scar on his cheek. He carries this scar as an adult - a sign that he has been marked for greatness. The quest to find the seven pieces of the Mask and restore them to the Island Temple is his destiny. Only by accomplishing this can he end the chaos that now rules the land.
-Interaction Magazine, Fall 1996, published while Ken Williams was still CEO of Sierra. The Computer Show Preview The Computer Show, volume 8, number 9, September, 1996
The name 'Connor Mac Lyrr', shows up as late as the Spring 1998 issue of Interaction Magazine, by then the game was actually far into the final version of the game (with graphics closer the released version). If it hadn't been dropped by that time, it was dropped not much later. CGW referred to his name as "Connor Mac Lyrr" (as late as August 1998), but that was published far into the next phase, after 'mac Lyrr' surname had already been dropped from his name (in other publications). One review claiming his name was 'Connor Ly Marr' (although this is probably a typographical issue) However, by the final design document (used for the final released game), his name had been intentionally shortened. He had no last name nearly up to a year before the game's release. Mark Seibert says they renamed him "Connor" or "Connor of Daventry" to shorten his name. Perhaps to make it closer to single names used by other characters in the series (Graham, Valanice, Gwydion/Alexander & Rosella), which went by their first name, and had the title of "of Daventry" attached.
'King's Quest: Mask of Eternity' phase (1997-1998)
This period which represents two seperate design docs, but both had influence on the final released game. For example the game's ending and introduction already are written into the earlier of the two design docs, with only minor differences (the second design doc does not really focus on the intro or endings, but finalizes the puzzles, enemies, encounters, lands in the released game).
"With past King's Quest games I focused around the Royal Family," Roberta Explains. "But I've done just about as much as I could with the Royal Family. I knew I needed to bring in a new character, and I wanted the character to be less Disney-ish and more cerebral. The spiritual father of Mask is J.R.R. Tolkien not Walt Disney," she concluded firmly. Connor is very much a new character. He is an inhabitant of Daventry, a kingdom he doesn't rule but whose fate lies in his hands. A terrible curse has turned all of the people living in Daventry, including the Royal Family themselves, into stone. Connor must find the answers behind the curse, including why it's been imposed, who imposed it, and, possibly most importantly, why he alone has been spared the terrible fate of his comrades. Connor is a warrior and it's his combination of strength, cunning, intuition, and intellect that makes him best-suited to save the kingdom.
-Interaction Magazine, Fall, 1997
It would seem the King's Quest series has grown up a bit with the creation of Mask. Evidence of this continually surfaces throughout the game but is especially apparent with the central antagonist and Archarchon, Lucreto. His storyline parallels that of Lucifer, the fallen angel whose attempt to overtake Heaven ends him up in Hell.
-Interaction Magazine, Fall, 1997
- Now - it involves a “normal citizen” of Daventry (Connor of Daventry) who survives the onslaught of evil magic, managing, somehow, to “stay alive,” while the rest of the citizenry turns to stone. Connor figures out that the source or cause of this “magic” involves a sacred golden object called the “Mask of Eternity.” A piece of this mask saved him…and it will be the means by which the rest of humanity will be saved… but it’s up to him to accomplish that immense task.
- What happens in the game is that the most sacred, powerful object in the world, the Mask of Eternity, is shattered by an evil magic (really, an evil “sorcerer-type” guy). When this happens, “Truth,” “Light,” and “Order” are banished from the world and all of humanity turns to stone, while all the supernatural creatures of evil and chaos crawl out from the dark nooks and crannies of the world and begin to spread turmoil and upheaval throughout the land. Connor, being the only “human” left (because he found a piece of the Mask - which saved him), is the one who needs to find the remaining pieces of the Mask and then return it to its rightful place…and to destroy the evil “sorcerer” who caused all of this mess in the first place. If or when he does so, he will cause “Truth,” “Light,” and “Order” to be restored to the world…and humanity to come back to life. -Roberta Williams, 1998
Many of the early ideas of elemental realms and divine realms were kept, although folded into existing realms. The swamp was tied to water, Underground Realm was tied to earth, the Barren Region was tied to fire, and Frozen Reaches was still connected to air. The Dimension of Death still maintained some ties to "darkness/moon", and Realm of the Sun maintained its ties to the sun/light (gold is still symbolic of the realm).
What do you do to design any puzzles for games, what do you do first?
- "Roberta: Any puzzles? Mark Seibert: Story first. Roberta: Ya st...I think to design puzzles, I do think that puzzles come a little bit later, the very first thing you need to do, is you need your quest, you need your goal, you need to know what it is your doing, and then...what I usually start doing is developing my story to go along with the quest, and I develop my story and the map of the world, synonymously, and the puzzles fit into the story, and you work those in one by one.-Talkspot part 2.
There may have been discussion of making one large interconnected world, apparently allowing new areas to load on the fly. The zones apparently would have radiated out from Castle Daventry. This was likely within the "Stone Statue" period or a liminal period between stone statue and the 1996 phase. It appears they scrapped this idea later on due to limitations in the 3Space engine, instead choosing to go with Roberta's preferred idea to make a linear world. The 3Space engine would not allow for a fully connected world either, due to palette limitations and level size restraints. An early making of video included with the Roberta Williams Anthology shows a concept map and brain storm map of Daventry region itself (not necessarily the other levels) during the early design process of the game. The version of Daventry seen in the maps never made it into any engine. It shows Castle Daventry in the center, and a few farms surrounding it. The unicorn/ugly beast pond is seen in the top right corner of one of the maps. Readable sections of the map include, "Castle" (with several Rivers flowing from the moat surrounding it). To the northwest of the castle are three bits of text saying, 1. Bull Pen/Milk Barn, 2. Farm House, and 3. Hay Barn. In the northeast is an area marked with "Shallow Pond", and surrounding it, "Unicorn Forest". Scattered around are boxes marked, "cottage".
From the world of King's Quest: Mask of Eternity phase (1995-1996)
Articles concerning the game from 1996 to late 1996 (the first true phase). Initial levels were being developed in 3D Studio Max v1.0 at Sierra's studio. The actual game engine itself was still being developed over at Dynamix. There were apparently two separate phases within this stage (with the character Brendan and later Connor mac Lyrr).
Will it bear such hallmarks as the Kingdom of Daventry?... Connor begins his adventure in the Kingdom of Daventry, but he doesn't stay there long. Seven new lands await!... The world of King's Quest: The Mask of Eternity reaches from the sunless Underworld of the living dead through the alchemical plains of Earth, Air, Water, and Fire, into the ether of the Celestial Realm--and even to a dark mysterious island temple...
-Interaction magazine, Fall 1996. Roberta's plan was to separated the world into different levels. At least two levels were cut in the final release, in this version is a seaside area, underwater level, and possibly a larger Realm of the Sun, with outside elements. Limitations with the game engine's color palettes, and computer systems at the time, meant that Sierra each level was based of a single theme and palette. Several of the realms fell into concept of elemental realms, each based on an element theme and a relating metal and race (Earth/Gnomes/Copper, Air/Air Sylphs/Quicksilver, Fire/Salamanders/Iron & Water/Mermaids/Tin), there were to be possibly two "Divine" realms (Sun/Gold & Moon/Silver).
- "Ya, probably, if we had talked about making it one big world, the thing that really held us back from doing it, was the fact that game was actually palettized, every level was based on a palette. So we have, you know...the colors in Daventry would be hurt by the colors in the Barrens, which are kinda orange and all that. You have the ice world that's all blue. So, each world has its own little, you know, look and feel which made it a lot easier for us to do by separating them out."
-Mark Seibert, Talkspot part 2.
- "Ya, I think that if you explore one big world, it would get boring after awhile. I always felt the more places and different types of places you can explore is always more fun in the long run."
-Roberta Williams, Talkspot part 2 December 1998. There were ideas to have seaside and underwater levels (including the Hydra). Daventry would have been much larger zone, with villages, forested areas, farms, and rivers. It would have taken place during the day (as opposed to the darkness seen in the current game). The swamp apparently would have been part of Daventry. The alchemist's shop would have apparently served a larger role. There was apparently going to be a different starting zone near Daventry set by the sea (as Connor was the son of a fisherman), near a seaside tower, in a green hilly area. There was apparently going to be a harbor town. A pub by the harbor (something lived inside of it). There was to be an island with a shed (apparently the home of an "island" King). Connor would have been able to get around the ocean by boat, and possibly use his rope and hook to tie up the boat, and keep it from floating off. Another removed zone appears to have been set underwater, with seaweed, fish, and ancient ruins, and an Underwater City, the home of mermaids. It would have also included a shipwreck, that may have belonged to ocean going raiders. There were ideas for the player to find a treasure map there, and maybe a shovel that would lead on a treasure hunt to find pearls (initially an amethyst).
- You talked about a Doom-like sequence, and a shipwreck underwater. Why was there no swimming in Mask?
- There is are a lot of things I wanted to do, and we discussed doing in KQ:MOE, swimming was one of them. Actually I went through three different designs for that game. Three complete designs. The first two got tossed out for various reasons. Probably a lot of which I got a little over exuberant in design, then just this was impossible, forget it. The shipwreck and swimming was part of the first two designs, but by the third the which was the one we went with it was gone, and basically it just kinda came down to time and I hate to say that. It was a three year project even so. We were really developing a new technology here, and there were was a lot we had to do, and we were pretty much developing from scratch. Just being able to add the routines for swimming and for underwater currents, and all that was just too much for us to do and get a King's Quest game out. It would have been a four year project, instead of a three year project.
-Roberta Williams, Talkspot Part 1, 1998. Dimension of Death would have been named the Underworld. The art style of the "Underworld" would have been much different, using much more defined Mesopotamian style rather than the current Egyptian/Mesopotamian motif. The player would enter the Underworld by using a rope to climb a rock to the Underworld. There was to be a Trading Post (likely became the weirding trading post) in the Barrens may have served a larger role, and involved a Bandit. The "Tomb" would have been an area called the Volcanic Hills. The Barrens would have been the home of the Salamander race and the submen. The Frosty Mountains would have been home to the the race, the "air sylphs" who lived in the ice castle. These likely evolved into the ice nymphs and the griffs in the final game. There was to be a dark cave/tunnel behind the waterfall, a place called the 'the dark abyss' (another name for the Underworld?). Apparently Paradise Lost was to be a realm of darkness. The player may have been able to use a piece of the mask, "seeing" mask piece, to see in dark areas, including the "utter darkness of Paradise Lost". The Temple of the Mask would have been the Island Temple implying rather than being in the sky it would have been out at sea somewhere, at least one quote from a magazine implied that it was separate from the "Celestial Realm". Probably requiring use of the boat to reach it.
Early 'King's Quest: Mask of Eternity' phase (1997)
At this point the world was split into several seperate lands as in the final version of the game, but each of the maps were much larger than in the final game. There is evidence that some places such as Dwarves fortress and Ice Lord's Citadel would have also gotten their own maps (these exist as far late as the second half of this phase, and files remain on the game disk) . Early on in this phase, based on screenshots Daventry may have had a grey cloudy sky (rather than the pitch black as in the final release). Although this is not clear, and it could just be grey cliffs being seen in the distance. At this point early 1997 into 1998, the name of the village in the starting area (which made it into the game) was known as Daventry (rather than just described as laying "outside Daventry" which is unclear if it means the castle or the town). The name for the village was listed on the official KQ8 website (the website also includes the description from the manual in addition to this one):
Daventry once bustled as a thriving village under the peaceful rule of King Graham and Queen Valanice. Now, continuous darkness covers the land, vile Goblins and monstrous Spriggans roam about unhampered, and the entire population has been turned to stone. Connor starts his journey here, leaving behind his home in search for the sacred pieces of the Mask of Eternity
The DOD was still known as the Underworld (as mentioned in the programmer's notes), and was given the name the City of the Dead, the river passing through would have been known as the River Styx. The reference to the City of Dead and the River Styx made it onto the website (though in-game it is referred exclusively as the River of Death).
Azriel, Lord of the Dead, once claimed eternal control over this realm. Now, with the evil curse infecting even this seemingly immune region, the "undead" have a stronghold on the dimension. Passing through this land in search for the key that unlocks the gates of the dead lands, Connor must fight off skeletons and zombies to avoid becoming a permanent resident! And in order to depart from this realm, Connor must find the only way to cross the famed River Styx.
The website makes reference to both the Dimension of Death, as well as the City of the Dead within the dimension (in the game it is exclusively referred to as the Dimension of Death in any reference). In the game files in the final released game, the assets related to the river are given the name "styx" which is a remnant of this idea, though in the game itself it is known as the River of Death. Many of the game assets refer to the DoD, as "DeadCity" (a reference to City of the Dead). This lore concerning the City of the Dead, River Styx, and town named Daventry remains valid up to the final games release, as the website remained the backstory material for the game even into the updated website (some sections of the website simply does not appear in the manual, and certain terminology is not directly mentioned in the game itself, but does appear in the file names); The Barrens were described as the lands of fire, or hotlands (although hotlands may have been a location within the 'lands of fire'). One interesting thing to note is that land would have had still had dry spiny bramble bushes, giving the land some foliage. In the final released game, there is artwork for an unused cactus plant as well (in the released game there is only a few lifeless trees as foliage). The Frozen Reaches was still known as the Frosty Mountains.(Interaction Magazine, Fall 1997) The land would have still had snow covered pine trees, giving the land a bit more life. Snow Demons at this point in time still had horns.
The seven worlds are: Daventry, Dimension of Death, the Swamp, the Gnome Underground, the Barrens (A lava region), the Frosty Mountains, and the Realm of the Sun (Where the temple for the Mask resides).
-Mark Seibert, 1998 The programmers notes in 6000.msg, also refer to "Frosty Mountain".
Late 'King's Quest: Mask of Eternity' development and release (1998)
- Information concerning early 1998 until the game's release.
At some point between 1997 and 1998 two other worlds were removed, but they do exist in the final games files to some extent, and are mentioned in the final games 'script' files. These include the Dwarf Underground (Barrens Underground), and Ice Lord's Castle (Ice World Dungeon). The maps for these two 'worlds/zones/areas' can be seen in the gallery's below. The idea of splitting Barrens into two regions overworld and underground goes back to at least the 1997 design document.
The design of King’s Quest is not finished…and neither is the dialog. Design doesn’t end with turning in a design document. It’s an ongoing thing. You think of new things; you play portions of the game and see that you need to “add” here, or “take away” there; you adjust various aspects of the game; you add, delete, or change dialog; you add more variety/atmosphere/ambiance to the worlds; you change characters or add characters. Also - one of the biggest jobs of the designer is to play test the heck out of the game…right up until the minute it ships. You play it and play it and play it until you think you can’t stand to look at it anymore to find each and every little bug, design problem, graphics/animation problem, sound problem, dialog problem, etc. The designer is there at the very beginning - with the initial concepts - and still there at the bitter end…signing it off for shipment.
The Mask of Eternity
There were apparently initial ideas to have seven mask pieces rather than five. According to an early concept notes, it seems that each piece of the mask of eternity may have had a special ability. For example the "seeing" mask piece would possibly allow the player to see in "dark" areas including, a cave/tunnel behind the waterfall, the dark abyss, and the Paradise Lost (which apparently originally was going to be a place of darkness). One of the early concepts for the mask portrayed it as a kind of cracked stone mask.
Later design process
- "The idea I sorta had in the back of my mind in developing this game, its not really heavy, or fleshed out strongly, it was the idea of exploring spirituality a little bit, I don't want to get heavy with this, but the idea of religions maybe, or lightness and darkness, chaos and order, and why people believe the way they do, and I sort of went back to primitive religions, and looking really at all religions, seeing what was some commonalities among them. ...and one of the things I found was the idea of a sun god as either the main god or even the sacred God we all believe in today has even had a lot of sun symbology with him...and so I looked back at, like Mesopotamia had their big god, who was a sun god, and he was shown by his symbol was a golden disk with wings. If you look at our mask that we have here, he is golden, and gold has been symbolic of the sun, because it's an incorruptible material, it always shines, it never tarnishes. You can see he sort of has that sun look, the rays are coming out from him. The wings above his eyes came from the old Mesopotamian god, the winged disk...and also the beard comes from the idea of the lion and Leo, and lions have also been associated with God, and sun gods, and the sun in ancient religions, and is also a very powerful male symbol...and so I took those ideas and worked with a very good artist, working for Sierra, by the name of John Shroades, and he, I gave him all those ideas, and I gave him different masks he could look at, and the different symbology of various masks, ancient masks, and he came up with this, and I just think it's a very strong symbol."
- "ya, and the mask is, I mean really...even the idea of the Mask of Eternity, is a term that means essentially...again it is a reference to sort of a god, or old religions of a god. It is sort of like everybody has their own version of what your god could be or what it could look like or stand for. The image or the mask is each person's version or vision of what it could be. Because you could never really see the face of God."
-Roberta Williams, Talk Spot 2.
Action and Combat
- Roberta had always considered possibility of action and combat as early as the first three games in the series. But there were apparently limitations and it was never fully realized.
- From the designer's notes for KQ3: "I'm going to try to make KQ3 more difficult to solve…I'd like it to be able to do its own mapping, but Ken and Jeff will have to be talked into this...I would like to try to add more arcade-type action, but still retain the flavor of an adventure game."
While there was 'combat' elements incorporated into earlier games in simplistic ways, see violence (and sometimes at a reduction of point due to losing an item (losing the knife on the dragon in KQ1 causes a 2 point reduction, but 3 points are given for killing the dragon)), it was never full-and proper arcade-like experience. The closest it ever reached was a very simplistic 'QTE' between an enemy and using an item or action at the right time, within a short period of time, before the enemy or obstacle kills you. In another example, characters encounter random bad guys, but have direct way to interact with them or defeat them, and can simply avoid them in real time. The latter would be influence the inclusion of enemies in KQ8, but there being a need to making the encounters more interactive. Initially, for KQ8, there were no ideas for combat, but combat was decided very early on during development. Combat was inspired at least in part by Alexander and Abdul Alhazred's sword fighting in King's Quest 6. Ideas were first introduced during the 1996 phase, and made it all the way into the final game.
- The one thing which is quite different from the older “King’s Quest” games is the fact that Connor can fight many of the evil creatures of “chaos” - but, with the good and friendly characters…he is more than a gentleman.
-Roberta Williams, 2008 This quote from Mark Seibert explains how combat was introduced during the planning stages (during the written concept stages?);
- When we started working on the project, we first started by designing Daventry, and ended up with this huge map, and Connor wandering around this big area, with pretty much nothing to do in between the puzzles, and that in connection with Roberta's story, I started recommending lets add things like combat, and health items, and things like that, to give us more things to fill out the world, and to keep the player involved in between the puzzles. ...and so we came up with this very simplistic combat system that I don't think gets in the way of the story, its a very easy to grasp, click on the guys, until he is dead, Diablo-like combat. I felt it really added to the system."
-Mark Seibert, Talkspot part 2, December 1998.
- "I have to admit I was a little nervous about it and I never questioned it, I always felt it was the right thing, and I feel time will tell as to how that eventually works out, only I must say by the sales of King's Quest, and by the fact so many people seem to be enjoying it, it must have been the right thing to do. I think combat, got quite a bit of attention and controversy, because they say that's not part of King's Quest, but it certainly can be part of King's Quest, if its a knightly quest, and its good vs. evil, and if it fits into the story, which I think it does very well in this game."
-Roberta Williams, Talkspot Part 1, December 1998.
- The reason why combat was added, and first of all, I don't think people should take it negatively because combat is definitely can be part of a story, lot of people think combat, that is just an action game, just action. But if you think about some of the great movies that have been out there, some of the great books where combat has been part of it, if you think in terms of adding it to the story, and if it fits very well with the story, then I think it's very appropriate. My idea was I wanted to do a story that was more in like the tradition of the epic games, where you had your true hero that would go out, and think about some of the old legendary figures of King Arthur or Sir Lancelot or Jason and the Golden Fleece. I mean they were all super heroes that would go out and they would fight the monsters and they were working for good. ...and really also if you sorta think about the quest, the quest for faith, or even your inner self. It could be said fighting the monsters, is the same as fighting your own inner demons. But when you think in terms of putting it into the story, fighting chaos, and your trying to set order right, and your fighting evil, I think its very appropriate. How would Star Wars be without Luke Skywalker out there fighting the bad guys.
-Roberta Williams, Talkspot part 2, December 1998. The above quotes are probably referring to some point during the concept and early '1996' phase (as ideas for enemies were already included by then). His quote mentions "Connor wandering around...between the puzzles". But this maybe referring to brainstorming of ideas on paper, rather than early ingame gameplay. Once Combat was to be added into the game after Seibert's suggestion. They began designing the enemies which Connor would encounter. These included the snow demons, and the red-cap goblin/leprechaun.
"In dealing with the challenges of finding the seven pieces of The Mask of Eternity, the title gives you more ethical choices than ever before. A prime example is the potential to destroy some of the evil, magical beasts that get in your way - a mode of behavior that was not included in previous games. "If this was the real world, you might actually have to fight and kill an enemy, says Williams. "In the Mask of Eternity there are seven instances where you must mortally defeat a monster before you can proceed."
-Interaction magazine, Fall 1996.
The decision to make the game 3-D was Roberta Williams and was decided upon as early as late 1994, or early 1995;
- "Who decided to make Mask of Eternity a 3D game? Were you worried at all about this decision?
- I did. When I was finishing Phantasmagoria, I knew that KQ8 would be my next project. At that time, several games came out which were 3D. I knew that King's Quest needed a "makeover" if it were to continue as a successful series of games. I made the decision at that time that KQ8 would be 3D. The difficult part would be to determine how King's Quest would become 3D, what technology to use, how it would affect the "King's Quest-ness" of King's Quest, etc. Those have been issues we've been dealing with for about two and a half years now. And ... no, I'm not worried at all about the decision to make King's Quest: Mask of Eternity 3D. In fact, I'm even more sure than ever that it was the right decision to make.
- What's your favorite feature in Mask of Eternity?
T:here are so many new features in King's Quest: Mask of Eternity; it's hard to choose one. I would say the fact that it's one of the first true 3D adventure games is the most compelling feature of this game. It also has real-time action components to give more interaction and reality to the game. The seven different "worlds" within the game are also very beautiful--and with 3D you can explore them freely. It is very, very immersive.
There were several encounters that either discussed or developed in the early stages. Most of these ideas never made it past the concept or 'concept' phases and were dropped before the start of the '1996' phase.
Assorted ideas seen in concept art or mentioned in concept notes (from various phases), most of these never left the concept stage (i.e. no game models were made). In one of the earliest concepts, there was to be an evil sorcerer that turned everyone into Daventry to stone, and turned a statue to life.(this character evolved into Lucreto) There is a picture of a dragon (with a little bird on its horn). It's possible that the dragon partially made it into the game, as there is a dragon head inside of Julia's Tavern. Concept arts show the gryphs appearing more gryphon like, standing on four limbs. There is also mention of "wood whisps" and hinted that they have a connection to the green man. This seems to have developed into the idea of the Swamp Wisps and King Mudge who have an elemental connection to the Swamp. One of the concept art is of a rather elf like creature (with plant like features), perhaps the "green man" mentioned in concept notes. It seems that there were to be a few other humans that survived the cataclysm beyond the wizard, including the Alchemist, a hermit, a Bandit, and an "island" King. There was also ideas to expand the the role of the Alchemist, and/or include a Sphinx, and connect it to a Phoenix's Egg (perhaps indicating the idea of including a phoenix). The Alchemist and his shop were maintained (although he was made one of the victims of the cataclysm, and his shop contained one of the game's side quests, and clues). The idea of the sphinx might have evolved into some of the lion headed (mask of eternity emblazoned) riddling doors found in the Realm of the Sun. There is a concept picture of a large chicken-like bird creature, perhaps a cockatrice or the phoenix. There was going to be a Bandit in the Barrens that needed to be saved. He may have had a connection to the Trading Post (precursor to the Weirdling trading post). This might have evolved into saving Queen Freesa from the Fire Dwarfs (as seen in the final game). There was discussion to have a race called the "submen" who would either help the player obtain the fire gems (became the fire gem in the final game), or hinder them for a "fire puzzle"(although this idea was scratched out in the notes). In the released game the hillmen related texture files are listed as 'subman'. So its possible some of these ideas were split between the hillmen and the fire dwarves. There is also discussion of a race called the "air sylphs" who apparently lived in the ice castle (this evolved into two separate characters, the frost nymphs, and Sylph of Inner Beauty). There was apparently supposed to be a race of mermaids who lived in the Underwater City. There was to be a race of salamanders in the barren region. The wizard apparently would have served a completely different role than he did in the finished game (they hadn't completely fleshed out his role however). According to Mark Seibert, there had been early discussions of Wizard possibly being Crispin from KQ5, but they decided not to make a point of it as the game was developed. There was apparently going to be an "island" King. Who apparently lived in a shed on a small island in Daventry (some of this probably inspired the Wizard's island). There was an idea for a hermit who would talk to the player, after he discovered the first mask piece. He would explain things such as about an "island" King, the mask, and other things about the adventure. After the character completed the mask, the hermit would give a key to the Sun Temple. Parts of this seems have been folded into the Wizard (who owns an island in the game, and tells Connor about the mask piece he acquired). It also seems to have inspired the old hermit living in the Underground Realm of the Gnomes who also offers explanations about the mask, and also gives clues to finding the 'Key' to Temple of the Sun (a crystal pyramid). There were were ideas to give the shipwreck a backstory that it belonged to raiders (vikings? pirates?) who were about to invade Daventry, when they wrecked their ship (hinting that it was probably destroyed during the cataclysm). It's unclear if there were to be survivors encountered by the player. Castle Daventry would have been fully explorable, and Connor would have apparently been able to encounter not only Graham, but also Valanice, Alexander, and Rosella turned to stone. 'From the world of King's Quest: Mask of Eternity' phase ('Connor mac Lyrr', 1996)
Originally there was going to be a redcap goblin who was to lurk around the world, and eventually Connor would have to kill him to get by him. The programmers notes suggest it would have dropped a breastplate. This idea apparently evolved into a Leprechaun inside the Castlekeep Ruins (although its notable that the Roberta Williams Anthology shows pictures of both, likely filmed at different points of development). Both ideas were removed before the released version phase of the game (he may have made it in as early as the, "early '1997' phase, but as late as the final stage?). The Leprechaun is listed in the Talkers.SH suggesting he may have been potentially used even in the final/late stage of development. The programmer's notes also seem to suggest that that they were thinking of using redcap goblin in that late stage as well, but they settled on the Spriggan boss instead. From this information it can be inferred that of the three characters, the Leprechaun would have probably talked and made challenges to Connor. Roberta explained the situation between the Redcap and Leprechaun;
- "Whatever happened to him?...He tries to...he was kinda there, then he wasn't there, then he was there, then he wasn't there, and then his last iteration which also didn't survive, the little redcap goblin turned into a leprechaun that was supposed to be in the castle keep ruins in Daventry, and at the very last minute that also died out unfortunately. So he kinda went through several different versions before we finally decided we weren't going to have him."-Roberta Williams, Talkspot part 2, December 1998.
The Redcap goblin/Leprechaun was an encounter within the castle ruins. According to Mark Seibert, the encounter still exists in the game in some form (the programmer's notes show it was Boss Spriggan at the top of the ruins who drops the leather breastplate). One bit of trivia one of the files (found in the swamp related subfolders) in the released game is named redcap99.bmp which appears to be a nod to this cut character. Although the image itself appears to be a texture used in the Swamp. It seems that they must have just 'saved over' the original file, and then used the file for another texture instead. The Swamp Witch's part in the game was originally much larger.
- "In Daventry there is this Swamp, and there is this Swamp Witch in there, and she kinda looks like a part snake, part alligator, and part mermaid."
-Mark Seibert She would have been able to change herself into a beautiful woman, to persuade Connor into thinking she was good, and lure her into her castle, before exposing herself, and showing her true form. Conner would have been forced to escape, and fight her for his life. This was removed from the final version of the game as well, and the witch stays outside of her castle. However references to the witch's wiles are still mentioned if you examine the skeletons in her castle. Most if not all info relating to this encounter exists in material relating to the '1996' phase of the game.
- "Well, it was in the design at one time"-Mark Seibert
- "The swamp witch turned into a beautiful lady? I don't remember that in the design?-Roberta Williams
- "Remember in the design, she was going to be like this siren, she was going to be this beautiful woman, that if you followed her up into the top of the tower, she would..."-Mark Seibert.
- "Oh that's right."-Roberta Williams
- "That was a long time ago"-Mark Seibert
- "That was long...that was like two designs before the design that we...I tell you...I didn't remember that, that is amazing...little bit of trivia that is true."-Roberta Williams
- "Actually I think if we could go back into the design, I think I would advocate doing more with her. I think she was much more fun character. I think I would have liked to have been able to see her inside her castle, and to do some things with her in there. Which we had originally planned, but it's one of those things. It's always painful to see the leftover design that gets left on the cutting room floor, and you just think about that. The Swamp Witch is real fun."-Talkspot Part 2, December 1998.
Fire bugs could be found in the hotlands. Connor would have had to find a special way to defeat them as he couldn't fight fire with fire ('1996' phase) A fire breathing hydra, would have been encountered in ocean near the sea-side town (pictures may have been shown as late as 'early 1996 phase'?). 'King's Quest: Mask of Eternity' phase (1997-1998)
The programmers notes in 1000.msg, talk about Gwennie originally going to be sitting at the bench at table after you rescue her. She would come over to Connor to talk to him, but then return to her bench at the table afterwords. In finalized version she stands in the house. For another conversation she would stay at the table and talk to Connor only turn her head to follow him, depending where he was standing when he initiated the conversation. Other notes concerning various towns people in various action when turned to stone;
- "The barkeep should be a voluptuous woman -- almost like a "wench" type of tavern woman. She is also the barkeep. There should be a fallen mug at her feet with spilled ale -- as if she had been bringing a new mug to her customer when she turned to stone and dropped the mug."
- "This is a CUSTOMER in the TAVERN. He should look as if he had fallen off of his chair onto the floor. A mug could be overturned on the table near him."
- This is for the FARMER -- who will be out near his barn doing "something" there.
- This is for the FARMER'S WIFE -- who should be somewhere in the house.
- This will be a "stone man" who is the LITTLE GIRL'S FATHER. Place him JUST OUTSIDE OF the outhouse. Perhaps a "newspaper," "corncob," or "rolled up paper" (kind of like toilet paper) could be lying on the ground near him. He could look as if he had just run out of the outhouse quickly -- but didn't make it very far.
- NOTE: This is for the LITTLE GIRL'S MOTHER. She should be standing somewhere inside the house. Perhaps a large bowl and spoon are lying "spilled" on the floor next to her; as if she had been stirring something in the bowl when she turned to stone and dropped it.
- Connor will say this when he is BELOW the waterfall and the stone man is ABOVE the waterfall -- and Connor HAS NOT CLIMBED up the waterfall yet.
There would have been two piles of torch ashes, but he would only pick up one. A comment would be said if he tried to pick up the second one.
- There are TWO piles of torch ashes. If Connor already got one of them, he says this if you click on the OTHER pile of torch ashes.
The player could have clicked the spell of might on the wizard;
- NOTE: Use this for when the player clicks the "Torn parchment page" on the wizard.
The golden mushroom was originally a 'green mushroom'. The henchman at the top of the witch's tower would have been slightly more interactive. Either Connor could attack it directly, or wait for it to attack him.
- A second or two after the henchman says this he will attack (if Connor hasn't attacked him) -- OR -- he will immediately attack if Connor immediately attacks him.
There was an idea for a tavern in the weirdling village. It had a bartender and a female weirdling dancer, files concerning a dancer can be found in the Barren directory (dancer.cs, dancer.anm and dancer.kq, make reference dance routines and dance related animations).In addition there is a drunk customer or other bar patrons (customer.ks, drunk.cs & drunk.anm) make reference this character. Connor would have been able to talk to weirdlings found all over the barrens.
- NOTE: Play this message if you click a GOLD COIN on ANY generic weirdling, bartender or otherwise. ALSO -- subtract the GOLD COIN from Connor's total. (AND -- he gets "nothing" for the trouble!)
- NOTE: Use this conversation as one of 5 different RANDOM conversations between Connor and GENERIC WEIRDLINGS whom Connor can run into here and there.
There were traditional looking dwarves. ALthough its not clear if these were gnomes or fire dwarves, or possibly the 'submen' (early '1997-1998' phase). They could have been early versions of the gnomes or dwarves from the cut Dwarf Underground level. Connor would have also encountered a red weeper, presumably more powerful than the standard variety. The skin for the enemy can still be found in the game's graphic files. There was to be a monolith for the deciphering amulet near the dragon.
- PROGRAMMER: Use this dialog when Connor "uses" the deciphering amulet on the monolith near the dragon.
They had different ideas for Freesa's throne;
- NOTE: We should show the queen nymph either sitting on her throne OR she could have more of a fur-covered LOUNGING-TYPE throne (or chaise- or couch-type throne -- and she's really reclining on her throne rather than sitting on it....just to be different and a little more exotic.)
Henchmen in the Temple of the Sun were to potentially have conversations with each other:
- NOTE: This one would probably be played when there's more than one henchman -- as if one were speaking to another.
Connor would have said something about the cauldron, depending on if he had seen the vision in the swamp or not.
- Connor says this as he darts behind the column during the "henchman/cauldron" cartoon IF HE HAS NOT SEEN THE SWAMP WITCH/CAULDRON VISION.
- Connor will say this if he HAS SEEN the vision in the swamp witch's cauldron -- as he hides behind the column during the cauldron cartoon...first time only.
While Frost Demons made it into the game, they went through some graphical changes, around the face (notably the removal of the horn on their forehead). Horns were still shown as late as the early '1997' phase? Fire ants went through an even bigger model change, with the original model from the '1996' phase, being completely replaced in the released game. Full-color graphics for the snow mane exist in the files of the released game, but were not used in the final release. Although the model used in the game appears to be more ratlike (but remains semi-invisible when revealed). Some of the programmer's notes suggest having it physically visible after it dies, but in the final game this doesn't happen. Graphics for an ice serpent exist in the files of the released game, but were not used. It is assumed it would have been an encounter in the lake in the Frozen Reaches, but are perhaps prototype graphics for the two-headed dragon. Graphics for a red eyed variation of skeleton enemies could be found in the files of the released game as well. Perhaps representing more powerful versions of the enemies (or it was a new replacement graphics, but never were used, the file is "newskltn.bmp"). Additionally another graphic exists for what appears to be skeleton noble, in Egyptian pharaoh like regalia that never made it to the final version of the game (according to the programmer's notes this was originally intended to be used for the [[Hammer Skeleton that guarded the Hammer of Azriel). While graphics for mage snow nymphs made it into the game, there was also a graphic for a snow mage healer in the game files of the released game. The character did not make it into the final game. She would have presumably been able to heal Connor from injuries in the Frozen Reaches. A reference to her appears in the Talker.SH file as Healer Nymph. There are two files in the Barrens texture assets named 'ogre' once of these includes what looks like stone like sword, and possibly armor or shield. The other file contains an unfinished artwork that sort of resembles the texture used for the Hillman Blacksmith but only has one horn, the horn sticks diagonally off to one side of the 'Ogre's head. Among the other files are various files listed for Ogre tables, ogre stools, ogre bed, etc. These do not appear to be used in the game.
Silver currency was going to be the currency (or an extra currency) in the game, during the '1996' phase. While it didn't make it into the final release, silver is mentioned in an in-game cheat, though the cheat gives you gold. The money would have been kept in a pouch. There would have been a treasure map which lead to pearls (or amethyst), and a shovel to dig the treasure up. The rope and hook may have served roles such as climbing down a rock into the Underworld (this evolved into using it to climb into the church, to open the entrance of the mausoleum where the Underworld entrance was located) or tying a boat to the shore so it wouldn't float away. There was apparently going to be a crown as well. Each of the mask pieces apparently had an ability, such as the "seeing" mask piece (for seeing into "dark" places). The player character would have apparently not found one but several Fire Gems. The slingshot would have apparently been one of the projectile weapons. Maybe one of the earliest projectile weapons in the game. In one image, there appears to be what looks like a tin can as an inventory item as well. There is artwork for an inventory item called a ClockShaft in the game. This was presumably for some kind of clock puzzle. There is also artwork for the inventory for the AntiPoisonFlower. In the game, Conner eats the flower, and never holds it as an item.
Both a sea side area, and an undersea levels never made it into the game. Connor became a tanner, and was moved inland to a small village. Castle Daventry was reduced in scope, and most of the castle was 'blocked off'. Paradise Lost was turned from a land of utter darkness into a lost paradise close to the Realm of the Sun. An outside levels showing the floating rocks of the Realm of the Sun didn't make it into the final game. The 'Black Abyss' is the swirly pink and dark vortex realm seen at the end of the game (that either Lucreto or Connor can be sucked into). It was likely inspired by the idea of the 'the dark abyss' a land of darkness from the early concepts. The Abyss is mentioned by the Archons & in the debug console in the released game. Lucreto is ultimately banished and vanquished in Black Abyss. In the early notes it is unclear if the 'dark abyss' was meant to be the Dimension of Death, the old idea for the dark 'Paradise Lost' or a separate place altogether (perhaps even an underwater abyss). A version of Abyss would have apparently been visited in the early concepts of the game (if it was an original location, perhaps Lucreto would have banished Connor there, forcing him to have to find a way to escape). Temple of the Sun was moved from being an island in the sea, to a floating temple in the sky. In the finalized game, inside of the 500.msg folder is a reference to a 'The Dwarf Underground', and an Icelord's Castle (Level 1, Level, 2, and Level 3) which means that there was to have been an intermediate level between Barrens and the Frozen Reaches, and that Icelord's citadel would have been made up of three separate levels. There is a reference within worldvar.ks file that talks about going through a 'portal' in the 'barren::tunnel to the fire dwarves world (and what could be a reference to the steam elevator originally going to be in the Dwarf world). In the final game however the Fire Dwarf Lair (dwarf tunnels) was reduced to a small area at the end of the Barrens level itself.
Infact, the magic map pbm files and the loading screen PBM files for The Dwarf Underground and Icelord's Castle can be found in the games files inside of the game folder (split into the KQ and the Resource subfolders). With a little file change work the map files can be viewed inside of the Barren region and Frozen Reaches respectively. The loading screen PBM files can be viewed in place of any loading screen by changing the file names. The map for the Icelord's Castle appears to show two separate maps in one. The finalized world map also seems to show an area that is never colored in throughout the course of a game. The area appears to be a forested riverland area with a large lake emptying into a river and flowing out to see. It is unclear if this area was intended to be a level of its own or not.
The file TALKERS.SH contains what apparently was a list of characters with speaking roles that would have been in the game. Many of which actually made it into the finalized game. Of particular note is the reference to a Narrator, the Leprechaun, the Nymph Healer (unused graphics remain in the files), Weirdling lady (graphics appear in the game files), Bar Patrons (were these weirdling bar patrons, or related to the bar in Daventry?), the 3-4 King of the Hill character references (see easter egg section below). Death and Azriel are listed as separately for some reason (though according to Mark Seibert were intended to be the same character). FireDwarf, Hillman and Submen are listed as separate characters (Submen may have been divided into both Firedwarfs and hillmen, or there may have been an underground version of the Hilldwarfs in the Barrens Underground?). The file was last updated on 9/29/1998.
- TALKERS.SH -- Produced by SCI Message Editor 5.010
; This file should only be edited with ME
(define NARRATOR 99)
(define ALTHILLMAN 72)
(define APTHGNOME 18)
(define ARCHON 28)
(define ARCHON_S 79)
(define ARMRGNOME 17)
(define AZRIEL 24)
(define BARPATRON1 45)
(define BARPATRON2 46)
(define BOOMHAUER 76)
(define BROTHER 43)
(define CONNOR 4)
(define DALE 78)
(define DEATH 13)
(define DRAGON 53)
(define FERRYMAN 33)
(define FIREDWARF 27)
(define FRGHILLMAN 73)
(define GEN_GNOME 66)
(define GEN_GNOME1 69)
(define GEN_GNOME2 70)
(define GEN_GNOME3 71)
(define GEN_GRYPH 68)
(define GEN_HILLMN 74)
(define GEN_NYMPH 67)
(define GHENCHMAN 81)
(define GIRL 3)
(define GRAHAM 2)
(define GRYPHGUARD 34)
(define GRYPHKING 36)
(define HANK 77)
(define HEALNYMPH 31)
(define HENCHMAN 22)
(define HILLGUY 44)
(define ICELORD 37)
(define ICEORC 35)
(define KNIGHT 7)
(define LAKELADY 12)
(define LEPRECHAUN 50)
(define LUCRETO 39)
(define MAGICNYMPH 32)
(define ME 51)
(define MINISTER 1)
(define MYSTIC 20)
(define NYMPHQUEEN 30)
(define OLD_GUY 64)
(define PRINTMSG 97)
(define PROTREE 15)
(define RAVENC 54)
(define RAVENG 56)
(define RAVENS 55)
(define SAGE 19)
(define SARAH 42)
(define SENTRY 63)
(define SKELKING 40)
(define SKELTOWR 41)
(define SKFIGHT1 57)
(define SKFIGHT2 58)
(define SKFIGHT3 59)
(define SKFIGHT4 60)
(define SKFIGHT5 61)
(define SKFIGHT6 62)
(define SNAIL 23)
(define SUBMAN 29)
(define SWMPWICH 8)
(define SYLPH 14)
(define SYSMSG 98)
(define UGLYBEAST 25)
(define UNICORN 52)
(define VOICE 38)
(define VOICE1 80)
(define WEIRDLADY 47)
(define WEIRDLING 26)
(define WEIRDLING2 49)
(define WHSPRWEEDS 16)
(define WISP1 9)
(define WISP1AND2 21)
(define WISP2 10)
(define WISP3 11)
(define WITCHDR 48)
(define WIZARD 6)
(define WPNGNOME 5)
(define WRDLNGHANK 75)
(define YOUNG_GUY 65) The purpose of the numbers is not known.
VGD: Tell us about the soundtrack to King's Quest 8. Do you incorporate elements of the soundtrack to previous games into your work? BH: The music for King's Quest 8 is really fun to write. I'm attempting to retain the heroic aspect of the music as set forth in previous games, as well as its medieval associations. At the same time, this game taps some non-Western musical traditions that give it a pretty unique sound. No themes from previous King's Quest games are directly quoted in Mask of Eternity, but I think fans of the series will notice an aesthetic kinship between, for example, Cassima's Theme by Mark Seibert from King's Quest V and my Sylph Theme; or the Mask of Eternity Main Theme, by Kevin Manthei, and the main theme from King's Quest V, also by Mark Seibert.
King of the Hill & other Easter eggs
An easter egg cut from the game, that would have occured in the Barrens. Which would have been inspired by the characters from King of the Hill tv show.
; TALKERS.SH -- Produced by SCI Message Editor 5.010
; This file should only be edited with ME
(define BOOMHAUER 76)
(define DALE 78)
(define HANK 77)
(define WRDLNGHANK 75)
- (WITH SATISFACTION) I tell ye what; it makes a man proud to see such a feast roastin' on that spit. (IN TOTAL AGREEMENT - HUNGRY) Aye, man. Roast that ant up there, man; lickity-lickin' them fingers. That's some GOOD eatin', man! (SUDDENLY ALARMED) Hey, yer burnin' the meat! What's the matter with ye? Whad'ya think yer doin'?! (PREOCCUPIED - DREAMY-LIKE) I'm watchin' them stars. Seein' if any of them change colors; like a UFO. (A LITTLE IRRITABLE WITH HIS DREAMY FRIEND) Well, if ye don't watch it, that meat'll be the only UFO here; Unidentified Food Object. (THINKS HIS FRIENDS ARE "TOO" FUNNY) Heh, heh, heh...aye, man, burnin' that ant; all up'n crispy crackly crunchin' critter. Mmmmm, mmmm, mmmmm. That's funny, man. (INSULTED - AND A LITTLE HURT) Allright, you two...laugh it up good. But, someday when the aliens land...don't say I didn't warn ye! (SEMI-URGENT) Hey, man, watch them antennas!...they're gonna fall into the fire. They're the best part. (SLIGHTLY IRRITATED) I'm watchin' 'em, I'm watchin' 'em! Sheesh! (HUNGRY) Is it done yet? My stomach's growlin' already. (DISMISSIVE) That don't interest us, stranger. (POLITE) Excuse me, gentlemen, but, may I ask; what have you there? (DISMISSIVE) Sorry, stranger, there's only enough fer the three of us. Ye'll have to get yer own ant. (SLIGHTLY DISGUSTED AT THE THOUGHT) I see...well, I'm not that hungry right now, anyway. (CALLING OUT) Hey, there, sirs! (CALLING BACK) Yer too far away, stranger! (SURPRISED AND THRILLED) Good man! Thank ye, journeyer.
Among script quotes in for inventory items is a quote about baseball.
- Have you seen my baseball?
Hidden among the game files inside of the MSG files used for the game's script and dialogue are some programmer's notes, that offer a look into the development into the game and idea, some unused.
;This is a generic message which can be used for anything we deem could be confusing -- and we at least want Connor to let us know that it could be important...but he doesn't know what it is. (For instance, we could use it if you click on the "teleportation place" -- which, for now, we don't know what it looks like... In any location where Connor CAN'T draw his weapon, play this. This is the key for the castle keep door -- to the TELEPORT PLACE in Daventry NOTE: This is the "KEY" to the "Control room" in the Frosty Mountain CITADEL -- which will unlock the "control room" door where the "lowering mechanism" is located...which can lower the cage which imprisons the Gryph King elsewhere in the citadel. PROGRAMMER: The iron lock (NOT RUSTY) can only be given to the apothecary gnome. NOTE to PROGRAMMER: This message is to be played AFTER CONNOR has TALKED TO the WIZARD and found out the identity of the FIRST MASK PIECE he has been carrying around.... Sweet mushrooms ease the pain. PROGRAMMER NOTE: This line should be played once Connor has DIPPED the iron shield in the River Styx. Can be given to either the Sylph or the apothecary gnome. PROGRAMMER NOTE: This line is to be played once Connor has DIPPED the iron lock in the River Styx. Can be given to either the Sylph or the apothecary gnome. PROGRAMMER: In this form (NOT RUSTY) the piece of iron shield can ONLY be given to the apothecary gnome. When Connor obtains the FULL SUIT OF ARMOR. NOTE: Use this message when Connor has NOT PICKED UP ANY ARMOR AT ALL YET. When Connor obtains the BEST AND LAST "ARMOR OF LIGHT." When Connor has obtained the BRONZE PLATE MAIL. When Connor has obtained the FULL SUIT OF CHAIN MAIL. When Connor has FULL leather protection. When Connor has obtained the CHAIN MAIL SHIRT. PROGRAMMER: Use this for when the player "right clicks" on the magic map on the interface. (Interface information.) NOTE: Use this "interface" message for when the player presses on the TAB key. (Open up the "blank" page and have Connor say this message.) When Connor obtains PLATE MAIL. PROGRAMMER: When the magic map is displayed: For when the player "right" clicks on the "teleport button" on the magic map. (Any time.) PROGRAMMER: If the map is displayed and the player "left clicks" on the teleport button WHILE VIEWING THE SAME LAND, play the following dialog. (Any time.) Connor should AUTOMATICALLY play this the first time that the player OPENS UP or ACCESSES the Barrens map (from the Gnome Realm) -- sees the NEW TELEPORT place on the Barrens map. PROGRAMMER: When the map is displayed, and the player has scrolled to a DIFFERENT MAP than the one he or she is currently playing, but NO TELEPORT PLACE has yet been found on that DIFFERENT MAP, then play this dialog. (Any time.) ö$5 PROGRAMMER: This will play when the magic map is displayed and there is ANOTHER MAP displayed besides the one the player is currently playing -- AND a TELEPORT PLACE HAS BEEN FOUND in the DIFFERENT MAP. At that point, go ahead and "teleport" him to the DIFFERENT DISPLAYED MAP and play the above dialog. This message will play upon the second and all subsequent "clicks" to any stone person in Daventry. The above message will play no matter which stone person the player clicks on first. PROGRAMMER: When the player "left clicks on" (rather than "stepping on") the teleport object, but has NOT YET FOUND ANY OTHER TELEPORT PLACE ANYWHERE in the game, then have Connor say this dialog. (He will continually say this UNTIL he either "steps on" the teleport thing -- OR until he HAS FOUND ANOTHER TELEPORT PLACE in the game.) PROGRAMMER: When the player "left clicks on" (rather than "stepping on") the teleport place, and HAS SEEN ANOTHER teleport place elsewhere in the game, Connor will say this dialog. (He will continually say this UNTIL he has actually "stepped on" the teleport thing.) PROGRAMMER: When Connor "steps on" ANY teleport place in the game -- but HAS NOT YET DISCOVERED any other teleport place in the game (for instance, he is in the Dimension of Death but hasn't found the teleport place in Daventry yet), then AUTOMATICALLY DISPLAY the magic map -- and have Connor say this dialog. (Basically -- we're letting the player know that AT SOME POINT he will be able to "use" his magic map (to teleport) here....but not yet.) PROGRAMMER: When Connor "steps on" ANY teleport place in the game -- and HAS DISCOVERED at least ONE OTHER teleport place in the game, then AUTOMATICALLY DISPLAY the "magic map" and have Connor say this dialog. (At this point, the player MAY teleport to another part of the game if he or she wishes.) He says this FIRST TIME ONLY!
NOTE: Use this message for when Connor "attacks" the barricaded door with EITHER his "fists" OR his "dagger." (The door will "break open" with EITHER the "axe" OR the "sword.") ALSO -- use this message for the knight's tomb door...and any other place in Daventry where this message is appropriate. NOTE: This is for when the barricade is still up -- and you click on the barricaded door. NOTE: Use this message for when the player clicks on the alchemist's sign -- BEFORE he has broken down the alchemist's door. This will play AUTOMATICALLY upon Connor's first exit from Underworld gate after encountering the shadow monster. Also -- the RAVEN will be perched on top of a gravestone as Connor exits. Immediately upon Connor having said this particular line of dialog, the raven will "caw" and then fly away toward the direction of the wizard's house. NOTE: Use this dialog AFTER the FIRST TIME that Connor kills his first monster. Connor will automatically say this after he has killed his second monster in Daventry. The Lady of the Lake either reverently hands the sword to Connor -- OR -- she causes it to "appear" on the shore of lake--where Connor can then take it. When Connor looks at Sarah Connor tries to reach the ax but can't. This is for when Connor places the BELL in the bell structure...and it fits. Connor says this when you "click on" the bell structure near the wizard's house. This is for when the bell is NOT there, though. Use this dialog for whenever the player clicks on the door in the throne room of Castle Daventry -- where two stone people block the door. This is the door in the castlekeep behind which is the TELEPORT PLACE. Connor needs to use the "key" found in King Graham's castle to unlock the door. (There is a LARGE, noticeable KEYHOLE on this door.) The key from Graham's castle has now UNLOCKED the door leading to the TELEPORT PLACE. NOTE: Play this message the FIRST TIME (automatically) as Connor walks through the door into the castlekeep. NOTE: Play this AUTOMATICALLY once Connor has made it through the "secret door" and enters the dining hall of Castle Daventry. NOTE: Play this whenever the player clicks on the "Daventry" sign. This message plays when you are above the teleporter in the castlekeep -- looking DOWN at it through the hole in the floor -- and you have "clicked" on the teleporter through the hole. Do this until he opens the door. Then don't play it anymore. This is for when you click on the cave entrance AFTER the water has been parted. Connor can see a cave behind the waterfall. This is a click on that cave. (MAKE SURE THIS ONLY PLAYS BEFORE CONNOR HAS ACTUALLY "REVEALED" THE CAVE BY PUSHING THE BOULDER ON IT. ONCE HE'S DONE THAT HE KNOWS THAT THERE'S A CAVE THERE...HE DOESN'T NEED TO "WONDER" ABOUT IT.) Also -- this message will only play if he HAS NOT TALKED TO THE UGLY BEAST about the "secret passage" to Daventry behind the waterfall. NOTE: This will be the message which plays if Connor HAS TALKED TO THE UGLY BEAST about the "secret passage" to Daventry castle behind the waterfall -- AND -- he has not already pushed the bricks to reveal the waterfall up above. When Connor collides with the waterfall. Use this for the spriggan at the door to the mausoleum. Connor should say this at the end of each of the "killing" cartoons -- where he kills him from jumping on the spriggan from on top of the mausoleum roof. As the spriggan falls to the ground -- dead -- Connor should say this...in all instances. Click on the church door. First time Connor is on the cliff behind the mausoleum. PROGRAMMING NOTE: This is what Connor says--ONLY AFTER he has read the inscription on the tomb (where it says Sir James' name). PROGRAMMING NOTE: This is what Connor says if he clicks on the coffin but he HAS NOT READ the inscription on the outside of the tomb (which means that he does not know the name of the knight). Ù˜5e This line will AUTOMATICALLY play upon Connor's FIRST entry into his own house. NOTE: Connor will automatically say this when he FIRST GETS his dagger from the tabletop. Play this if the player clicks on the dart boards or the chess board in the tavern. Connor should say this when you click on the "gate" to the Dimension of Death AFTER he has already been to the Dimension of Death and has now now come back here to Daventry. PPROGRAMMER NOTE: Play this AFTER Connor has TALKED TO the DEAD HERO. It can be repeated until such time as Connor HAS INDEED entered the Dimension of Death. (At that point, he WILL KNOW that the vortex leads to the Dimension of Death and will no longer "wonder" about it.) PROGRAMMER NOTE: Play this if Connor has NOT YET TALKED to the DEAD HERO (and thus found out about the Dimension of Death). Connor can REPEAT this until he has encountered the DEAD HERO. NOTE: Connor will automatically say this AS the globe turns into the "potion of revealment." Connor will say this as he gets the gold from "Farmer Simms" chest -- in the farmhouse. Connor will say this if he takes gold from EITHER chest in the tavern (but not BOTH chests). Use this dialog for when you click on King Graham's picture BEFORE it has been pushed. Use this dialog for AFTER Connor has pushed on the portrait. Connor will AUTOMATICALLY utter this when he pushes on the portrait of Graham and it falls back and opens up the secret nook behind it. NOTE: Play this as the spears are coming down around him after he leaves the windmill with the axe. THEN -- go into the rest of the "henchman" scene. The Henchman appears after Connor finds the Ax or the lake sword. After esiting the Windmill, the Henchman appears, says this and then attacks Connor. Play this if the player clicks on the dead body of the henchman. After Connor saves her remove this msg. Play this is the player clicks on the toy horse or the swing outside. This is for the hero's tomb door. Once Connor kills the Spriggan guarding the tomb entrance the Knight appears and says the following. He remains here until Connor has made his first trip through the portal. If Connor has already found the portal, go ahead and play htis anyway. However, once Connor leaves here, the Knight will not appear again. NOTE: Use this for whenever you click ANY INV. ITEM on knight -- except for the "hero's ring" and "gold coin" inv. item. The Knight will stay here after Connor kills the Spriggan. Once Connor has OPENED the VORTEX/DOOR -- the spirit knight will disappear and never come back. NOTE: Use this dialog for when the player clicks the "hero's ring" on the spirit knight. Connor comments on taking the leather boots. After Connor kills the goblin he can take the breastplate. When he does he says this. PROGRAMMER NOTE: We see the little girl SITTING AT the table. (So -- we would need a table in here -- with a bench or something.) The girl would be sitting on the bench at the table. (I feel she should AUTOMATICALLY get off the bench and walk over to Connor when he enters the house -- and talk to him from a standing position. The conversation should begin AUTOMATICALLY once Connor first enters the house.) Then -- once she's finished talking to him, she can go and sit back down on the bench. PROGRAMMER: At this, the little girl goes and sits back down on the bench. The conversation is over. PROGRAMMER: Now, it's up to the player as to whether they want to take the gold or not. It's just sitting on the table. (It wasn't there before if Connor had visited the house BEFORE saving the little girl.) If Connor doesn't take it now -- it will just stay there on the table until he does. Also, the little girl will just stay sitting at the table. In order to "talk" to her again, you have to "click" on her. PROGRAMMER: Now have the little girl continue on where she left off in their previous conversation. PROGRAMMER: Play this if Connor "walks away" during his conversation with the little girl in her house in Daventry. NOTE: Use this for if you click ANY ITEM on the little girl except for specific items. ALSO -- use this for both DAVENTRY AND FOR CITY OF THE DEAD. PROGRAMMER: The little girl will now just stay sitting at the bench. She will not stand up for this particular conversation. She will turn her head to face Connor. PROGRAMMER: I see no problem with this particular conversation being "repeatable." NOTE: Use this for if you click "gold coin" on the little girl. DOUBLE NOTE: Use this message for both in DAVENTRY AND IN CITY OF THE DEAD. Play this dialog for when the magic mirror (in Graham's throne room) is magically "active" and the player "clicks on" the mirror. (Lucreto "fades into" the scene, says these lines....and then fades out again.) At this point, the mirror will NO LONGER be magically "active." (ALSO -- AS THE MIRROR STARTS TO "DO ITS THING" -- BEFORE LUCRETO ACTUALLY COMES FULLY INTO VIEW AND SAYS HIS DIALOG -- HAVE CONNOR SAY, "ZOUNDS!" SOMEWHERE - WE CAN GRAB THAT MESSAGE AND HAVE CONNOR SAY IT.) Connor will say this to himself AFTER he has seen Lucreto in the mirror -- and the mirror is no longer "magically active." This is the "inscription" which Connor can READ TO HIMSELF. This is somewhere around the area of the "offering box." Connor will receive some "experience points" for his FIRST offering of a gold coin; but no more after that. Connor will say this if you click on the outhouse hole at the little girl's house -- after having killed the spriggan. Use this for whenever the player clicks on the small pond where the ugly beast hangs out. NOTE: use this message when the player clicks on the quill pen AFTER it has finished writing and it has nothing more to say. NOTE: Use this message AS the pen starts to write. Connor will automatically say this in surprise. Use this dialog for when the raven is sitting outside Connor's house. At this point, the raven will "caw" and then fly away...toward the wizard. NOTE: Use this message for when Connor comes OUT of the mausoleum AFTER HAVING FIRST met the Shadow Monster. The raven waits for him. When you "click" on him, the raven will fly away toward the wizard... NOTE: This is for when the raven is sitting on Sarah's head. NOTE: Use this message AFTER the "normal" raven message IF ITS THE FIRST "CLICK" ON THE RAVEN AND HE HAS NOT YET MET THE WIZARD. (Play the "normal" raven message, and then, while raven is flying off -- and Connor is "watching" raven fly off -- Connor will say this line. NOTE: When the player clicks on the boulders blocking the road to "Castle Daventry" -- play this message. NOTE: This message should be played the SECOND and SUBSEQUENT times you click on EITHER the "rope and hook" OR the "turning millstone" itself. (This message will now be repeatable until the millstone stops turning.) Connor attacks the shadow monster but whatever he uses in his attack simply passes right through the shadow monster. NOTE: Really -- the case should NOT be "ALL." This message should occur with a "click" to the spellbook BEFORE the quill pen has written on it. NOTE: Use this message when the player clicks on the spellbook AFTER the spell page has been taken. NOTE: Use this message for when you click on the stone alchemist. NOTE: The barkeep should be a voluptuous woman -- almost like a "wench" type of tavern woman. She is also the barkeep. There should be a fallen mug at her feet with spilled ale -- as if she had been bringing a new mug to her customer when she turned to stone and dropped the mug. NOTE: This is a CUSTOMER in the TAVERN. He should look as if he had fallen off of his chair onto the floor. A mug could be overturned on the table near him. NOTE: This is for the FARMER -- who will be out near his barn doing "something" there. NOTE: This is for the FARMER'S WIFE -- who should be somewhere in the house. NOTE: This will be a "stone man" who is the LITTLE GIRL'S FATHER. Place him JUST OUTSIDE OF the outhouse. Perhaps a "newspaper," "corncob," or "rolled up paper" (kind of like toilet paper) could be lying on the ground near him. He could look as if he had just run out of the outhouse quickly -- but didn't make it very far. Whenever the player "clicks on" Sarah, the stone girl, this is what Connor says... NOTE: Play this when the player clicks on the stone figure of King Graham INSIDE Castle Daventry will say this when he is BELOW the waterfall and the stone man is ABOVE the waterfall -- and Connor HAS NOT CLIMBED up the waterfall yet. NOTE: Use this message whenever the player clicks on King Graham's "stone" minister -- in Castle Daventry. NOTE: Play this message whenever the player clicks on "Sarah's Mom" -- near, or in Sarah's house. (This is SARAH'S MOM.) NOTE: This is for the LITTLE GIRL'S MOTHER. She should be standing somewhere inside the house. Perhaps a large bowl and spoon are lying "spilled" on the floor next to her; as if she had been stirring something in the bowl when she turned to stone and dropped it. NOTE: Play this message whenever you click on the stone priest inside the church. NOTE: Use this for the "soldier" by the church. NOTE: Play this message whenever the player clicks on the SIGN out front of the tavern. Another Daventry epitaph... Another Daventry epitaph.. Another Daventry epitaph... Another Daventry epitaph... Another Daventry epitaph... Another Daventry epitaph... Another Daventry epitaph.... Another Daventry epitaph... Another Daventry epitaph... Another Daventry epitaph... This is an epitaph on a tombstone in Daventry's graveyard. Another Daventry epitaph... Another epitaph. NOTE: Make sure this epitaph is placed on a tombstone RIGHT NEXT TO "Brian and Martha Linn's" tombstone. Another epitaph for tombstones in Daventry. Another Daventry epitaph... Another epitaph of Daventry.... Another epitaph of Daventry... Another Daventry epitaph... Another Daventry epitaph... Another Daventry epitaph... When Connor attacks the tomb door with any of his weapons. (Maybe first time only.) PROGRAMMER NOTE: This is referring to the mausoleum door. There are TWO piles of torch ashes. If Connor already got one of them, he says this if you click on the OTHER pile of torch ashes. Connor will automatically say this just after the tree has fallen and dammed the river. If with hands or dagger . This is referring to the tree which Connor can "cut down" to block the flow of the river. NOTE: Play this dialog the FIRST TIME that the player clicks on the ugly beast AFTER Connor has entered Daventry Castle. NOTE: Play this dialog the SECOND and SUBSEQUENT times you click on the ugly beast AFTER Connor has entered Castle Daventry. (This message is repeatable until the ugly beast is no longer there -- because of having turned into a unicorn and disappeared.) As soon as he has spoken the above lines, have the wizard do some "magical" animations while saying the following lines... Now show an effect going to Connor which is the "Spell of Light" which he has received. Connor will then reply once more... This is for when the wizard HAS the "sacred candle" (from church) -- but not the ring or the torch ashes. (AFTER playing this dialog, have Connor SAY: "Thank you, I will, sir." -- this dialog already exists.) This is for when the wizard HAS the sacred candle and the hero's ring -- but NOT the torch ashes. (AFTER playing this dialog, play Connor's answer of: "Thank you, I will, sir." -- this dialog already exists.) ÎRŠ5r Use this for when the wizard HAS the sacred candle and the torch ashes -- but he does NOT have the hero's ring. (AFTER playing this dialog, have Connor respond with: "Thank you, I will, sir." -- this dialog already exists.) Use this for when the wizard HAS the hero's ring, but does NOT have the sacred flame or the torch ashes. (AFTER playing this dialog, play Connor's response of: "Thank you, I will, sir." -- this dialog already exists.) Use this for when the wizard HAS the hero's ring and the torch ashes -- but he does NOT have the sacred candle. (AFTER playing this dialog, play Connor's response of: "Thank you, I will, sir." -- this dialog already exists.) Use this for when the wizard HAS the torch ashes but does NOT have the sacred candle or the hero's ring. (AFTER playing this dialog, play Connor's response of: "Thank you, I will, sir." -- this dialog already exists.) NOTE: Use this message for when you click ANY INVENTORY ITEM on the wizard EXCEPT FOR the specific items otherwise indicated. NOTE: Use this for when player "clicks" the "BELL" cursor on the wizard. NOTE: PRogrammer -- play this message ONLY if Connor HAS TALKED TO THE DEAD KNIGHT. Continue on with the wizard's normal response... NOTE: This PART of this whole dialog sequence between Connor and the wizard I have changed to reflect the fact that the "Mask" is the Mask of Truth, Light, and Order rather than the way I had it before: the Mask of Light, Truth, and Order. Semantics? No. There are several places where Connor will deal with these three concepts in the order of: Truth, then Light, then Order. The wizard needs to say it correctly. (We may have to record this whole sequence of dialog again in order to correct this one part.) At the end of this line, play the animation of the wizard conjuring a magic map for Connor -- and giving it to him. Use this for when Connor has NOT YET given any of the three items to the wizard yet. NOTE: Use this message if Connor has NOT TALKED TO THE KNIGHT -- and, therefore, knows nothing of the Dimension of Death. Continue on, though, with the wizard's response a la "C_MET_SHADOW_MN. NOTE: Use this message for when you click "gold" on the wizard. NOTE: Use this message if you click the "hero's ring" on the wizard BEFORE Connor has met the shadow monster. Have Connor say these lines and then have him "give" the ring to the wizard -- who then takes it. Then play the wizard's follow-on line. NOTE: Use this message if you click the "lit candle" on the wizard BEFORE Connor has met the shadow monster. Play these lines and then have Connor give the candle to the wizard -- who then takes it. NOTE: Use this for when you click ANY of the "mask pieces" on the wizard. S¢5 NOTE: Use this for when the player clicks the "Torn parchment page" on the wizard. NOTE: Use this for when the player clicks the "Ring of Illumination" onto the wizard. NOTE: Use this message if you click the "torch ashes" on the wizard BEFORE Connor has met the shadow monster. Play these lines and then show Connor "giving" the torch remains to the wizard -- and the wizard takes it. Then have the wizard speak... NOTE: Use this message for if you click the unicorn horn on the wizard. NOTE: Use this for when you click the "dark crystal pyramid" on the wizard.
PROGRAMMER: Connor says this after the animation with the "beams from the pedestals" happens and Death's Door opens. NOTE: IF Connor has READ THE INSCRIPTION referring to Lord Azriel -- on the altar right below the "Lever of Life," then AUTOMATICALLY play this message as soon as Connor enters Azriel's sanctum. PROGRAMMER: Have Connor automatically say this just after commenting about the Shadow Monster being dispelled...after it's apparent he's now in a NEW PLACE. NOTE: AUTOMATICALLY play this message when Connor FIRST ENTERS the area of the "mold." PROGRAMMER: Play this AUTOMATICALLY after the shadow monster disappears due to Connor's magical "Ring of Light." NOTE: Use this dialog about the anvil regardless of whether the Potion of Strength is on it or not. PROGRAMMER: One of the skeletons in front of "Death's Door" says this as Connor approaches the door. NOTE: Connor's answer to the skeleton in front of Azriel's door. PROGRAMMER: The "Egyptian-looking" skeleton is here, too. He says this just before he attacks Connor. (THIS IS THE SKELETON AT THE HAMMER SHRINE......THIS IS NOT THE SKELETON IN FRONT OF AZRIEL'S SANCTUM.) NOTE: This is Connor's retort to the "hammer skeleton." PROGRAMMER: This is what Connor says if the player "clicks on" any of Lord Azriel's statues -- but ONLY if he has "talked to" Lord Azriel (after the "Lord Azriel" cartoon) -- OR -- has READ the "inscription" on the "Lever of Life" altar...which references Lord Azriel. NOTE: This will only be relevant for the two statues of Azriel in the first compound BEFORE he has actually met Lord Azriel -- in the "Lord Azriel" cartoon -- AND -- has NOT READ the "inscription" on the Lever of Life altar...which references Lord Azriel. PROGRAMMER NOTE: When the player clicks on the boat AFTER HAVING TALKED TO THE FERRYMAN the FIRST TIME. This message will work NO MATTER where Connor is standing...either inside the boathouse or outside the boathouse. PROGRAMMER NOTE: This message will be used ONLY when Connor has NOT TALKED to the ferryman AND IS NOT CLOSE ENOUGH TO THE FERRYMAN to instigate the "FIRST_TIME_TALK" conversation with the ferryman (only when you click on the boat OUTSIDE the boathouse). This is for the gate which bars entry to the Bridge of Life. After Connor kills the tower skeleton he can take his chain mail. When he does, he AUTOMATICALLY says this. PROGRAMMER NOTE: The chalk guy is animating a little. He is obviously dying -- but still he might kind of lift his head a little bit -- or move an arm or a leg....enough so that we can tell that he's still alive. Connor shouts at him from a distance.... PROGRAMMER NOTE: The chalk guy is dying. He responds to Connor from a distance when Connor shouts to him. PROGRAMMER NOTE: We see slight animation here of the "dying" chalk guy. We see him "die" -- and then he's a "dead" chalk guy. This dialog is for anytime the player clicks on the VORTEX back to Daventry. PROGRAMMER: This is really for the VORTEX GATE EXIT to the swamp -- NOT THE BRIDGE. This is for BEFORE Connor has actually been to the swamp. This is for the VORTEX EXIT GATE which leads to the swamp. Use this dialog for AFTER Connor has already been to the swamp. PROGRAMMER: Have Connor use this dialog in referring to the UPRAISED BRIDGE -- but only AFTER HE HAS SPOKEN TO THE FERRYMAN ABOUT THE BRIDGE - ("FIRST TALK"). Connor comments on the exit out of the Dead City. (Only when the bridge is still UP, though.) NOTE: PLAY THIS DIALOG ONLY IF HE HAS NOT TALKED TO THE FERRYMAN YET. When Connor finally uses Azriel's hammer to throw the lever and it works! If Connor uses a ranged weapon not powerful enough to throw the lever. (In other words, it's not Azriel's Hammer.) If the player clicks on the lever next to the bridge. A scroll about the river Styx. NOTE: (I think) this inscription was previously located in the (prior) "graveyard" area. I like this inscription and want to keep it SOMEWHERE in the City of the Dead. Therefore, throw in another "inscription altar" somewhere and put this inscription on it. (I don't care where you put it -- it could be anywhere -- just not in the "graveyard" room). NOTE: This NEW INSCRIPTION needs to be added to the altar at the top of the TOWER which is surrounded by the four pressure plates in the (prior) "graveyard" area. (Move "old inscription" which was there prior somewhere else.) PROGRAMMER: This is the dialog which plays AFTER the chalk guy is DEAD. Programmer: Show an animation of him reaching down and examining the dead warrior. As he's doing this, the shield falls to the ground from the warrior's chest area -- and falls into several pieces...with an appropriate "clang" sound. There it will lie in plain sight -- and all the player need do now is to do another "do" on the shield piece/dead warrior in order to "get" the "shield piece"...which will then go into inventory. (THIS MESSAGE IS REPEATABLE UNTIL CONNOR "GETS" THE SHIELD PIECE.) APÌ5 NOTE: Play this message AFTER Connor has gotten the PIECE OF SHIELD from the dead knight. This message is repeatable. PROGRAMMER: The door opens AUTOMATICALLY when Connor does the "Death Tile" puzzle correctly. But, until he does so, the door won't open. If the player does a "do" on "Death's Door" -- Connor will say the above.... This is the inscription on the altar upon which hangs the lever for the 4 pedestals. (I deleted the last sentence here -- because I didn't like it.) I'm not sure, but I think this is the inscription meant for the altar opposite the Lever of Life altar -- on the other side of "Death's" door. Use this for when Connor is taken back to the beginning of the Death Tile Puzzle the FIRST TIME he has made a wrong choice. NOTE: This is NOT an automatic message. This plays ONLY when the player does a "click" on ANY of the "symboled tiles." PROGRAMMER: Now skeleton 3 notices that Connor has entered the room. The two skeletons now stop dueling and all turn and face Connor. PROGRAMMER: All of the skeletons now come after Connor... PROGRAMMER: One of the "onlookers" of the two "dueling" skeletons says this.... PROGRAMMER: Skeleton 2 shoots back at what skeleton 1 said. Both skeleton 1 and 2 are "onlookers" NOTE: AUTOMATICALLY play this message the FIRST TIME that Connor "walks through" the illusionary door -- into the "hammer shrine" room. NOTE: Actually -- this refers to the ILLUSIONARY DOOR (used to be the "illusionary wall"). If the player "clicks" on it, then play this message. NOTE: This message is for the FAR DOOR in the Tile Puzzle Room. When the player CAN SEE this door, they should be able to click on it and get this message. Play this if Connor "walks away" while the ferryman is talking to him. NOTE: Use this message for when you click ANY ITEM - other than specific items -- on the ferryman. NOTE: Use this for when you click ANY OF THE SKULLS on the ferryman -- regardless of whether the Feather of Truth has been found or not. PROGRAMMER NOTE: Play this when Connor "comes back" after having left the ferryman earlier in "mid-dialog." PROGRAMMER NOTE: This message ALSO plays if the player has clicked on the ferryman's BOAT rather than the ferryman (while within proper "talking" distance of the ferryman). In other words, either clicking on the ferryman -- OR the boat -- will cause this dialog to commence. NOTE: Use this message if you click on the ferryman from OUTSIDE THE BUILDING. PROGRAMMER NOTE: Play this dialog if Connor has FOUND the Feather of Truth, but has NOT LOWERED the Bridge of Life yet. Programmer note: This plays ONLY if Connor HAS FOUND the Feather of Truth, but has NOT YET FOUND the Bridge of Life. Otherwise, play the GTFEATHR_NOBRDG message. PROGRAMMER NOTE: Play this dialog after Connor has FOUND the Feather of Truth AND has LOWERED the Bridge of Life. (This is the final -- there's nothing more to "talk about" dialog.) PROGRAMMER NOTE: Play this particular dialog AFTER the FOURTH TIME Connor has talked to the ferryman -- but has not yet found the Feather of Truth. NOTE: Use this for when you click ANY of the MASK PIECES on the ferryman. NOTE: Use this dialog for when you click the "feather of truth" on the ferryman. PROGRAMMER: Generic "skeleton dialog." Use many places. NOTE: Play this whenever Connor is invisible. PROGRAMMER: Use this dialog for when Connor HAS TALKED TO either the chalk guy and/or the ferryman ("GTFEATHR_NOBRDG") to have HEARD OF the Hammer of Azriel. PROGRAMMER: Use this dialog for when Connor "left clicks on" the war hammer which is still sitting on the shrine. However -- he has not talked to either the "chalk guy" and/or the "ferryman" ("GTFEATHR_NOBRDG") to have learned of the hammer's existence. PROGRAMMER: Connor will say this about the statue (in the Room of War) BEFORE he has successfully found the CORRECT SKULL to put on its headless shoulders. This is for when you click on the (restored) headless statue...with his "new head" on. PROGRAMMER: Use this dialog for when Connor successfully uses the RIGHT SKULL on the headless statue, but has NOT TALKED TO the ferryman, and knows nothing of the "Feather of Truth." PROGRAMMER: As soon as Connor puts the CORRECT SKULL on the headless statue's shoulders (play FIRST PART OF DIALOG) we will see an animation of the head turning into the "proper statue's head" -- and then will see a niche opening in the statue's base. The Feather of Truth is inside this base -- and now Connor can "get" the Feather. Connor will say the "SECOND PART OF DIALOG" as soon as the niche opens and reveals the Feather. (IMPORTANT NOTE: This dialog will ONLY PLAY if Connor HAS TALKED TO the Ferryman about the "Feather of Truth" ("THIRD TALK").) PROGRAMMER: Use this dialog for when Connor tries to put the WRONG SKULL on the headless statue's shoulders. Can be repeated for each "wrong skull." NOTE: Use this message for the Lever of Life AFTER it has fulfilled its function and OPENED DEATH'S DOOR. If the player clicks on the "Lever" after that -- while its still in its pedestal...play this message. NOTE: Once the player FINALLY has Connor "push" the stone block out of the way of the exit -- enabling the little girl to be now be able to leave -- AUTOMATICALLY play this conversation; at the end of the conversation have the little girl automatically run out of the exit (and go back to her home in Daventry). NOTE: Now the little girl runs out of the exit...and is gone. This is a constant sound of a little girl CRYING on the other side of the enclosure in which she is imprisoned. You can hear it especially well when Connor is standing on the outside of the STONE BLOCK which covers the entranceway to the enclosure. (In other words, you can hear her "crying" on the other side of the wall.) NOTE: Connor should say this comment AUTOMATICALLY the FIRST TIME ONLY when we "hear" the crying of the little girl outside the walled enclosure. After that -- we only hear her continuous weeping -- but Connor won't comment on it anymore. NOTE: Use this message for when you click ANY of the SKULLS on the little girl. USE THIS MESSAGE BOTH IN THE CITY OF THE DEAD AND IN DAVENTRY. NOTE: Connor climbs down into the enclosure from the tower. A little girl is cowering in a corner and crying (NOTE: At first we hear nothing but CRYING from her until we CLICK ON her -- to initiate this first conversation). At that point, she will STAND UP -- and this conversation will then commence... PROGRAMMER NOTE: At the end of THIS CONVERSATION -- the little girl can either go back to her "cowering" position -- OR -- can stand there and WAIT for Connor to PUSH THE BLOCK OUT OF THE WAY SO THAT SHE CAN LEAVE. Until then, you can still "click" on her and have a generic "waiting" conversation with her. NOTE: This dialog is for when Connor has ALREADY had his "initial conversation" with the little girl, and now she's still in the enclosure waiting for him to push the stone block aside so that she can leave. (This dialog is REPEATABLE until Connor actually pushes the block aside...which then instigates the… Show an animation of Connor trying to "open" the locked gate...but it won't open. (It needs the "key" which Death gives you.) Show animation of Connor unlocking and opening the gate with the key. (The key will stay with the gate...and not be in inventory anymore.) NOTE: Just after Connor has successfully "weighed" himself against the Feather of Truth on the Scales -- and has SAID "Hark, is that a heartbeat?" -- we need to see Lord Azriel "appear" -- and then say these words. Then -- before Connor has time to answer -- Lord Azriel will "disappear." (In fact, it might be nice to have Lord Azriel "fade out," along with his voice, rather than just quickly pop off the screen. Basically, do a "fade in" and then a "fade out." … the end of the ENTIRE conversation between Death and Connor -- have Death do some sort of "magical animation" directed at Connor -- and then Connor will be "metaphysically transported" back outside of Death's building. (He will not be allowed back into Death's Chamber again.) Programmer: Now do an animation of Death handing a "key" to Connor...and Connor taking it into his possesion (it will go into inventory) These are the 4 pedestals near Azriels door. PROGRAMMER: Connor says this the FIRST TIME ONLY when Connor puts the lever into a slot into any of the four pedestals in front of Death's Door. PROGRAMMER: This dialog will work with ANY of the four portals when NO VORTEX has yet been created that CONNOR KNOWS ABOUT (which means he has dropped a rock on a plate and then has come back here and "noticed" the newly-created vortex --- which has its OWN dialog!) Until the "connection" has been made between the empty portal and the rock dropping on the plate and creating a vortex -- this is the dialog which occurs... PROGRAMMER: This is for the FIRST TIME Connor sees a vortex that has been created in one of the portal gates (by the sylph well) AFTER he has dropped a rock on one of the plates and AFTER he had noticed before an EMPTY portal gate. (NOTE: IT NEED NOT BE THE SAME EMPTY PORTAL GATE WITH THE SAME NOW-VORTEX GATE. THE IMPORTANT THING IS THAT A CONNECTION IS MADE BETWEEN "NOTICING" THE EMPTY PORTAL GATE AND THEN "NOTICING" THAT A VORTEX HAS BEEN CREATED IN THE GATE AFTER "DROPPING A ROCK" ON ONE OF THE "PRESSURE PLATES.") Also -- Connor will ONLY SAY THIS if he HAS NOT YET ENTERED THROUGH THE VORTEX TO SEE WHERE IT LEADS. This is for the "inscription plate" on the portal gate which leads to the "Hall of Immortality." This is for the "inscription plate" on the portal gate which leads to the "Hall of Justice." This is for the "inscription plate" which is on the portal gate which leads to the "Hall of Respite." This is for the "inscription plate" on the portal gate which leads to the "Hall of War." PROGRAMMER: This dialog will work on ANY of the four "portal" plates. He will say this on any of them UNTIL he has actually "enabled" one and then has "seen" AND/OR "commented on" the VORTEX in the portal by the sylph's well. At that point, we can say that the "connection in his mind" has been made and he no longer will say this line. (NOTE: This dialog could also be used for the pressure plates surrounding the sylph well, too -- UNTIL the sylph has appeared.) NOTE to programmer: Have "Hmmm...I wonder..." play JUST BEFORE playing the animation of Connor bending down and dipping the shield piece into the River Styx. Then -- either while he's still in the "knelt down" position -- OR -- has just stood up -- play the second part "Aha! It rusted!" (SECOND NOTE: I also believe that this same animation and dialog could work with the "iron lock" which can be found in the Gnome Realm -- IF the player has not yet done the "protective spell" with the sylph yet. There is no reason why the iron lock wouldn't "rust" just as well as an iron shield piece...and there's no reason to necessarily do the "protective spell" while going through the Underworld. It could be done later. (By the same token, the iron shield piece could be used in the Gnome Realm instead of the iron lock...where the gnome wants something "iron.") PROGRAMMER: Play this dialog if Connor HAS TALKED to the ferryman about the "sacred heart" ("SECOND TALK" with ferryman) -- regardless of whether Connor has started the heart "beating" or not. PROGRAMMER: This dialog is for when Connor has NOT TALKED to the FERRYMAN about the "sacred heart." ("SECOND TALK" with the ferryman.) Also -- this dialog will play regardless of whether Connor HAS or HAS NOT STARTED THE HEART "BEATING" AGAIN. PROGRAMMER: This dialog is for when Connor "jumps onto" the UNBEATING HEART and then it "beats" for a couple of times before stopping. He reacts to the fact that it actually "beats" -- and that he realizes that it really is a large "heart." (USE THIS DIALOG REGARDLESS OF WHETHER CONNOR HAS TALKED TO THE FERRYMAN OR NOT.) NOTE: Play this (repeatable) message AFTER Connor has successfully "weighed" himself against the Feather of Truth. PROGRAMMER: Play this dialog for when Connor HAS TALKED TO the FERRYMAN about the "Scales of Justice" ("THIRD TALK"). Play it regardless of whether he has found the Feather of Truth or not -- but NOT if he has successfully "weighed himself" against the Feather of Truth. PROGRAMMER: Play this dialog for when Connor HAS NOT TALKED TO THE FERRYMAN about the "Scales of Justice"("THIRD TALK"). (Play this regardless of whether he has found the Feather of Truth or not -- but NOT if he has successfully "weighed himself" against the Feather of Truth. PROGRAMMER: Play this dialog for when Connor USES the "Feather of Truth" to weigh against himself on the Scales of Justice. We will see the animation of him actually "stepping on" the scales and successfully weighing himself against the Feather -- which is on the other side of the scales. They will "balance equally." At that point, we will HEAR the sound effect of the "beating of the Sacred Heart." At that point, Connor will utter these words... (JUST AFTER, LORD AZRIEL WILL "POP IN" AND GIVE HIM A LITTLE "PEP TALK"...) PROGRAMMER: This dialog is for when Connor "steps on" the scales, but does NOT HAVE or DOES NOT USE the Feather of Truth. PROGRAMMER: Use this dialog for AFTER Connor has TALKED TO the ferryman about finding the Feather of Truth. ("Fourth Talk"). However -- only use this particular dialog the FIRST TIME ONLY -- when he's obtaining the FIRST SKULL. (FURTHER NOTE: Regardless of whether "not talked ferry" dialog has been used previously, go ahead and "start all over" with this dialog ONCE CONNOR HAS TALKED TO THE FERRYMAN -- and even replay all of the follow-up dialog -- if necessary -- too.) PROGRAMMER: For when Connor takes ANOTHER SKULL off of the shelf -- AFTER THE FIRST TIME (the SECOND ONE). (Use this as a SECOND COMMENT -- whether Connor has "talked to" the ferryman or not.) ‘PROGRAMMER: Still hoping he's got the right skull....(THE THIRD ONE). (Use this as a third message regardless of whether he has "talked to" the ferryman or not.) PROGRAMMER: Still hoping he's got the right skull...after the first one...(THE FOURTH ONE). (Use this as a fourth message regardless of whether Connor has "talked to" the ferryman or not.) NOTE: Play this dialog for the FIRST TIME if Connor has NOT TALKED TO THE FERRYMAN YET. NOTE: Use this for AFTER the "headless statue/feather of truth" puzzle has been done successfully. PROGRAMMER: This is message is of NO USE ANYMORE. Rather than deleting it -- you can just not use it...or delete it yourself. Or -- you can use it as a "generic skeleton" message if you wish. The first time you find the bridge to the exit you also discover it blocked by the skeleton King and his buddies. NOTE: Play this message when Connor is invisible...but, the skeleton king knows this... When Connor kills the Skeleton King. When you climb the tower and meet the skeleton up there. NOTE: If Connor is invisible with the tower skeleton. If Connor is not coming close enough to fight the tower skeleton -- or is trying to use a ranged weapon rather than a hand weapon. When the tower skeleton falls off the tower NOTE: Use this dialog for when the player "CLICKS ON" the stone block which is blocking the way into the enclosure where the little girl is imprisoned. (This is for when Connor is standing OUTSIDE the stone block.) Also -- if we decide to go ahead and let him try to PUSH ON the stone here -- even though it won't work -- we could also show him trying to push on the stone block...it won't work...but then he would automatically say this same line after trying to push on the block. äÙ6NOTE: This dialog will be used if Connor has ALREADY GIVEN the MOLD to the sylph -- but NOT the RUST. (However -- as you'll notice on the "given rust" message -- 'tis the SAME MESSAGE <g>!) • NOTE: ALSO use this same "ending (thank you) message" for the end of the "given rust" message. NOTE: After this, Connor should use the same "thank you" message as he did after the "given mold" dialog. She will now do a "magical animation" where we see her "bring up" some water from the well which seems to mix with the items in her hand. She then will "cast" this magical concoction onto Connor. We will see this magical effect go around Connor as if it were affecting his whole body. Then..the magical effect will fade away. (His "armor points" will now go up.) Play this dialog if Connor "walks away" during a conversation with the sylph. NOTE: Use this for when you click ANY INV. ITEM on her except for specific items. NOTE: The sylph says exactly the same thing regardless of whether you do a "do" on HER first, or on the WEll. Either way, she will only say it once. Show her taking the mold from Connor. PROGRAMMER NOTE: This will ALSO WORK if Connor gives her the RUSTY IRON LOCK (from the Gnome Realm. The messages and animation shouldn't change, though -- only that the rusty lock will no longer be in inventory.) The sylph takes the rusty piece of shield from Connor. (NOTE: I just thought of this. If Connor DOESN'T do the protective spell while going through the Dimension of Death, but later finds the iron lock in the gnome realm...nothing can stop him from coming back here and dipping the iron lock in the River Styx, and causing it to go "rusty" and using that "rust" for her. Who says that he needs to do this protective spell NOW! Why can't he come back here and do it later? And does it matter whether he uses the broken piece of iron shield or the iron lock? I don't see why either can't work. NOTE: Use this dialog for the sylph statue regardless of whether the Potion of Invulnerability is on the statue or not. PROGRAMMER: When the player does a "do" on a pool of toxic blood (not "walked into" it), then have Connor say this if he HAS NOT TALKED TO THE FERRYMAN about the "foul pools of blood" yet ("SECOND TALK" with the ferryman). NOTE: Use this dialog for when Connor HAS TALKED TO the ferryman and the player does a "do" on the pools of toxic blood.
PROGRAMMER: AUTOMATICALLY play this upon Connor's FIRST ENTRY into the swamp from the Dimension of Death -- first time only. This is for the "open book" next to the dead goblin in the witch's tower. This is the "first part" of this dialog... This is the second part of the "open book" dialog. NOTE: When the player does a "do" on the cauldron AFTER the "Lucreto" cartoon -- but the cauldron is not yet "cleansed." Can be repeatable. This is for when you do a "do" on the cauldron AFTER the ladle has been used. NOTE: This is a message which needs to be "put together" by taking bits and pieces of other "Lucreto" messages -- by you guys there. (This is start the "Lucreto/cauldron/henchmen" cartoon.) Connor comments on the vision of Lucreto and the cauldron/henchmen immediately as the vision ends -- or has ended. NOTE: This is for WHEN Connor uses the Golden Ladle on the cauldron. He says it automatically as he begins to stir the pot and we can see the cauldron change from "bad" to "good." This is for the dead goblin lying on the swamp witch's table. NOTE: This is for the huge locked door which will "unlock" with the "gloved hand KEY." Use this message when the player clicks on the DOOR -- NOT the "keyhole." NOTE: This is for when Connor "uses" the "gloved hand key" to unlock the fortress door (which leads to altar and golden ladle). The door will unlock and open. NOTE: Use this message when you click DIRECTLY ON THE "HAND" KEYHOLE. Connor says this line, and then puts his hand up to the "hand" keyhole. (Then, have him say the NEXT LINE....) NOTE: Connor will say this AS his hand is fitted into the large "hand" keyhole. Then -- he'll remove his hand. PROGRAMMER: Connor says this when the player "clicks" on the "PULLEY MECHANISM" while he's standing OUTSIDE the STILL CLOSED gate leading into the swamp tower. (Once the gate is opened, however, this dialog should no longer play.) This is what Connor says when he takes the "gold" out of the chest in the shack with the two stone people. NOTE: This is for AFTER Connor has obtained a piece of GOLDEN (not "green") mushroom -- and then tries for more. PROGRAMMER: IF Connor HAS READ (or HAS) the scroll with the Spell of Might -- then he will say this if you "click on" the GOLD mushroom (if he does NOT YET have the piece of gold mushroom in his inventory). (NOTE: It's a GOLD mushroom now -- NOT a GREEN mushroom!) PROGRAMMER: Connor will say this if he has NOT read (or does NOT HAVE) the scroll with the Spell of Might on it (if he does NOT YET have the piece of gold mushroom in his inventory). (NOTE: It is now a GOLD mushroom -- NOT a GREEN mushroom!) NOTE: Use this message for ANY of the three hanging skeletons in the witch's tower. A second or two after the henchman says this he will attack (if Connor hasn't attacked him) -- OR -- he will immediately attack if Connor immediately attacks him. PROGRAMMER: At this point, continue on with the conversation at the point where Connor had previously "walked away." (NOTE: This will only be true for the "FIRST MEET" sequence. Once the "FIRST MEET" sequence is over, Connor will just miss any of the tree's "prophets" if he walks away while the tree is delivering them.) PROGRAMMER: This dialog will ONLY play if Connor walks away during the "FIRST MEET" sequence of conversation with the Prophet Tree. Once that particular sequence is finished, this dialog will no longer EVER play. (If Connor "walks away" while the tree is delivering a "prophet," then he would just miss it...even after paying a gold coin for it. This message will now be repeated for the rest of the game if the player continually does a "do" on the Tree...AFTER the 10th gold coin has been used. PROGRAMMER: Play this if Connor tries to "do" anything to the prophet tree while he's still too far away to carry on a normal conversation. NOTE: This is a NEW prophecy which I have just added -- make this another one of the prophecies which Connor has to give a gold coin for -- so that the prophet tree gives ELEVEN prophecies rather than TEN. NOTE: This is a NEW PROPHECY which I have just added. Now the prophet tree has ELEVEN prophecies rather than TEN. Make sure when you play the prophecies, that THIS ONE IS NOT FIRST. This one is actually a clue (to the ladle) and I don't want the player obtaining this clue without having paid a bit of money first. Make it about the six or seventh prophecy -- so that Connor will have to have spent six or seven gold coins before he finally gets this one. NOTE: WHY is the "talker" called "SKELTN_AZR"???? Shouldn't it be "SNAIL"???? (I didn't change it because I didn't want to be in trouble...but I thought I'd ask!) NOTE: I have changed this message somewhat (note the triple X's). And -- I have added a little more to this whole dialog. NOTE: NOW the snail begins turning in the water and then begins spinning faster and faster until there is a huge swirling whirlpool around him. Then -- as the whirlpool continues to spin ever faster, the snail sinks down into the water below...and then disappears completely. This is for when you click on the "far door" at the BEGINNING of the stump-tile puzzle. NOTE: This is the INSCRIPTION on the altar where the Golden Ladle can be found. When the player "clicks on" the altar from closer up -- Connor will "read" the inscription. NOTE: This is a NEW MESSSAGE. Need to add it to the end of the "first meeting" conversation. NOTE: This is a NEW MESSAGE. Need to add it to the end of the "Got wisps task" conversation. NOTE: I have CHANGED this message somewhat... ALSO -- this is for AFTER he has told the secret to the wisps -- but BEFORE he has found the LADLE. Just as soon as this particular line plays -- stop the dialog for a few seconds and play animation of a beautiful flower BLOSSOMING OUT OF a nearby plant. As soon as the "blossoming" animation is through, finish the dialog -- (Lo, yon blossom!) At this point, have the swamp wisps flit away... so that no more conversation can go on at this point. (If you come back later, they will be back...but no substantive conversation will take place anymore.) ALSO -- and this is VERY IMPORTANT: When the player "clicks on" the flower, instead of TAKING IT into INVENTORY -- we will do an ANIMATION of Connor taking and EATING the flower right here. Then, we will see an ANIMATION of a "magical effect" on Connor's body -- to show that the spell has "taken effect.") NOTE: Use this for if you click ANY MASK PIECE on the wisps. Play this the FIRST TIME ONLY. PROGRAMMER: Connor says this when he successfully hits the switch with the crossbow -- and the gate opens. NOTE: This is for AFTER Connor has used the LADLE to "stop the poison-making" of the cauldron -- and goes outside the tower and then "clicks on" the gargoyles...which are no longer spewing poison out of their mouths. NOTE: This is when the player does a "do" on the two gargoyles spewing poison out into the swamp water. If the player clicks on the holes on the wall and Connor has not yet either tripped any of them. PROGRAMMER: Connor will only say this dialog UNTIL he's actually gone through the whirlpool and has actually ENTERED the gnome realm. AFter that, he will no longer say this... (the player will already know). Use this message for when you click on the whisperweeds (while they are whispering) AFTER you have heard the "secret." This is what Connor says on the SECOND CLICK to the "whispering" whisperweeds -- but BEFORE having heard the "secret." There will be various voices all in "whisper" mode. At the end, it all goes silent...and that will be that. He reacts in shock and surprise to this "revelation" about the mask piece...and then drops the hearing horn in the water. He says this just as -- or just after -- the hearing horn dropped in the water. NOTE: Use this message for when Connor is with the whisperweeds but they are in the DOWN position -- and not whispering. (Meaning: That Connor needs to "back up" a bit in order to get whisperweeds UP again.) This would be for the FIRST TIME that you click on the whisperweeds while they are actively "whispering."
PROGRAMMER: Connor will automatically make this comment as soon as he makes his first entry to the Realm of the gnomes (after leaving the whirlpool which brought him here)... Connor has already got some...doesn't need any more.Use this for BEFORE Connor has actually obtained any amberglow. The Essence of Sun Tsu now ADDS VALUE to his "hand to hand combat" number. It does NOT go into inventory. Instead -- we need to do an AUTOMATIC ANIMATION showing Connor taking and DRINKING the Essence of Sun Tsu. There should be an "effect" and then his hand combat number goes up in value permanently. PROGRAMMER: This is used for when Connor "comes back" after having "walked away." The apothecary gnome will then go on with their previous conversation. However, in looking at their various conversations, this will only really work if Connor "walks away" during their "initial meeting." Therefore, use this only if Connor had walked away during their initial meeting. +ú¤5q PROGRAMMER NOTE: Now go ahead and put up the "buy window" for the Potion of Strength. It should sell for something like: 50 gold coins. PROGRAMMER NOTE: Play an animation of the apothecary gnome gesturing toward his wares (on the counter in front of him?) PROGRAMMER NOTE: AUTOMATICALLY use this message for AFTER Connor has ALREADY BOUGHT an ITEM from the apothecary gnome. Use it IMMEDIATELY after Connor has bought his FIRST ITEM ONLY; then, don't use it again. (This message is used to prompt the player to use the gold coin cursor IMMEDIATELY AGAIN if he or she would wish to buy some more mushrooms...or whatever.) However -- only use this message ONCE...period. The player only needs this prompt once...no matter what they are trying to buy. NOTE: Now go ahead and remove the "buy window" -- and put everything back to square one... PROGRAMMER: Use this dialog for when Connor "walks away" while talking to the apothecary gnome. NOTE: Use this message if you click the "amberglow" on the apothecary gnome BEFORE Connor has learned about Sun Tsu. NOTE: Use this message for if you click ANY INV ITEM on the apothecary gnome other than specific items. PROGRAMMER NOTE: Put this message in-between AFTER_ITEM_LIST (1) and AFTER_ITEM_LIST (3) IF Connor has GIVEN THE AMBERGLOW TO THE APOTHECARY GNOME. PROGRAMMER NOTE: Put this message in-between AFTER_ITEM_LIST (1) and AFTER_ITEM_LIST (3) IF Connor has GIVEN THE OBJECT OF IRON AND A PIECE OF AMBERGLOW TO THE APOTHECARY GNOME. PROGRAMMER NOTE: Put this message in-between the AFTER_ITEM_LIST (1) and AFTER_ITEM_LIST (3) IF Connor has GIVEN THE OBJECT OF IRON TO THE APOTHECARY GNOME. PROGRAMMER NOTE: Put this message in-between the AFTER_ITEM_LIST (1) and AFTER_ITEM_LIST (3) IF Connor has GIVEN THE TREE ROOT AND THE PIECE OF AMBERGLOW TO THE APOTHECARY GNOME. PROGRAMMER NOTE: Put this message in-between AFTER_ITEM_LIST (1) and AFTER_ITEM_LIST (3) IF Connor has GIVEN THE TREE ROOT AND OBJECT OF IRON to the apothecary gnome. PROGRAMMER NOTE: Put this message in between AFTER_ITEM_LIST (1) and AFTER_ITEM_LIST (3) IF Connor has GIVEN THE TREE ROOT TO THE APOTHECARY GNOME. NOTE: AUTOMATICALLY have the apothecary gnome say this if Connor draws his weapon while talking to her. Use this message for AFTER Connor has COMPLETED any of his purchases with the apothecary gnome. NOTE: Use this message if you click EITHER the "iron lock" OR the "shield piece" onto the apothecary gnome BEFORE you know about Sun Tsu. NOTE: Use this message if you click the "lodestone" on the apothecary gnome. NOTE: Use this message if you click the "tree root" on the apothecary gnome BEFORE you know about Sun Tsu. PROGRAMMER: As with apothecary gnome, this will only really work if Connor walks away during their "first meeting" conversation. PROGRAMMER NOTE: During the PAUSE, play an animation of the armor gnome gesturing toward his armor for sale. PROGRAMMER NOTE: Now go ahead and remove the "buy window" and put everything back to square one... PROGRAMMER: Use this if Connor 'walks away" during conversation with the armor gnome. NOTE: Use this message if you click ANY INV. ITEM on the armor gnome other than specific items. NOTE: Use this message if Connor draws a weapon while talking to armor gnome. PROGRAMMER NOTE: When the player chooses "yes" -- then the game will AUTOMATICALLY pay out the required amount of "coinage" for that particular piece of armor (which Connor is currently "wearing"). (Connor will now KEEP that NEW ARMOR as his own.) Connor now has a NEW piece of ARMOR...and he is now free to "choose" another weapon to "try out" -- if he wishes. Or he can walk away now if he wishes. PROGRAMMER NOTE: Now -- during the PAUSE -- REMOVE the armor from Connor's body...and give it back to the gnome. Then -- continue on with the gnome's last sentence. NOTE: Use this message if you click the "shield piece" (RUSTY or not) on the armor gnome. Connor looking at the bricked wall to the ancient ruins. PROGRAMMER NOTE: Use this message for when the armor gnome is standing there with hand out and you EITHER click on him OR on the bronze breastplate AGAIN. This message can be repeatable. PROGRAMMER NOTE: Use this message ONLY if Connor DOES NOT HAVE a breastplate to trade in. (I've increased the price a little bit since he doesn't have a breastplate to trade in.) PROGRAMMER NOTE: Use this message for when the armor gnome has his hand held out -- and Connor is NOT CURRENTLY WEARING A BREASTPLATE -- and you click on HIM or on the BRONZE BREASTPLATE. This message can be repeatable. PROGRAMMER NOTE: Use this message for when the armor gnome has his hand out and you EITHER click on HIM or on the CHAINMAIL SUIT again. This message can be repeatable. PROGRAMMER NOTE: Use this message for when the armor gnome has his hand out and you EITHER click on HIM or on the CHAINMAIL SUIT -- BUT CONNOR HAS NO PROTECTIVE GEAR AT ALL (A BREASTPLATE IS OK -- BUT NOT ANY OF THE UNDERGARMENTS). I raised the price a little because Connor does not have any gear to trade in for the chain mail suit. PROGRAMMER NOTE: Use this message ONLY if Connor is NOT WEARING ANY of the protective undergarment-type gear when he tries to buy the chainmail suit. I have raised the price a little bit since he has no "trade ins." SI5˜ Connor automatically comments on this as he FIRST ENTERS into the "Chamber of Enlightenment" -- where crystal pedestal, etc. is located. There is a bunch (or cluster) of crystal shards somewhere in the gnome realm. Connor "comments" on this cluster of crystals BEFORE he has obtained a "crystal shard." (Connor actually "attacks" the bunch of crystal shards to obtain one -- as he does with gold mushroom, etc.) NOTE: This message is for when Connor ALREADY HAS a "crystal shard" in inventory -- and then clicks on the pile of shards to get another one. Àü‰5¼ Connor will automatically say this AS he walks into the dark part near where the dragon is...but not necessarily WHERE the dragon is. Use this for if Connor "attacks" the dragon IN THE DARKNESS. Use this message regardless of whether he uses ranged weapon or hand weapon. Use this for if Connor is trying to shoot the dragon with ARROWS. NOTE: Connor says this when he inserts the crystal shard into the "empty socket" (in the dragon lair) -- and we do the animation with the brilliant "light," etc. -- he is amazed at this. (now he needs to fight the dragon and kill it.) NOTE: This message is for the "socket" which fits the crystal shard -- in the "dragon's lair." This message can be repeatable until the crystal has been "plugged in." NOTE: Use this message if you click ANY INV ITEM (including "gold") on any "generic gnome." NOTE: This is for ANY of the generic gnomes digging in the tunnels. NOTE: This is another generic gnome dialog. NOTE: The third generic gnome dialog. PROGRAMMER NOTE: Use this message for EITHER when the apothecary gnome has her hand out OR you click on the healing crystals AGAIN. This message is repeatable. PROGRAMMER NOTE: Use this message for EITHER if you click on the weapons gnome with his hand out OR you click AGAIN on the heavy crossbow. This message is repeatable. PROGRAMMER NOTE: Use this message for when EITHER the apothecary gnome has her hand out OR you click AGAIN on invisibility potion. This message is repeatable. PROGRAMMER NOTE: Use this message for EITHER when the apothecary gnome has her hand out OR you click on the invulnerability potion AGAIN. This message is repeatable. PROGRAMMER: Use this message when the player clicks on the locked wooden door -- with the iron lock. Obviously, once he breaks the lock, this message will not longer play. PROGRAMMER NOTE: Use this message for EITHER when the apothecary gnome has her hand out OR when you click on the mushrooms AGAIN. This message is repeatable. NOTE: He should gesture exaggeratedly when he says this -- to Connor -- to the brilliant light, etc. He then does a "morphing" thing -- where he turns into a handsome young man. This young man now speaks to Connor.... NOTE: Use this message if you click ANY INV ITEM on the OLD GUY -- other than specific items. NOTE: It would be nice if we could show an ANIMATION of Connor holding out the crystal shard for the old man to see - and to comment on. NOTE: Use this dialog for AFTER the INITIAL conversation with the old guy -- regardless of whether Connor has the "crystal shard" or not. NOTE: Use this message if you click ANY MASK PIECE on the OLD GUY. NOTE: Use this message if you click the "dark crystal pyramid" on the old guy. Referring to the pedestal in the ancient ruins...BEFORE seeing the hologram of the "ancient mystic". Also -- this message should run if the player clicks on the lodestone AND the crystal, too. FIRST TIME ONLY for the lodestone and crystal. On SECOND CLICK to either lodestone or crystal...Connor should "take" them. (We could have him laugh evilly now - and fade out the evil laugh as we fade out the scene....) PROGRAMMER NOTE: Use this message for when the armor gnome has his hand out and you EITHER click on him OR on the plate mail breastplate AGAIN. This message can be repeatable. PROGRAMMER NOTE: Use this message for when the armor gnome has his hand out AND Connor HAS NO BREASTPLATE to trade. This will occur if you click on the armor gnome or click on the plate mail breastplate AGAIN. This message can be repeatable. (I raised the price a little bit because Connor has no breastplate to trade in.) PROGRAMMER NOTE: Use this message for if Connor is NOT WEARING A BREASTPLATE TO TRADE IN. The price is raised a little bit. Connor will automatically say this (off-screen) as we see the rock hitting the brick wall and breaking it apart. This dialog will actually play during the "cartoon" where we see Connor taking that "last push" as he pushes the boulder down the slanted ramp. NOTE: This message can be repeatable...however, in order to get it to repeat, Connor will have to remove the crystal -- and then put it back again. (However -- another alternative could be: If Connor just KEEPS it up there, rotating, it could just begin again, and again...as long as he keeps it up there......kind of like a CD coming to the end, and then repeating again.) The CRYSTAL will go into inventory when he takes it back from hovering over the pedestal. PROGRAMMER: Use this dialog whenever Connor "returns" after having interrupted a conversation between him and sage gnome. PROGRAMMER: Use this for when Connor "walks away" during conversation with the sage gnome. NOTE: Use this message if the player clicks ANY INV ITEM on the sage gnome other than specific items. NOTE: Use this message if you click the "black diamond" on the sage gnome. NOTE: Use this message if you click the "dark crystal" on the sage gnome. NOTE: Play this message if you click the "bright crystal pyramid" on the sage gnome. This will be a CHANGED or REWORKED message. Use this message for BEFORE Connor has actually traveled to the Barrens. This is EXACTLY the same message as for "AFTER_LODESTONE." Just use it again here. Use this conversation for AFTER Connor has actually been to the Barrens...and then comes back here and (for whatever reason) questions the sage gnome AGAIN. NOTE: Use this message if Connor tries to draw a weapon while talking to the sage gnome. NOTE: Use this message if you click "gold coin" on the sage gnome. PROGRAMMER NOTE: At this point, we need to play an animation of the sage gnome inserting the lodestone in his machine... and his machine will then do some sort of animation where it "feels like" the earth was "shifted" just a little bit. Once the animation is finished...go on with the dialog.. NOTE: Use this message if you click ANY of the "mask pieces" on the sage gnome. NOTE: Use this message when you click the "dark crystal" on the sage gnome. Connor thinks to himself about the sages machine. PROGRAMMER NOTE: Use this message for EITHER clicking on the weapons gnome with hand held out OR for clicking AGAIN on the short bow. This message can be repeatable. PROGRAMMER NOTE: Use this message for EITHER when the apothecary gnome has her hand out OR if you click on the Potion of Strength AGAIN. This message is repeatable. PROGRAMMER NOTE: This message occurs AFTER the apothecary gnome has ALREADY agreed to sell it to Connor and THEN the player clicks on it as it's there sitting on the counter. At this point, the gnome goes into her sales pitch. PROGRAMMER NOTE: This message will be used on the FIRST TIME that the player clicks on the Essence of Sun Tsu sitting on the gnome's counter. PROGRAMMER NOTE: Use this message for EITHER if the apothecary gnome has her hand held out OR you click on the Essence of Sun Tsu AGAIN. This message is repeatable. This is for AFTER Connor has obtained some tree root. Use this dialog for BEFORE Connor has actually obtained some "tree root." NOTE: Use this message for the WALL where it opens via the "hidden switch" -- but from the opposite (non-switch) side. NOTE: The FIRST TIME the bridge "turns" when after a rock has been put on one of the pressure plates -- AUTOMATICALLY have Connor say this. PROGRAMMER: BEFORE Connor successfully turns and puts the bridge into place, Connor will say this if the player clicks on the bridge. Once the bridge is in place, delete this message. PROGRAMMER NOTE: Use this message for when the weapons gnome has his hand out and you EITHER click on him again or on the war hammer again. This message can be repeatable. PROGRAMMER NOTE: Use this message for when the weapons gnome has his hand out, but Connor has NO HAND WEAPON to trade in. The price has been increased a little bit because there is no weapon to trade in. PROGRAMMER NOTE: Use this message for when Connor DOES NOT HAVE a HAND WEAPON to trade in. The price has been raised a little bit. PROGRAMMER NOTE: Use this message ONLY IF the player clicks on the war hammer while having the PIKE as his or her hand weapon. (We don't want to take the pike away from the player until he or she has actually used it on the basilisk.) PROGRAMMER: Use this for when Connor "comes back" after having "walked away" during the "first meet" conversation with the weapons gnome. PROGRAMMER NOTE: During the PAUSE, play an ANIMATION of the weapons gnome gesturing at the line-up of his weapons for sale. PROGRAMMER NOTE: Now go ahead and remove the "buy window" -- and put everything back to square one... PROGRAMMER: Use this for when Connor leaves the store. NOTE: Use this message if you click any inv. item on the weapons gnome but those specifically indicated. NOTE: Use this message if Connor "draws" his weapon while talking to the weapons gnome. PROGRAMMER NOTE: When the player chooses "yes" -- then the game will AUTOMATICALLY pay out the required amount of "coinage" for that particular weapon (which Connor currently holds in his hand). (Connor will now KEEP the NEW WEAPON as his own. His OLD WEAPON now belongs to the gnome.) Connor now has a NEW WEAPON...and he is now free to "choose" another weapon to "try out" if he wishes...or he can walk away now if he wishes. PROGRAMMER NOTE: Now -- during the PAUSE -- do an AUTOMATIC RE-EXCHANGE of the weapon (which he declined to buy) in his hand with his OLD WEAPON. Then -- continue on with the gnome's last sentence. NOTE: Use this message if you click the "shield piece" on the weapons gnome. Use this message regardless if the shield is "rusty" or not. NOTE: When you click on the whirlpool, play this message. NOTE: Once he has spoken this -- the young man then turns toward the wall (where the magical 'door" is to be located). He then says to Connor... NOTE: Now the young man does a "magical thing" -- he causes a magical "portal" to appear in the wall of the dragon's lair. The young man then says a final thing... NOTE; The young man now magically disappears. Connor is now free to go through the door and into the "Chamber of Light" -- where the pedestal, loadstone, etc. is located.
NOTE: Connor's comment upon FIRST ENTERING the Barrens. NOTE: As soon as Connor has "placed" the "Stone of Order" on the altar -- whether he HAD TALKED TO or HAD NOT TALKED TO the nearby Hill Man prior -- the nearby Hill Man will AUTOMATICALLY walk over and then say this dialog excitedly. He will then go over to a type of huge HORN which is nearby by and BLOW INTO IT (kind of like a huge Swiss horn). It will have a deep, haunting sound. He will blow on it several times. When he's through...he will then walk back over to where he normally stands. (Need ANIMATION for the Hill Man to "blow into" the horn.) NOTE: Use this message for if you click ANY INV ITEM on the ALTAR HILL MAN -- other than specific items. NOTE: This is the FIRST DIALOG which commences when the player "clicks on" the "hill man" who stands near the "Stone of Order" altar -- BUT, Connor has NOT YET RETURNED THE "STONE OF ORDER." NOTE: This is the SECOND conversation which will occur when the player "clicks on" the hill man who stands near the altar (where the Stone of Order belongs)...but the STONE OF ORDER has NOT BEEN returned yet. (This conversation needs to be REPEATED until the Stone of Order HAS BEEN RETURNED.) NOTE: This is the conversation which ensues AFTER Connor has RETURNED the STONE OF ORDER to the ALTAR...which is nearby. (It is repeatable.) NOTE: Use this message if Connor tries to draw his weapon with the ALTAR HILL MAN -- BEFORE he has found (or returned) the Stone of Order to the altar. NOTE: Use this message if Connor tries to draw a weapon with the ALTAR HILL MAN -- AFTER he has returned the Stone of Order. NOTE: Use this message if you click "gold coins" on the hill guy who is NEAR THE ALTAR. NOTE: This is the conversation which ensues when the player tries to "GIVE" the "STONE OF ORDER" to the Hill Man who hangs out by the altar. (He refuses to take it and tells Connor to put the Stone on the Altar himself.) This message is repeatable as long as the player keeps trying to "give" the Stone of Order to the Hill guy. NOTE: Once the Stone of Order has been put in place, and the player then "clicks on" either the altar OR the Stone of Order, then this is the dialog which plays. NOTE: At this point, the vision of the archon fades away...along with his voice. Just as he totally disappears, Connor says one last thing... At this point, the archon is completely gone. At this point, the vision and the voice fade out again. And again, Connor says... The archon will not come back again. Connor is now on his own to go and find the mask piece. (NOTE: THIS MESSAGE HAS CHANGED SLIGHTLY. IT NEEDS TO BE RECORDED AGAIN.) PROGRAMMER NOTE: Once Connor has made this exclamation, then automatically bring on the HENCHMAN. PROGRAMMER: Use this message for AFTER Connor has talked to the weirdling...but BEFORE the basilisk is dead. PROGRAMMER: Use this message for BEFORE Connor has talked to the weirdling.. PROGRAMMER NOTE: Use this message for when Connor "chooses" the battle axe, but he DOES NOT HAVE any HAND WEAPON to trade in for it. So -- the price has been increased a little bit. This message can be repeatable. PROGRAMMER NOTE: Use this message for when Connor DOES NOT HAVE a hand weapon to trade in AND the weirdling is standing there with his hand out. I have increased the price of the battle axe a little bit to cover the fact there is no weapon to trade in. This message can be repeatable. PROGRAMMER NOTE: Use this message for if you click on the weirdling with his hand held out OR you click on the battle axe again. This message can be repeatable. PROGRAMMER NOTE: Use this message for when the weirdling has his hand out and you EITHER click on him again or you click again on the compound crossbow. This message can be repeatable. Use this message for if you click on the dead basilisk AFTER Connor has obtained the tongue. This is when you click on the dead fire dwarf in the tomb. This is the comment Connor makes if you click on an "uncapped" elevator pipe. NOTE: Use this message for when the Stone of Order is NOT THERE, but Connor HAS TALKED TO the Hill guy who is located near the altar. NOTE: This message is for when the player does a "do" on the EMPTY ALTAR (no Stone of Order there) and has NOT TALKED to the nearby HILL GUY who is located near the altar. ˜»ò5~ NOTE: This is the dialog which occurs when the player "clicks" the inventory "Stone of Order" on the altar AFTER HAVING TALKED TO THE NEARBY HILL GUY ABOUT IT. NOTE: Connor says this if the player "clicks" the inventory "Stone of Order" ON THE ALTAR...but has NOT EVER "talked" to the nearby Hill Man about it. (NOTE: During the "PAUSE" either do an animation of Connor "placing" the Stone of Order on the altar -- OR -- just have the Stone of Altar "appear" on the altar...and then have Connor continue on with the rest of the conversation. (This can either be done naturally through having the actor put a long-enough "pause" in the dialog...or by editing the two halves of the dialog, and playing each half when appropriate.) Connor should automatically say this as he first enters the fire dwarf tunnel. NOTE: Use this message if you click ANY INV ITEM on the FORGE HILL MAN - other than specific items. NOTE: Play this conversation AFTER Connor has RECEIVED THE METAL SHAFT from the forge "Hill Man." This can be repeatable. NOTE: Use this conversation between Connor and the FORGE Hill Man if Connor has NOT TALKED TO the Trading Post WEIRDLING about obtaining a "metal shaft" for the pike AND he HAS NOT YET returned the Stone of Order. NOTE: This conversation will occur if Connor HAS TALKED TO the trading post weirdling about the PIKE -- BUT -- has NOT YET RETURNED the "Stone of Order." NOTE: Use this conversation for when Connor HAS RETURNED the "Stone of Order," but HAS NOT YET TALKED TO the trading post weirdling about the "pike" (therefore, Connor doesn't know yet to ASK about the pike). NOTE: Use this conversation for when Connor HAS RETURNED the "Stone of Order" and HAS ALSO TALKED TO the trading post weirdling about the "pike." At the end of this conversation, we need to somehow have the Forge Hill Man "MAKE" and "GIVE" the metal shaft to Connor. (Animation...?) (It seems to me that we should show the "forge" hill man pound on his anvil for a couple of seconds and then GIVE Connor a metal shaft...which then goes into inventory.) NOTE: WAIT to play this message until Connor has actually RECEIVED the "metal shaft" from the forge Hill Man. NOTE: Use this message if Connor tries to draw a weapon while talking to the FORGE HILL MAN-- BEFORE he has returned the Stone of Order to the altar. NOTE: Use this message if Connor tries to draw his weapon while talking to the FORGE HILL MAN - AFTER he has returned the Stone of Order to the altar. NOTE: Use this message if you click a "gold coin" on the FORGE HILL MAN. NOTE: Use this message if you click the "metal shaft" on the FORGE HILL GUY. NOTE: Use this message if you click the "Stone of Order" on the FORGE HILL MAN. NOTE: Use this message if you click ANY INV ITEM on ANY "GENERIC" hill man -- other than specific items. NOTE: This is generic dialog for whenever the player "clicks on" a generic "hill man" BEFORE Connor has RETURNED THE "STONE OF ORDER." NOTE: Generic dialog for the generic Hill Men BEFORE Connor has RETURNED THE "STONE OF ORDER." NOTE: Generic dialog for the generic "hill men" BEFORE Connor has RETURNED THE "STONE OF ORDER." NOTE: Generic dialog for generic "hill men" for BEFORE Connor HAS RETURNED THE "STONE OF ORDER." NOTE: Generic dialog for generic "hill men" BEFORE Connor HAS RETURNED THE "STONE OF ORDER." NOTE: Generic dialog for generic "hill men" BEFORE Connor HAS RETURNED THE "STONE OF ORDER." NOTE: Generic "hillmen" conversation for BEFORE Connor has returned the Stone of Order. NOTE: This is generic dialog for the generic "hill men" AFTER Connor HAS RETURNED THE "STONE OF ORDER." NOTE: This is generic dialog for the generic "hill men" AFTER Connor HAS RETURNED THE "STONE OF ORDER." NOTE: This is generic dialog for the generic "hill men" AFTER Connor HAS RETURNED THE "STONE OF ORDER." NOTE: This is generic dialog for the generic "hill men" AFTER Connor HAS RETURNED THE "STONE OF ORDER." NOTE: This is generic dialog for the generic "hill men" AFTER Connor HAS RETURNED THE "STONE OF ORDER." NOTE: This is generic dialog for generic "hill men" AFTER Connor HAS RETURNED THE "STONE OF ORDER." NOTE: Generic Hillmen conversaton for AFTER Connor has returned the Stone of Order. NOTE: Play this message if you click "gold coins" on ANY "GENERIC" Hill Man. NOTE: Play this message if you click the "Stone of Order" on ANY of the "generic hillmen." NOTE: This dialog is for when the henchman shows up after Connor has obtained the "mask piece." å&¤5U NOW -- the henchman attacks -- and the fight begins. ô&¤5Use this message for if you "click on" the fire dwarves' door but Connor HAS NOT TALKED TO either the archon OR the weirdling about the fire dwarves. PROGRAMMER: Use this for when you "click on" the fire dwarves' door -- outside the door. Use this message if Connor ALREADY KNOWS of the existence of the fire dwarves because he either had TALKED TO the ARCHON about them -- OR -- to the WEIRDLING about them. Use this for the SECOND CLICK on the fire dwarves' door REGARDLESS of whether the FIRST CLICK refered to "knowing" or "not knowing" about the existence of the fire dwarves. Automatically play this message when Connor first comes upon them (and, if has weapon, has "put it away"). Use this message for when Connor jumps onto the FIRST ROCK which TURNS INTO A SYMBOL STONE. (NOTE: This will NOT BE THE "FIRST ROCK" IN THE "RIGHT ORDER." IT WILL BE ANY OTHER ROCK WHICH TURNS INTO A SYMBOL ROCK.) Use this message for when Connor jumps on the FIRST ROCK IN THE PROPER ORDER -- WHICH REVEALS ITS SYMBOL...THE FIRST TIME. In other words, he will make this comment the first time he jumps on the proper rock in the proper order...the first time. Use this message for when Connor jumps on -- and reveals -- the SEVENTH SYMBOL ROCK -- but HAS YET to JUMP BACK on the first rock in the proper order. This is the "lock box" or "locking mechanism" next to the FIRE DWARF DOOR. Use this message for if you click here BEFORE the door has been unlocked. PROGRAMMER NOTE: Use this message for when the weirdling is standing there with his hand out and you click on him AGAIN -- OR -- you click on the long bow again. This message can be repeatable. Connor will automatically say this AS he is pulling on the stuck pike within the dead basilisk. Once Connor is FINISHED trying to pull on the pike...and has backed off...have him say this comment. PROGRAMMER NOTE: This message plays if Connor had previously "walked away" from the pike after the weirdling had offered it to him...and so, it had stayed sitting there on the counter. In order to "buy" it NOW -- the player needs to click on it in order to instigate this "purchasing" dialog. PROGRAMMER NOTE: Now it's up to the player to either have Connor "walk away" -- or to give 10 gold coins to the weirdling in order to "buy" the pike. (And the trade of his old weapon.) NOTE: AUTOMATICALLY play this message for when Connor SHOOTS his FIRST CORRECT button and the PLATFORM MOVES OUT for the FIRST TIME -- BUT -- it's NOT the first time that Connor has shot a button; it could be his second time, third time, etc. (Basically, this is Connor's exclamation for the FIRST TIME he experiences the platform moving out.) NOTE: AUTOMATICALLY play this for AFTER the platform has moved out some -- but then Connor shoots a WRONG button and the platform moves all of the way back to the beginning. This is Connor's expression of consternation. (Play this only ONCE.) Automatically have Connor say this message AS Connor steps onto the short platform at the "Stone of Order" puzzle...the first time. When you click on the "safe" in the fire dwarf tunnels (where you get the other "pipe cap" -- this is what Connor says while it's still locked and closed. Automatically have Connor say this when he arrives at the "halfway-up" place of the elevator. Connor will say this if you click on the steam elevator AFTER he has already been to the Frozen Reaches.Connor will say this if he HAS NOT ASCENDED (or been to) the FRozen REaches yet. NOTE: AUTOMATICALLY play this message when the Stone of Order suddenly "appears" as soon as the platform reaches the pedestal across the lava pool. Play this one if Connor HAS TALKED TO THE HILL PEOPLE ABOUT THE STONE OF ORDER -- THEREFORE, CONNOR KNOWS ABOUT IT... NOTE: AUTOMATICALLY play this when the Stone of Order suddenly "APPEARS" as the platform completes its extension to the pedestal in the middle of the lava pool. (DESIGN NOTE: The Stone of Order will NOT be there on the pedestal -- it will appear empty -- UNTIL SUCH TIME as Connor has depressed all seven buttons in the correct order and the platform has completed its journey across the lava pool to the location of the pedestal. At this point, the Stone of Order will suddenly "appear," and, at this point, Connor will say the above WHEN HE HAS NOT TALKED TO THE HILL PEOPLE ABOUT IT.) Connor will automatically say this AS he takes the Stone of Order into his possession -- and HE KNOWS what it is.Connor will automatically say this as he takes the Stone of Order...but he DOES NOT KNOW what it is. NOTE: This is for when the player does a "do" on one of the buttons or switches on the structure around the lava pool BEFORE Connor has actually "shot" any of them and seen the flash of color and the sound of the musical note. (Can be repeatable until such time.) NOTE: AUTOMATICALLY play this message when Connor SUCCESSFULLY shoots his FIRST BUTTON -- but it is the WRONG BUTTON. (In other words, it is NOT the "do" button -- as in do, re, mi... -- and the platform does NOT move out. However, even the "wrong" button will flash a color and play a note -- and THIS is what Connor expresses surprise over.) PROGRAMMER: When the "secret door" opens -- after he has pressed the final symbol correctly. NOTE: Use this message if you click on one of the "symbol stones" in the "jumping-order-rock symbol" puzzle --- BEFORE you have successfully solved it. NOTE: We now show her going and unlocking a previously locked door. She then quickly leaves via the opposite door -- the door which Connor had most recently entered the jail through... She now leaves Connor with a newly opened door. He can now further explore more tunnels... Connor will automatically answer this after the snow nymph queen's first plea -- only after her FIRST plea. PROGRAMMER: This is for when you click on the snow nymph queen while she's still behind bars... This refers to the door in the tomb which houses the suit of armor...and it's still closed and locked. ‘Actually -- this should work ONLY if you click on the front of the tomb where it "appears" that there is a door...but there's really not. Connor looks at the 4 symbols on in the tomb. PROGRAMMER (or ANIMATOR) NOTE: During the "slight pause" in the dialog, show the weirdling gesturing at a nearby weapon he has displayed on a counter in front of him. PROGRAMMER or ANIMATOR NOTE: As the weirdling says, "'Tis just across the bridge yonder" -- have the weirdling gesture towards the direction of the basilisk. PROGRAMMER: Play this whenever Connor "walks away" from a conversation with the weirdling. PROGRAMMER NOTE: AFTER the weirdling has "made" the pike -- he sets it down on the counter in front of him and then holds out his hand for payment...as the gnome's do in the Gnome Realm. In order for Connor to "buy" the pike, he then has to click "gold coins" on the weirdling -- OR -- "walk away" if he's not interested. NOTE: use this message if you click ANY INV ITEM on the weirdling tradesman other than specific items. NOTE: Play this message if you click the "basilisk tongue" on the weirdling tradesman. PROGRAMMER NOTE: This is what occurs when Connor HAS PREVIOUSLY GIVEN the METAL SHAFT to the trading post weirdling. PROGRAMMER NOTE: The weirdling will now do some sort of ANIMATION to MAKE the pike -- right in front of Connor. Once he's done making the pike, he will set it down on the counter and go on with his conversation: see WERDLING_HS_PIKE message. NOTE: Use this conversation for when Connor "gives" the black diamond to the weirdling...but does NOT YET HAVE THE METAL SHAFT. NOTE: Use this message for AFTER the BASILISK is DEAD and AFTER Connor has actually been INTO THE FIRE DWARVES TUNNELS....and the weirdling still has at least ONE WEAPON TO SELL. NOTE: Use this dialog for AFTER the BASILISK IS DEAD and AFTER Connor has BEEN INTO THE FIRE DWARVES TUNNELS...and AFTER Connor has already bought ALL of the weirdlings weapons. PROGRAMMER NOTE: Play this dialog AFTER Connor has killed the basilisk...and he comes back here and the player "clicks on" the weirdling. NOTE: Use this conversation for AFTER Connor has GIVEN BOTH the "black diamond" AND the "metal shaft" to the weirdling and has been given the "pike." However, though -- he has NOT YET killed the basilisk. NOTE: This is the ANSWER which the weirdling gives Connor when he HAS GIVEN the "black diamond" to the weirdling, BUT NOT the "metal shaft." NOTE: I want you to NOTE that I kept the SAME "CASE NAME" as before, but, in actuality, this dialog can also be used if Connor HAS GIVEN the black diamond, but NOT the metal shaft...or vice versa. The weirdling's ANSWER, though -- will be different depending on which item(s) Connor has, or has not, given him. NOTE the different answers to this ONE QUESTION. NOTE: This is the answer that the weirdling gives if Connor HAS GIVEN the "metal shaft" to the weirdling...BUT NOT the "black diamond. NOTE: This is the answer which the weirdling gives to Connor if Connor HAS NOT GIVEN EITHER THE "METAL SHAFT" OR THE "BLACK DIAMOND." NOTE: Use this message if Connor draws his weapon while talking to the weirdling tradesman. PROGRAMMER NOTE: Use this message for when Connor wants to buy ANY OTHER WEAPON BUT THE PIKE. PROGRAMMER NOTE: In between this line (spoken by Connor) and the next line (spoken by the weirdling), put the PIKE in Connor's hand -- and the weirdling will then take away Connor's old weapon. NOTE: This is what Connor says when he GIVES the "metal shaft" to the weirdling...but the weirdling HAS ALREADY BEEN GIVEN the "black diamond." At this point, go straight into the "WEIRDLING_N/BLACK_DIAMOND_V/HAS_METAL_SHAFT (2) message; immediately after that, play the "WEIRDLING_N/ALL/WERDLING_HS_PIKE (1) message. NOTE: Use this message for when Connor HAS NOT YET GIVEN the "black diamond" to the weirdling. PROGRAMMER NOTE: This is the message which occurs once the weirdling has MADE THE PIKE and it is lying on the counter and he has just asked Connor if they have a deal for Connor to trade in his old weapon for it -- and to also give him 10 gold coins. If the player moves Connor AWAY from the counter, then the game should presume that Connor is saying NO. (ALSO, THIS CAN BE USED FOR A "NO" IF CONNOR DOESN'T WANT TO BUY ANY OTHER WEAPONS, EITHER.) NOTE: Use this message if you click ANY INV ITEM on the witch dr. other than more specific items. NOTE: Use this message if you click the BASILISK TONGUE on the witch doctor. NOTE: Play this conversation when the player does a "do" on the weirdling witch doctor AFTER THE FIRST TIME. This dialog should now be repeatable for the rest of the game. NOTE: This conversation will ensue when the player does a "do" on the witch doctor the FIRST TIME. NOTE: Use this message if Connor tries to draw a weapon while talking to the witch dr. NOTE: Play this conversation for ANY TIME (whether the player has had any initial conversations with the witch doctor or not) the player GIVES a GOLD COIN to the weirdling witch doctor. The witch doctor will take the coin...and then HEAL Connor. NOTE: At this point, it would be REALLY NICE to at least have the weirdling witch doctor do a magical gesture toward Connor and to show some kind of magical effect on Connor as his health goes up. The animation of Connor's health going up should occur right after the "pause" in the witch doctor's dialog. (The "Of course, traveler" part is the witch doctor acknowledging the gold coin. The "Behold!" is the part where the "healing" animation should occur.) NOTE: Use this message if you click ANY MASK PIECE on the witch dr. NOTE: Use this message if you click ANY INV ITEM on ANY generic weirdling other than specific items -- like "gold coins." NOTE: Play this message if you click a GOLD COIN on ANY generic weirdling, bartender or otherwise. ALSO -- subtract the GOLD COIN from Connor's total. (AND -- he gets "nothing" for the trouble!) NOTE: More RANDOM CONVERSATION between Connor and generic weirdlings AFTER the basilisk is dead. NOTE: Use this conversation as one of 5 different RANDOM conversations between Connor and GENERIC WEIRDLINGS whom Connor can run into here and there. This is conversation which takes places BEFORE the basilisk is dead. NOTE: More RANDOM conversations between Connor and generic weirdlings -- BEFORE the basilisk is dead. NOTE: More RANDOM CONVERSATIONS between Connor and generic weirdlings...BEFORE the basilisk is dead. NOTE: More RANDOM generic conversation between Connor and generic weirdlings...BEFORE the basilisk has died. NOTE: More RANDOM CONVERSATIONS between Connor and generic weirdlings...BEFORE the basilisk is dead. NOTE: This is RANDOM generic conversation between Connor and generic weirdlings AFTER the basilisk has been killed. NOTE: More RANDOM CONVERSATION between Connor and generic weirdlings AFTER the basilisk is dead. NOTE: This is more RANDOM CONVERSATION between Connor and a generic weirdling AFTER the basilisk is dead. NOTE: This is more RANDOM CONVERSATION between Connor and generic weirdlings AFTER the basilisk has been killed.
PROGRAMMER: Have Connor say this as soon as he enters the ice cave from the steam elevator (leading up from the Barrens). NOTE: At this point, we will go into a TRANSITIONAL CARTOON which is OUT OF PLAYER CONTROL while we now get Connor into the temple in the Realm of the Sun -- the final realm of the game. NOTE: At this point the archon will fade away while Connor says one last thing... NOTE: But the archon is now completely gone... NOTE: The archon will now fade out while Connor says one final thing... NOTE: But the archon is now completely gone.. There is a piece of broken chain lying on the floor near the place where the "ceiling chain" is located -- in the crystal dragon room. This is what Connor says when you click on it. PROGRAMMER NOTE: Play this message AUTOMATICALLY as soon as the dragon lands on the other side of the lake -- whichever side -- and show Connor AUTOMATICALLY climbing off the dragon's back. (NOTE: Use this same message for WHENEVER Connor needs a ride back across the sea...from whichever side.) PROGRAMMER NOTE: The dragon should look "asleep" or "inanimate" until you actually click the crystal scepter on it. Then, we need an ANIMATION where we see it magically "wake up." The dragon then looks at Connor and says this dialog in a very formal, impersonal tone -- with a very deep, resonating voice. PROGRAMMER NOTE: After this message, IMMEDIATELY/AUTOMATICALLY play EITHER the BAYDOOR_NOT_OPN message OR the BAYDOOR_OPEN message depending on whether the bay door is open or not. This is what Connor says on the FIRST CLICK to the sleeping dragon (and has NOT TALKED to Queen Freesa yet -- about this dragon). AND -- Connor has not woken it up yet, either. (REmember -- this is the FIRST CLICK in this case.) Actually -- this is NOT the second in a sequence; this is really the SECOND CLICK to the dragon assuming that the same above "case" is still true. This message will be the "repeating" message until such time as the "case" changes to something else. PROGRAMMER NOTE: Use this message for WHENEVER Connor needs the dragon to take him BACK across the lake -- from either side. This message will probably be the most repeatable between Connor and the dragon since it will be used anytime that Connor needs the dragon to take him across the lake. PROGRAMMER NOTE: Use this message for when you click on the dragon AGAIN -- but you have not yet opened the door. This message is repeatable UNTIL you have actually opened the door. PROGRAMMER NOTE: This message is the one which is repeatable (if the door is open) UNTIL Connor finally climbs on the dragon's back -- which will then cause the dragon to AUTOMATICALLY fly Connor across the lake. PROGRAMMER: Use this dialog for when you click on the "sleeping" crystal dragon BEFORE you have figured out how to "fly" it -- AND -- once you have already talked to Queen Freesa about it. (Let's consider having the dragon look "asleep" or somehow "not alive" or something. So that -- not until you actually "click" the crystal scepter on it will it move or do anything at all.) Connor will say this any time you click on the closed bay doors with the dragon...until such time as you open those doors. PROGRAMMER: Use this dialog when Connor "uses" the deciphering amulet on the monolith near the dragon. Connor makes this comment THE FIRST TIME he pulls on the lever which causes "electricity" in the electric chair. PROGRAMMING: Play this when Connor "uses" the deciphering amulet on the monolith on the icy island -- where the flame sword is located. Connor will say this if you click on the gap in the threshold BEFORE you have made the ice lever. Connor will automatically say this when you shoot the "water" in the "gap." The water will freeze -- and turn into an "ice lever" within the gap. Connor says this as he places the ice shard in the gap in the floor. Connor will automatically say this AS HE TRIPS over the gap as he crosses the threshold going outside of the ice lord's throne room. NOTE: This is what a generic gryph says -- in the gryph cave AFTER the king has been saved. NOTE: This is the third and final dialog of generic gryphs -- in the cave AFTER the king has been saved. NOTE: Use this when you click on one of the gryphs in the gryph cave AFTER the King has been saved. NOTE: Use this message if you click ANY INV ITEM on ANY of the "generic" snow nymphs. NOTE: Use this message if you click ANY INV ITEM - except specific ones - on the GRYPH KING...no matter where he is; in the jail or in his cave. NOTE: Use this message if you click the BLUE ADAMANT on the Gryph King -- once he's back in his CAVE -- and after he's given it to you. NOTE: This is the dialog which plays THE FIRST TIME you "click on" him in the CAVE -- once he's made his escape from the citadel. (Put the "BLUE ADAMANT" in inventory.) NOTE: Use this as the SECOND DIALOG with the GRYPH KING in the cave. NOTE: This is the THIRD and FINAL dialog for when the gryph king is in the cave. This dialog is REPEATABLE. NOTE: The gryph king will say this if Connor draws his weapon in the cave -- regardless of whether Connor is "talking" to the king - or to one of his gryphs. NOTE: Use this message if you click a "gold coin" on the gryph king -- no matter where he is; in the jail or in his cave. NOTE: Use this message if you click the "jail key" on the King Gryph while HE'S STILL INSIDE THE JAIL CELL. NOTE: Now -- Connor and the henchmen fight. PROGRAMMER: Connor will say this when you do a 'click" on the ice block with the flaming sword still inside. Connor will comment on the "GRATE-LOOKING" thing which leads down to the ICe Lord's throne room. He will say this while it is still closed and locked. Note: Lucreto "magically" pops into the throne room (after Connor has put his "eye" to the peephole) Thork "grovels" on the floor in front of Lucreto. Lucreto gestures impatiently for Thork to stand up. NOTE: Thork stands up and then stands in front of Lucreto, trembling, wringing his hands -- clearly scared and intimidated by Lucreto. NOTE: Lucreto now "magically disappears." Thork now immediately turns toward the door on the opposite wall and calls out to one of his guards on the other side. NOTE: The door opens and a soldier immediately steps in... NOTE: The sentry should "salute" to Thork when he says this... NOTE: The sentry salutes to Thork again and then rushes out the door. NOTE: Thork now turns around -- sort of facing the direction of the peephole. He appears to look directly AT the peephole, although we can't be sure he actually saw Connor or not. Connor now immediately backs away from the peephole and quickly closes it (or whatever). PROGRAMMER: Play this line AFTER Connor has killed the Ice Lord. Use this message for any time you click on the small pond (with the flame sword/ice) UNTIL you have actually broken the ice with the rock. Connor will say this if you click on the jail cell keyhole -- but it is still closed and locked. (Regardless of whether he HAS the key in inv. or not.) Connor will say this when you click on the vast lake in the ice world -- from either side. PROGRAMMER: Use this message when you click on the "electric chair" BEFORE Connor has either USED it -- or pulled the lever to see what it does (an electric charge). (Connor will say this upon placing ANY of the 3 items for the Spell of MIght on the "electric chair." (First time only.) This is for the Ice Lord's throne room -- when you click on the "locking mechanism" for the locked door...which leads to the Mask piece. Connor says this if the door is still closed and locked. Connor will say the first part as he puts the lever in the locking mechanism -- the second part as he begins to push on the lever... PROGRAMMER NOTE: Once Connor has made this exclamation, then automatically bring on the henchman... This is part of the "Henchman/mask piece" cartoon. Connor says this particular line when he goes up to the FROZEN HENCHMAN, hits it -- and it falls into icy pieces... Connor will automatically say this when he FIRST ENTERS into the "Paradise Lost" place. PROGRAMMER: Play this when you click on the small hole at the top of the crystal pyramid within the stonehenge-type structure -- but BEFORE you've actually placed the small crystal pyramid within the hole. PROGRAMMER: If Connor had "walked away" during their initial conversation, then play this before having her continue on with their last conversation. ×Åm5\ NOTE: We should show the queen nymph either sitting on her throne OR she could have more of a fur-covered LOUNGING-TYPE throne (or chaise- or couch-type throne -- and she's really reclining on her throne rather than sitting on it....just to be different and a little more exotic.) PROGRAMMER: Play this if Connor 'walks away" during their initial conversation. NOTE: Use this message if you click ANY INV ITEM on the SNOW QUEEN except for specific items. USE THIS MESSAGE ANY TIME YOU CLICK THE CRYSTAL SCEPTER ON HER. PROGRAMMER NOTE: Use this message ANY TIME you click the crystal scepter on the nymph queen. She'll always say this. PROGRAMMER NOTE: Use this message for AFTER Connor has GOTTEN the crystal scepter, but has NOT YET USED IT to get the dragon to fly. PROGRAMMER NOTE: Use this message if Connor HAS NOT FOUND the crystal scepter yet. NOTE: Use this message if Connor tries to draw a weapon while talking to the Snow Nymph queen. Oî£5› NOTE: Use this message if you click "gold coins" on the SNOW NYMPH QUEEN. NOTE: Use this message if you click ANY "mask piece" on the SNOW NYMPH QUEEN. Any time you click on the steam elevator here...Connor will say this. PROGRAMMER: Play this BEFORE the Archon has appeared.... This is what Connor says if you click on the LOCKED DOOR (where Mask piece is found) in the ICe Lord's throne room. Connor will automatically say this the FIRST TIME that he has cut off one of the dragon's heads...and it grows back. Connor will say this when you click on the DEAD DRAGON. Connor says this while the dragon is still alive. PROGRAMMER: Have Connor automatically say this upon first entry in the temple of the Realm of the Sun. PROGRAMMER: When the player "clicks on" the archon statues. Connor will automatically say this when the big book CREATES A GOLDEN KEY. Connor will say this if you click on the big open book if it is NOT DIRECTLY in the LIGHT. B6M PROGRAMMER NOTE: Whenever the player has Connor "read" the words on the open page of the book, Connor will always "read" it out loud. NOTE: Connor will automatically say this just after the transformation of the ugly cauldron into a beautiful well. Connor will automatically answer the "first-level" door's question -- the FIRST TIME ONLY -- if he doesn't already have the answer on the tablet. PROGRAMMER NOTE: At this point, the door to the second level will automatically open -- and then stay open for the rest of the game. NOTE: This one would probably be played when there's more than one henchman -- as if one were speaking to another. Connor says this as he darts behind the column during the "henchman/cauldron" cartoon IF HE HAS NOT SEEN THE SWAMP WITCH/CAULDRON VISION. Connor will say this if he HAS SEEN the vision in the swamp witch's cauldron -- as he hides behind the column during the cauldron cartoon...first time only. Connor will say this if you click on the evil cauldron -- in-between the "henchmen/cauldron" cartoons. Connor will say this if you click on the hovering golden sword at the end of the invisible bridge. Connor will say this when you click on the golden sword at the end of the VISIBLE bridge. Connor will automatically say this AS the hovering sword at the end of the VISIBLE bridge disappears -- the first time only. Connor will answer this to the third-level door if he does not yet have the answer on the tablet -- first time only. PROGRAMMER NOTE: At this point, the door to the Inner Sanctum will open -- and Connor can enter through the door. (NOTE: It will automatically close AND LOCK behind him once he actually enters into the Inner Sanctum.) Connor will say this for ANY of the three "keyhole" doors in the temple. PROGRAMMER NOTE: After the Archon is finished saying this, he will then FADE OUT -- and be gone. If you have not yet solved the "Light puzzle" -- and you leave the room and then come back in, he will be back and say the same thing again...and then fade out again. Play this dialog DURING the animation of the word "Light" being emblazoned on the tablet. PROGRAMMER: Use this for any of the three locked doors (which use a golden key to unlock them) -- BEFORE they are unlocked. PROGRAMMER NOTE: At this point, Lucreto will RUSH upon Connor...and the fight will be on! NOTE: Show the "black hole" beginning to form itself behind Lucreto; as Lucreto says this line he has not yet seen it.
NOTE: At this, Lucreto turns around and looks in shock at the now-spinning "black hole." A vacuum-like suction now begins -- and both Lucreto and Connor struggle against it. NOTE: Lucreto says this as he's struggling against the vacuum suction of the "black hole." PROGRAMMER NOTE: After the Archon is finished saying this, he will FADE OUT. If you leave the room, but DO NOT solve the "Order Puzzle" -- and then you come back in here, the Archon will be there again, and again he'll say this. He will then FADE OUT when he's thru saying it again.... Connor will say this if you click on the "order puzzle" on the third level -- if the puzzle is still unsolved. PROGRAMMER: Play this dialog DURING the animation of the word "Order" being emblazoned on the tablet. PROGRAMMER NOTE: At this point, the Archon should be right in front of the door, and then will fADE OUT after having spoken these words. Connor now needs to "use" the "tablet" with all three words inscribed on it on the door in order to open it. PROGRAMMER NOTE: There will be NO door (at all!) which can be seen leading into the Inner Sanctum if you do NOT have the fifth mask piece. The Archon will tell you this, and will then FADE OUT at the end of his message. If you leave the room, and then come back in again, he will be there again, and again will say these words...and then fade out again. (ALSO -- if you ALSO do not have the sword/armor/life -- then THIS STATEMENT ABOUT "NO MASK PIECE" will take precedence. Once the mask piece has been found, THEN, the message about the lack of any of those other 3 things will be played.) PROGRAMMER NOTE: If you're only missing even one of these items (or two or three of them), this same message will play until you have ALL THREE OF THEM. (There will be "no door" visible leading into the Inner Sanctum as long as you do not have these things. Once you have the fifth mask piece, and all three above items, there will suddenly be a "door" present in the Chamber where you can then enter into the Inner Sanctum.) Connor will answer this to the second-level door if he does not have the tablet of knowledge with the second-level answer on it. FIRST TIME ONLY. PROGRAMMER NOTE: At this point, the second-level door will unlock and open...and then stay open for the rest of the game. Connor will say this any time you click on the altar -- where the tablet of knowledge is obtained. Connor will automatically say this at the end of the henchman/mask piece cartoon -- when he thinks that there is no henchman to fight this time. PROGRAMMER NOTE: As long as Connor does not have the tablet -- each time he comes in here, the Archon will automatically say this. Then -- he'll FADE OUT... PROGRAMMER NOTE: Once the Archon has SAID THIS, he will FADE OUT. If Connor leaves the room and then comes back in here...BEFORE HE HAS SOLVED THE "TRUTH" PUZZLE...then the Archon will repeat this...and then FADE OUT again. NOTE: Play the animation of the word "Truth" being emblazoned on the tablet. Play this "voice" during the animation. Connor will say this when the vicious beast disappears leaving behind the golden key. Connor will say this if he has tried shooting the beast with arrows -- but they have no effect on the beast. Connor will say this if you click on the vicious beast AT the invisible bridge. Talkspot Interviews Listen here The two part (originally intended to be three parts), Talkspot radio interviews made several weeks after the release of Mask of Eternity (12-11-98 and 12-16-98). Discussing the success of the game, and the design of the King's Quest Series, and King's Quest: Mask of Eternity in general: ◾KQ8: Mask of Eternity Talkspot 1/3 (12-11-98) What is your favorite games? Oh gosh, My favorites are...obviously the latest one I just did, I gotta mention that one, King's Quest: Mask of Eternity. Beyond that, Phantasmagoria, I really just enjoyed working on that. King's Quest V, King's Quest 4, and The Colonel's Bequest. If I had to name any of them those would be them." What characters of yours would you license to another company? "Well, right now I'd have to say Connor, from the Mask of Eternity, because he's the latest and greatest. You know, I really really like him, and I think he's a great guy, as far as guys go, he's a great guy, and a great character." -Roberta Williams Roberta admits that she never goes back to play previous games. She always moved forward to start design on new games. This gives insight into the fact that often her favorite game was often the one she was currently working on at the time, such as KQ8. King's Quest series as a whole went through three major development cycles as far as technology was concerned, the first began with KQ1 and ending with KQ4, the second began with KQ5 and ending with KQ7, and the third cycle began with KQ8. The platform being used had some influence on the story, and sometimes the story influenced the platform. Roberta didn't alway know how to develop the story without knowing what the technology was, and those developing the technology weren't always sure what to do until they had the story. ◾KQ8: Mask of Eternity Talkspot 2/3 (12-16-98) "Ya, my favorite spot is, there is this place where you can get inside Castle Daventry, and it's the dining room and throne room, where you can see the pictures of King Graham and Queen Valanice and then also the Magic Mirror, which reminds me of the Older Games, so that's my favorite place."-Roberta Williams Ya, I like the pictures of Graham and Valanice in the castle, because we actually went back to the original paintings from KQ5, and scanned them in, that was kinda fun. Personally, I like the ruins, the castle ruins, because their kinda fun, and there are a few trick traps there, that are kinda fun to play with. -Mark Seibert "Ahem, and you can get some good views from there also" -Roberta Williams "...and there is a little secret place you can find, and get a stash of cash...behind an illusionary wall." -Mark Seibert According to Roberta, KQ8 is designed to be a journey, much like the journey in KQ5, and thus has more of a linear progression through various lands, and in plot, as opposed to KQ6 which was more non-linear in order one explored the islands. Did you think KQ8 needed to move to 3D to progress, or do you think it would have been as successful, or would have worked as a 2D game? "...Well, my experience...and I think its a really good question, my experience in playing this particular game, is that after you have played at least half the game, and you start getting used to it used to the interface, and driving Connor around, and the camera, it just begins to feel so much more immersive, to me, to me, much more immersive than even the older games. I can acknowledge we could have done a better job in many ways, but it is the first of a new type of adventure game certainly for Sierra. Just learning how to design in 3D, and I just think there are some things we did right, and some things we did wrong. To me the exploration and immersiveness of 3D is so much more, I just, I don't think I could personally go back to 2D... Ya... I think so...the worlds are going to have the capability of being able to feel much more real, and as the technology improves and as the computing power of computers improve, its going to get better and better. But you need to play a little through it, and get a little more through it and I think you'll agree." -Roberta Williams Part 3 was apparently cancelled or co-opted by another live show (it was never even added to the Talkspot archives). ◾KQ8 Mask of Eternity Talkspot 3/3 File Wanted Asks the questions why only five pieces of the mask instead of seven. What did end up on the cutting room floor? What are the easter eggs in the last three worlds? More on how Sierra's deadline affected the game. Roberta's involvement in the game and controversies in the development process. Note: This episode may have been planned, but may have been postponed, and ultimately never aired.
Passing the Blame
Over the years, in particularly following the release of the game, various people involved have leveled allegations and accusations at others, rather than have accept any blame (for any criticisms leveled at the game for the ideas introduced in the game) and opinions of the quality of the game. Some of these interpretations and allegations may have been made in hindsight, or include pure revisionism over what really did happen. Roberta and Ken Williams have made allegations that Roberta lost control of the series, and blame has been leveled at anyone from other members of her team, the heads of Sierra (which ironically would have included Ken Williams to at least October 1997), and team members working at Dynamix, team members quitting, etc. The overall complaint leveled long after the game's release is that members of her team would not listen to her (wanted to insert their own ideas), and that there were too many cooks stirring the pot (both inside and out). The allegation is made that there was a period in which its claimed that she wanted to leave the company, and remove her name from the title entirely. A careful examination of behind the scenes material, and development material, and the stories from others however appears to show that instead of a fractured development team that made her insert things into the game that she was against (see action, combat, etc), that nearly from the beginning it was her idea to include these things, and even more examples of action sequences, including arcade sequences (on-rail shooting sequences, and other forms of action/combat, etc). The only thing holding this back was limits in the technology she was using or had access to. Her ideas turned out to be far more ambitious than what Sierra was capable of doing at the time, with the engine and technology she chose or was forced into using. This section chronicles however the history of allegations passed onto others following the development of the series (that doesn't quite seem to fit with the details as given in the actual design documents or by others who developed the game). One such story (appears in Harold Goldberg's All Your Base Are Belong to Us) is that between September 1996 and January 1997, while Roberta was busy developing Mask of Eternity (with its own series of problems), that Roberta received criticism from Bob and Jan Davidson of the parent company Davidson and Associates. The accusation coming from Roberta and Ken Williams is that around September 1996, Bob Davidson became CEO of CUC software. the Davidsons took offense of Roberta's work (primarily based on their conservative view of Phantasmagoria), and attempted to force their own ideas for a 'sanitized' non-violent and possibly non-religious version of the game. They put a group of managers in charge that made demands of Roberta's team, even going as far to try to tell them to ignore Roberta's ideas. Roberta Williams began to feel as if she was losing much of her creative vision and control over the project, but she continued to work with her team on her own version (resisting the Davidsons' version). But it is unclear how much influence this actually had on Roberta's final product. The accusation given is that the Davidsons criticized the game based on their religious conservative views, and felt Roberta and Ken Williams were a corrupting influence on the nation's impressionable youth due to her work on Phantasmagoria. They apparently saw Phantasmagoria as immoral and Mask of Eternity as being too violent. This accusation seems a bit farfetched as the Davidsons also owned Blizzard at the time and allowed Warcraft and Diablo with far worse religious content and violence “Satanic imagery”. According to the accusation they were not trusting of Roberta to make a game that would fall within their standards, they set up a team of managers above Roberta, who pushed their own story and puzzle ideas for the game, stripped of the violence and any other themes they felt unfit for the game. It is alleged that they tried to bypass Roberta, ordering Sierra team to make the game their way, and to ignore Roberta. But in reality it seems that the Davidson was more of a hands off kind of leadership, who gave the various divisions in the company design freedom do their own thing with their own properties. Roberta claims at around some point at this time, she began to feel as if the company wasn't listening to her, and that she had lost all her voice and control. It wasn't until around January 21, 1997 (when the Davidson's left), that she regained full control back to her version of the game. However the Davidson's interference may have had some impact on the games development to both time and resources. The game had other sets of problems, due to Dynamix unfinished game engine, and the need for Roberta's team to build one themselves, more time and resources were spent (the game was pushed back several times), and material had to be cut to make the game's final release date. It is unclear how much the Davidson's ideas (if they had any influence at all, or had actually involved themselves with the project) had influence on the game, if any at all (it is only Roberta's and Ken's word against other bits of evidence). But based on the Jan Davidson's alleged complaints it apparently, if they had gotten their way, it would have lacked the violence and combat found in the released game, and possibly would have been less religious, or lacked pagan superstitious elements Roberta wanted to include in the game. Though this seems unlikely considering Davidson's freeness surrounding Blizzard Entertainment. It's possible that some of the Davidsons ideas (if there were any to begin with) may have made it into the final project, but this is unclear. Ultimately Roberta maintained full control of her own vision (throughout the game's development), only limited by the technology itself, and not by her staff. However, the Davidsons cannot be given the full blame for the direction of the game, and the final direction is very much on the shoulders of the ideas Roberta wanted to do with the game very early on during development but at a much less ambitious scale. It is claimed that by the time Roberta had reasserted her control over the project (after Davidson & Associates influence waned when they left the company in January 1997, see below). Roberta was able to maintain control of the design, and she stopped threatening to remove her name from the project. Roberta did the writing for the game's story and script (and was the main designer). According to John Williams, however, it may have had less to do with anything Davidsons allegedly did, but more about personality conflicts between Ken and Bob Davison. That Bob Davidson was given a leadership position in CUC that Ken coveted (and essentially made Bob his boss), and when he didn't get his way ultimately lead to him leaving the company as well. John has said that Bob Davidson was a much better businessman, better organized, and probably was a better choice for the position at least from his experience and long term viability of the company at the time. But it seems that there was some battle of egos between the two, Ken was jealous that he passed over for the position, and now retroactively blames Davidsons for everything that went wrong (though Ken may have more direct influence over the game than Davidsons ever did). According to one of the early programmers (an animator, Al Eufrasio): -There was an ever shifting scope and design -Micromanaging by Ken and other corporate types (Ken was in charge very early in 1995 through at least 1997) -Unfinished tools and technology (see Dynamix history above) -Roberta & Ken took a long vacation midway through production which left the team swaying in the wind trying to figure out her intentions -Art development for KQ8 began immediately after Torin's Passage got released in 1995. Most of the original team was culled from the Torin's Passage team. The original crew left for many of the reasons stated. Al Eufrasio did some character animation on KQ8 early in production; got transferred to a couple other projects and then left the company when they started threatening to put him back on KQ8 (not to mention all the corporate turmoil at the time). That explains his gravestone in the cemetery-- all the gravestones consisted of peoples' names who quit directly or indirectly because of KQ8.
Information from Roberta Williams
Here is a post from Roberta Williams about MoE. It can be found on the MoE forum. July 7, 1997: I have been reading with interest all of the various comments that everybody has had about KQ8 (Mask of Eternity). I find it interesting that everybody has their own ideas about what King's Quest IS. And everybody seems to have a bit different idea. It seems, on this board, anyway, that quite a few people have the idea that King's Quest is (or should be) non-violent...no ifs, ands, or buts about it. And it must be cute, funny, have fairytales in it, and have lots of puzzles and inventory objects. First of all, I have to say that King's Quest comes from ME and each one is different and has its own flavor. Some have a darker tone, and others have a lighter tone. Some touch upon violence, and some don't. King's Quest reflects the mood that I am in when I go to tackle another one. King's Quest really is a reflection of me and how I'm feeling about the subject and upon the reference material I am using and how I approach the subject. Basically, King's Quest comes from me and my heart and it always isn't going to be exactly the same, because I'm not always exactly the same, and I, like most people, feel a need for a change of pace and a sense of moving forward and of trying and experiencing something new. With KQ7, I was in a "Disney-esque" mood. Some people really liked it, others didn't. Earlier King's Quest's reflected my moods during those times: KQ3 was very dark, and it utilized lots of magic and magic spells with the basic idea of finding ingredients for "black magic" spells and then casting those spells. (Certain religious groups were upset with me over that one!) KQ1 certainly had violence. Sir Graham had a dagger and could kill the dragon (and it didn't get you "stuck," by the way, if you did so), and you could also kill the goat. It's true that I also had non-violent ways of dealing with those situations, but, that's because I chose to handle it that way for that particular game. I've gotten into trouble over the years for all the various ways that my main characters can "die." And they die a lot! I am known for changing course a lot, and changing my style a lot. I like change, and I like to keep people guessing. KQ7 felt very Disney-esque, and I felt like doing something different for KQ8 but yet, still keeping a "King's Quest" feel to the game. Each game in the King's Quest family has been different. Almost each time I do a new King's Quest, people get up in arms and say it's going to be "different" and won't feel right. Yet, each time, it DOES wind up feeling like King's Quest but each in its own way...and people just kind of KNOW that when they are playing it. That's because I know, in my heart, and what I am feeling, that it is, indeed, King's Quest. The components that make a King's Quest are (in my mind, anyway and since I am the creator of the series, I guess that holds some weight): A land, or lands, of high fantasy; fantasy creatures from myth, legends, and/or fairytales both good and bad; situations to be found in those same types of stories; a "quest" type story; a calamity in the land with one "hero" to "save the kingdom"; a story of the "good" hero against the "evil" bad guy; a story that everyone can relate to, i.e., a "reason" for having the hero go out and risk his or her life for "saving the kingdom"; interesting worlds to explore; high interactivity; interesting characters; great animation; great visuals and music. Within that general framework, I feel that I can have some "leeway" to accomplish those tasks. In the case of KQ8 I chose to give this game more of a "Tolkien-esque" feel rather than a "Disney-esque" feel. But each of the above elements is true for KQ8 as they were for KQ1 through 7. KQ8 indeed has a story, actually, a much more profound story than prior King's Quests. It is a new telling of the ultimate "quest" the quest for the most powerful, spiritual, benevolent item of all; the Mask of Eternity. This story takes its cue from two sources: the Quest for the Grail, and the Christian story of the struggle between God and Lucifer. When we say that the story is very dark that's really not true; it's just that the story is more profound and seriously looks at the struggle between good and evil. Rather than taking a bubbly, Disney view of good and evil, I chose to look at the struggle between good and evil from a more serious, traditional, almost spiritual, viewpoint. If you look at the traditional stories of the Grail and even in past Christian legend, you find that it is not light-hearted, gooey, and bubbly. Those stories are filled with conflict, peril, finding ones own morality, proving oneself a hero by overcoming evil creatures of Chaos, but yet proving oneself virtuous and good with all things good. That is the theme with this game. Connor is indeed a new character within the world of Daventry. Currently, he has no connection to King Graham and his family, but that doesn't mean that King Graham is not aware of him...and what he's going to do to help Daventry. This is, instead, a story of Connor and a story of how one young man of "common" background can rise to the situation and prove himself to be the true hero which can save the world. It is the traditional story of the young "initiate" who becomes stronger through proving his mettle, his virtue, surviving perils, overcoming evil and in the end can even conquer the ultimate evil. By doing so, he will restore the land and all of the people, and good creatures and animals within it. The Mask of Eternity is the "key." It is the source of all Power, all Order, all Truth, and all Light. It belongs in its place in the "Realm of the Sun." It has been broken into five pieces and distributed throughout the world. A mysterious evil (guy) has destroyed it and taken over the Realm of the Sun. Darkness has now settled over the land and all people (mortals) have been turned to stone, while creatures of darkness have risen from the very cracks and crevices of the earth at the instigation of this evil guy. Now Chaos reigns in all the various regions of the world: In Daventry (where all people have been turned to stone, including King Graham and his family); in the Dimension of Death (where even the Judge of the Dead has lost control of his guards and the souls); in the swamp (where the evil swamp witch has poisoned the swamp water and has all the good swamp creatures in her thrall); in the underground Realm of the Gnomes (where the industrious gnomes are willing to sell you items to help in your quest, but have also lost some control to the rock demons and an evil dragon); in the Barrens (where the trading post dwarfling has lost his "business" to the predations of an evil basilisk and the savagemen block your way to the Frosty Mountains); in the Frosty Mountains (where travel is impossible without the commandeering the controls of a flying crystal dragon, and the snow nymphs need relief from the evil Ice Lord); and finally in the Realm of the Sun (where the bad guy has taken over the domain of the Archons and the Mask of Eternity....this bad guy, the ultimate source of the terrible evil and darkness which has overcome the world). Connor must overcome all of these problems while recovering the pieces of the Mask and returning the Mask (in whole) back to its realm to its altar. Not until it has been returned will green and light return to the world. Not until then will the Realm of the Sun "shine" again and the waters flow.... I feel very proud of this game and the story which goes with it. Do NOT gain any preconceived ideas which may be wrong about this game from some preliminary screen shots which you will see at this early date. As time goes on we will supply you with more screen shots which will show other aspects of this game which are not "fighting" oriented. The reason it appears that this game is all about that is because we have not ever done a game which has that element so we're concentrating on that element right now. The other elements; the story elements, the character elements, the animation elements, the inventory object elements, the puzzle elements...are all stuff we've done before and will be much easier for us to put in place....we just haven't done those yet.....therefore, you're getting a skewed view of this game which is WRONG. I plan on keeping in touch with everyone and endeavoring to answer questions. I will try to check in a couple of times a week. Thanks for your patience in reading through my long-winded explanation of KQ8. Hopefully, this will have helped answer any nagging questions about "Mask of Eternity."
- Williams defended her strategy [for inserting action and combat], saying it was time to introduce something different.
``It appeared that adventure games were just dying, she said. ``It just appeared that no one wanted adventure games anymore. ... I needed to do something strong and relatively risky in order to get it back. 
- I've always felt that the adventure-game genre was sort of mine. Other people have dealt with it and been very successful, but most times I was able to define where the genre would go next. With my next game, Mask of Eternity--we're trying to have it out by Christmas--I'm hoping that what I'm doing now is the beginning of the final answer
- Is this the next King's Quest?
- Yes. In all the previous games we explored a script-oriented approach to telling people an interactive story. I always felt like every game I did would have a more intricate story, a richer feel, more characterization, more music. But I think I went as far as you can go with the story approach and still be a game. If you go any further, you go into moviedom. I hit a wall.
- I'm totally backing off that. I think the true right answer is to give people the widest possible means of exploring that you can get. So in this new game I'm trying out 3-D worlds, new worlds where players can venture anywhere they want to go. But in order to accommodate this total freedom in exploration, I have to back off the story and go more free-form. It's the hardest project I've ever worked on.
- Why is it so hard?
- How can we do it and still keep somewhat of a semblance of a story going? What technology do we use? In Phantasmagoria I used almost 3,000 pictures, and each one was as pretty as I could possibly make it. But now we want people to explore, to see what's there all around them. I can do that, but the pictures won't be as pretty. Right now computers can't handle that. But my dream is that what we're working on now will be the kernel of what people will be playing 17 years from now.
The Woman Behind the Mask: A Q&A with pioneer game designer Roberta Williams
Conducted by Eric Twelker, summer 1998 We recently sat down with Roberta Williams in her Seattle home and chatted with her about the evolution of her games through the years and the ever-changing face of adventure games as evidenced by her next revolution, Mask of Eternity.
You are well recognized as one of the inventors of interactive storytelling. How did it all begin?
Now that I look back, I realize that I was compelled to design an adventure game of my own. As a child, I loved fairy tales. I would go to the library, pick up every fairy tale book I could get my hands on and read them cover to cover. At night, I would go to bed and stay awake creating adventure stories in my head, all along thinking, "Wow, this is a great story!" So, I've always had these stories inside of me that I wanted to somehow convey to others. In the late '70s, I played Colossus Caves [one of the first text-based adventure games] and was immediately addicted to it, playing it for hours on end. I was compelled to get through it and see every path and solution. It was much like what I'd always done, controlling my own stories in a way very different from the linearity of, say, a book. When I finished the game, I immediately wrote the story for Mystery House and Ken, a great programmer, created it on our Apple computer.
Mask of Eternity departs from the traditional two-dimensional adventure game by using a three-dimensional game engine most commonly employed in first-person action games. How is Mask's story conveyed using this technique?
In interactive storytelling, it's important to blend the right amount of interactivity and story telling. Phantasmagoria, for instance, was heavy on storytelling, but didn't have too much interactivity. Mask of Eternity is an adventure game on the other side of the spectrum with an emphasis on interactivity in it's virtual world. It's not story-like in the traditional sense: I've experimented with adding as much freedom of the player's control while, at the same time, maintaining a strong narrative. In Mask of Eternity, the entire world is designed with story in mind. The world is in chaos - order and humanity have been banished and you, as Connor, must restore it. The player learns about the world and furthers the plot by exploring locations, finding and using inventory items and interacting with other characters. And unlike a first-person combat game, even fighting creatures is part of the story. By doing so, the player will discover who these creatures are and why they've emerged into the world.
Tell us a bit about Mask of Eternity's story.
In the opening scene, we see a fantastic world off in the celestial realm. A white-robed, priest-like character approaches a gold mask set atop an altar, and summons to the sky. He transforms into a dark being as lightning crashes down on the altar, exploding the mask into pieces that hail down to the world below. In Daventry, King Graham's magic mirror begins swirling and displays the bad omen of the mask breaking apart. We then meet Connor. While walking down a road the wind kicks up and clouds begin to roil. A piece of the mask sails down from the sky and lands at his feet. Just as he picks up the piece, a storm swirls overhead, the sky turns dark and everyone turns into stone... except for Connor, who is somehow protected by the piece of the Mask. The player will soon discover that it's up to him restore order to the world. Eventually, Connor must face the dark being himself and attempt to banish him from the celestial world.
What were your goals when setting out to create Mask of Eternity?
My goals are always the same: to make the player feel like they are in the game, so much that they forget the real world around them. Playing 2D adventure games, I always wanted to have the ability to see what's behind the backgrounds, peek under a table or on top of a roof and explore every corner. In Mask of Eternity's 3D world, the player has a much better sense of really being there. Mask of Eternity is a beautiful and open environment that is very exploratory. You're no longer limited to the flat picture on the screen.
Tell us about the puzzle elements in the game.
The puzzles are based around Connor's experiences and actions. Some puzzles involve finding and using inventory items to get around a problem. For instance, in one part of the game, Connor must find a way to cross the River of Death. To succeed, Connor must find a way to activate a lever on a drawbridge on the other side of the river [nope, we won't give away the solution!]. In another part of the game, Connor must find a way to enter the sanctum of the Lord of the Dead. To do so, Connor must cross tiles, each bearing a symbol, in the right order. But first, Connor must search for clues that will decipher the correct order of jumping across the tiles for getting across.
What is the theme of Mask of Eternity and what does the mask itself represent?
Mask of Eternity is about spirituality: what is means now and through the ages and where people have searched for it. As you go through the game, you sense that Connor is looking for his own meaning and discover the game's main themes: truth, light and order. Puzzles in the game revolve around these themes. For instance, the City of the Dead's theme is truth. When he reaches this section of the world, Connor is tested and, if successful, will be affirmed that he is the deliverer who will bring truth back to Daventry. The mask stands for the all-powerful being, the creator. The mask is sun-like and, in many religions, the sun represents God. In most religions, like the sun itself, you never can look directly at the creator unless you become immortal. There are certain places in the game's quest - obstacles, puzzles, interactions with guardians that you meet - where the player is trying to accomplish that feat. It's all integrated into the story in such a way that people who know what to look for will understand the overall quest.
Roberta Speaks Out
Roberta Williams Speaks Out on JustAdventure.com: The question you asked above is the reason King's Quest: Mask of Eternity was different. The adventure game as we all know and love it is a dead animal, except for those of us who love and revere them. The problem is that those of us who love and revere them are becoming a smaller and smaller audience. If I had created King's Quest 8 exactly the same as the other prior seven, it might have gotten great reviews and kudos from its biggest fans, but it wouldn't have sold as many copies as it has ... I'm sure of that. The people who seem to hate Mask of Eternity are, ironically, King's Quest's biggest fans, and the people who seem to love it are those people who have never played an adventure game before, but who have played lots of other types of games ... especially more action games. The idea was to bring a brand new audience into adventure game playing--those who would never even consider playing an adventure game. The idea was to show all of these "new" gamers that there is another type of game out there--the adventure game--and that it, too, can be cool. Rather than the hard-core adventure gamers out there being mad at me for "tinkering" with the adventure game, they should understand that, rather than just sitting around and doing the same old thing, I was trying to bring new blood into the genre ... thereby trying to keep it from dying. Times change, and tastes change ... they just do, and you've gotta do what you've gotta do to try and reach the biggest possible audience to keep a genre alive. One final comment on this: Even though in reviews of "pure" adventure games--places where an adventure game is an adventure game, and never the twain shall meet with other types of genres--Grim Fandango seems to garner great reviews while Mask of Eternity is a dud, a traitor, and a terrible game ... Mask of Eternity has outsold Grim Fandango two to one. What does that prove? It proves that I was successful in bringing in new people to the adventure game marketplace, which is good for all concerned, but ... it also means that there will probably be some changes in the adventure game that today's big fans of adventure games will have to accept. The old-style adventure game that we all know and love will just not cut it in today's world. Josh is right in that it is "different." No doubt about that. As far as the term "commercial" is concerned, that really has no meaning for me. All of my games have been "commercial." They've never not been commercial. What does the word commercial mean? It means "having to do with commerce," and also, "designed for profit or mass appeal." Now, I ask you, what's wrong with that?! If a game doesn't sell, it's not going to stick around and there's certainly not going to be another one! When you design a computer game which takes a couple of years and a lot of money, you obviously want as many people as possible to see it. I have always approached each and every one of my games with the idea that I wanted as many people as possible to play them. Maybe some people see that as offensive; I don't. I do want to let everyone know, though, that nobody loves adventure games more than I, and it has always been my goal to have as many people as possible experience this wonderful genre. However, it's important that people understand, Josh Mandel included, that things change and tastes change. The adventure game has to change also, albeit perhaps not exactly in the same way that I changed it in Mask of Eternity. If experiments are not done to find how to mainstream the genre or to make it more "commercial" for today's audience, it will die ... and then everybody loses. Those "purists" may have gotten their way to keep adventure games from evolving, but all they would have really succeeded in is helping to kill it.
Roberta Williams Interview 2006
Roberta has said a few things about KQ8 and the RPG aspects in hindsight, that while she thought they were good ideas when she was making them and during its release, her views have changed over time. As noted the RPG elements, monster combat, were all part of the original design documents (elements can be seen in the scanned design document page included here) even into the early 1995-1996 material, and they were not something others forced upon her.
- When discussing the transition from 2D to 3D for King's Quest VIII: Mask of Eternity, I can only say that we were on to the right idea of switching to 3D. However, the implementation was not exactly correct. In 20/20 hindsight, I would have omitted the RPG (role-playing) aspects and would have stuck with more traditional adventure game elements. I would have thought more in terms of physical puzzles that could be done better in 3D than in 2D, but, still, I wouldn't have changed the game so dramatically just because I was switching from 2D to 3D. But, what do they say about 20/20 hindsight?
-Roberta Williams, 2006
Roberta Williams speaks out (2011)
Ken Williams passed along a message from Roberta, regarding the problems caused by the Davidsons.
- "Davidsons ‘killing’ Phantasmagoria as it was still going strong: True.
- Two teams working on KQ8 at the same time: Partially true. There really was only one team, but I was assigned several ‘managers’ to work above me and those managers were told to not really listen to me and do things their way (presumably, Davidsons’ way?). Hence, the frustration on my part and the fact that KQ8 suffered as a result.
- Roberta Williams"
Roberta Williams Talks About Sierra Adventure Games - Exclusive Interview
Roberta brings up the idea that there were two design teams, one under her that wanted to push 3D, and keep the game closer earlier games (but adding some new features to keep it up with how culture had changed, and what they were interested in at the time), while the second team wanted to turn the game into a RPG Massively Multiplayer Game. Roberta said she was interested in both ideas (she was not interested in RPG stuff as much), but felt MMO Adventure wasn't conceivable at the time, and possibly not conceivable at all in hindsight.
Information from Mark Seibert
Comments during development and near the release
Monday, June 22, 1998 It's been awhile since my last progress report. The game is really starting to look good, and we're heading into the home stretch as far as development goes. That's why this will probably be my last progress report. The design is complete, the technical issues have been mostly resolved, we're down to just doing it, and I don't want to take my attention off of the most important thing...Making a great game! So what have we done, and what can you expect? Most of the engine issues are resolved, or are very close to being resolved. Here's what we have been adding and tweaking: Real shadows - Not just some blob of color below the character, this is a shadow that is generated on the fly from the actual character moving. These shadows can be turned on separately for Connor, the characters, the monsters, and the objects (Depending on your machine speed). Dynamic Lighting - Lights in the world effect the characters, the objects, the terrain, and the buildings around them. This has created a lot of great moodiness in the worlds. In addition, these lights can move around, flicker, and can effect distant objects causing light pooling effects. Translucency - We added this effect to water, magical items and effects, spirits, glass, etc. All of these translucent objects can have their opacity set to optimize their appearance in the world. Monster AI - Yes, it's been controversial. King's Quest: Mask of Eternity will be the first King's Quest that has an element of real-time combat. Remember King's Quest VI? Wouldn't it have been fun if you could have participated more in the final sword fight ? Well now you will! Don't worry though, this is not a combat game, it's just one of the many parts of the game that make it fun. We have included 3 difficulty levels for combat: Easy (For those who might have difficulty with fighting), Normal (The way we think it should be) , and Hard (For those who are gluttons for punishment). 3D - It's a whole New World out there. You're no longer stuck moving from picture to picture. You move Connor and the camera where you want, when you want. There's never been a more open explorative game. Adventure - Yes, this is what it's all about! King's Quest has always been an adventure, and King's Quest: Mask of Eternity will be the biggest and longest King's Quest to date. The seven worlds are huge. Exploration is a major factor. A map for each world uncovers as you explore every road, house, cave, and structure. As you explore, you'll meet over 50 characters to talk to, dozens of creatures to fight, and a plethora of puzzles to solve. Story, Story, Story! - Roberta has always been a great storyteller, and she won't disappoint with this new episode in the King's Quest saga. As in all King's Quest's you will discover a story steeped in myth and lore, ancient civilizations, and characters from legends of old. Well, as you can tell, we're all very excited about this game. It feels very new and fresh. We can't wait to get this done and out for you to play. So, with no further ado, I'm going to get back to work and try to get this thing done!
-- Mark Seibert, Mask of Eternity Producer December 1998; What would the game have lost the most if you had made in the KQ7 style?
- "I think the ambiance, I think the game has a wonderful mood to it, it's kinda of dark and mysterious and look of the screen and the music and the sound effects just make for a wonderful experience. I don't think it would have gotten the same experience from cartoon animation."
-Mark Seibert, Talkspot Part 2.
- What is Roberta Williams currently doing with MoE?
- She has been the designer from day one. She's still very much involved in the process.
Another interview with Mark Seibert from 1998;
- Roberta is great to work with. Since she has a winning track record here at Sierra, her projects are given more freedom to experiment. In addition, she seems to feel very comfortable to have everyone on the team give input to the project. On her projects we've tried to make it a very creative and open environment for the team.
Comments made long after the release
These comments were made long after Mask of Eternity's release and may suffer from 20/20 hindsight and changes in opinion (some of the comments may have discrepancies with earlier quotes made by Roberta Williams, information from interviews, as well as information from early published development material). Still others appear to be the individuals involved backtracking or attempting to 'save face' publically. As noted most of the ideas that made it into the final released product are simply less ambitious versions of what would have been included in the game had the technology been up to the task of what Roberta had originally invisioned. It cannot simply be blamed on outside influence (which began in 1997) for the material that fans have criticized. The idea of 3D, RPG, combat, and other controversial elements were decided back in 1995-1996 long before the company had been sold to other parties, and if anything the only limitations presented on Roberta from them would have been due to technology limitations and lack of resources from the business suits, as the game was going over time and budget. By 1997 most of the ideas had already been set in stone with only certain things reduced for time and money (levels shortened, some levels removed, but the core ideas still remained). However keeping that in mind where is what some of the developers have said based on their memories of the situation.
- Yes, this was the only KQ game that was not fully developed at one location. The idea was to leverage the 3D engine Dynamix was building in Eugene. We were to use their engine and focus mostly on content. The problem was that the engine work ended up WAY behind schedule and that had disastrous results on our content development. To make a long story short, we finally took what they had and finished it ourselves. Unfortunately, by the time we did this the project was way behind schedule, way over budget, and we still didn't have an engine. We scrambled to complete the project and it unfortunately showed. It saddens me to have had the King's Quest series end with a product that suffered so.
- Yes, the castle entered through the passageway behind the waterfall is Castle Daventry. The reason you don't see much of it is that it was damaged in the opening scene. That is why you can only go so far in before you find blocked passageways. We wanted to originally let you explore the entire castle, find the royal family turned to stone, etc, etc, but as you know, things had to be cut and this was one of the many things that was easy to have a story reason why not to do it.
- So yes, many things were cut - the leprechaun, the Red Capped goblin, I think two complete levels, and then MANY major cutbacks on what is there. As you point out, a good example is the Swamp Witch. In the original script as it was developing, her part was much larger. But as we had to devote time to technical issues, the aesthetic issues and the amount of detail and breadth of content continued to get chopped. Remember, this was also right at the time the industry was saying that "Adventure gaming is dead." It was not easy to convince marketing to invest more to develop an adventure game. The end result was that we shipped what we could, and it was a pretty sad showing for such a great series.
Information about Mark Seibert and Roberta's discussion of King Graham's age in the game.
- I’m sure we had this conversation. Since Graham is still around, it can’t be too long of a period of time, but I don’t think we ever gave it an exact time frame – I think we merely discussed it in terms of “Graham is now old.”
-Mark Seibert, March 11, 2006.
- Well, Graham seems to be putting on the years, but is certainly not ancient yet. So it must be within only a few as he would otherwise be much older."
-Mark Seibert, July 7, 2010
- "Roberta's point of view was that the "Dimension of Death" was not the under world(KQ6). It was a unique and different place."
-Mark Seibert, Mask of Eternity's Producer, March 11, 2006.
Ken Williams comments
Comments made during development.
- At this time during early production Ken Williams was overall supportive of the game, and dismissive of earlier ones (actually of 2015 he is still somewhat dismissive of the earlier ones interfaces as being 'outdated', and new gameplay interfaces, and ways of telling 'interactive stories' need to be incorporated (as in parser and point-and-click are no longer viable in modern world), but retaining the themes of previous games in the series. Of course during early development of KQ8, Ken Williams and his wife can be accused of 'hyping' the game a bit, even after he left the company and founded Talkspot (see 1998 interviews).
My wife, Roberta, is working on the newest King's Quest game, Mask of Eternity. It's an enormous project and has the largest team we've ever assembled. Roberta's feeling is that adventure games are starting to "all look the same." She wants to try to completely redefine the genre. For about six months all she did was study games. She studied in detail every successful game on the market, even non-adventure games like Duke Nukem, Warcraft II, and Super Mario for the Ultra 64. She is well into Mask now and expects it to complete in time for Christmas '97. It is impossible to describe because there really aren't any games like it. When I asked Roberta how to describe it, she said, "Imagine a King's Quest game which takes place in a true 3-D world, with true 3-D lifelike characters. I borrowed Dynamix's flight simulator technology and pushed it in a new direction. The result is still King's Quest but it's much more immersive, and the 3-D makes the game more interactive. It also changed how I design. The 3-D allowed me create challenges for the player which never could have been done in a 2-D environment, including many that use physics."
-Ken Williams, CEO of Sierra-Online, InterAction, Fall 1996, pg 10
- KQ8 will be 3d ... the design goal was to be 1/2 Super Mario 64 and 1/2
- Kings Quest. The characters are 99% new, although the setting is still
- Daventry. There is a bunch about the game in InterAction, and also, if
- you can, try to see the video that is on the Roberta Williams Anthology
- CD. It shows some of KQ8, but most interesting is hearing Roberta talk
- about the game. I'm hoping I can think of a way to get the video into
- wide distribution -- for people that already own most of Roberta's games
- it isn't worth buying the anthology just to see the video -- but, it is
- definitely worth seeing.
- Thanks - Ken (December 3, 1996)
Chris Matthews quoting his dad's thoughts in spring 1997 on why King's Quest had to evolve in the market (Interaction, Spring 1997);
- "The traditional adventure game is dead."...it's time to change adventure games at least as much as the gamers themselves have changed over the last few years. It's time to make them "less pretentious. More open-ended, faster paced, and just more fun to play than they have been." After all..., "what's the use of creating these super-serious, overly literary, and downright studious games when the major audience that will play them played a Nintendo or a Sega last year? These folks are used to playing games where the correct answer to any problem might be jumping over something, hitting it with a hammer, or maybe even shooting it with a big bazooka. Why hassle through all the literary pretense when most of today's gamers just want to blow something up."
Information from Ken Williams made long after the game's release
Information from Ken Williams, note may suffer from 20/20 hindsight and personal opinion (it may not fit in with quotes made by Roberta in interviews and other published sources), or opinions that have changed over time or modified in attempt to reconcile with disappointed fans (and distance himself from previous involvement). Note: There are some discrepancies between the timing that Ken Williams claims he left the company, and when sources such as Interaction magazine, and interviews of the time show he was still working at Sierra up until November 1997. The exact details of this may never be known. Most of these comments regards the problems caused to Mask of Eternity between September 1996 and January 21 1997, when Bob Davidson set a team managers to control the development of KQ8 were ordered to ignore Roberta's ideas (Ken was still very much at Sierra during this time, but had a reduced position). Of much of the quotes given here, many of these should not be taken at face value, as most of them work to push blame on others, but ignore Roberta's original intent (and her own contributions to the game and its ideas). Again the final KQ8 is not so much a change from what Roberta originally envisioned but rather reduced into a final less ambitious form. The final form is not a change from what she had planned, but rather just contains less of what she originally planed, which have been a more dynamic and epic open world RPG (with even more monsters, races, exploration, characters to interact with). The suits and the change over to another company, didn't so much turn the game into a "non-King's Quest game" (as some fans view it), but actually kept her from changing the series even further. So many of these comments must be taken with a certain grain of salt, and require a little reading between the lines of the marketing white wash, to understand what was really happening. From a comment from a post at Sierragamers, made in 200?;
- KQ8 is a wild story.
- KQ8 was in development at the same time that the company was sold. Basically, Sierra went through changes during the development of the game, and those changes are reflected in the game. During the first half of the game, I was the CEO - during the last half of the game my status shifted to "reasonably nice guy who used to work here". My way of doing things was different than the new way of doing things.
- My #1 issue was always to maintain the "clarity of vision" of the game designer. A Sierra project, like KQ8, has nearly a hundred highly creative people on it. Many of these people were working at Sierra because they wanted their shot to be a game designer. It was not uncommon for everyone on a project to seek opportunities to "put their mark" on the game. This is a delicate issue. I recruited people who could be designers, and I was a huge supporter of creativity. Roberta wanted ideas from the team, but at some point, if you accept too many ideas, the product can become a muddy mess. There were dozens of people on KQ8 who could have been the designer, any of which would have made a great designer. But, unfortunately, if this tendency, on the part of developers, to add their creativity to a product, isn't carefully controlled, the product starts to veer into "design by committee". Roberta had her vision for the product, as did almost every person on the project.
- When I lost control of Sierra, Roberta's ability to maintain her control over KQ8 was also eroded. The product that shipped is very different than what would have shipped had the company not been sold.
- There was another issue at work on KQ8. Roberta is a perfectionist (I'm guilty of the same sin). Whenever she would play the game, she would turn in lists of hundreds of "bugs". Perfectionist can be a pseudonym for nit-picker. When a development team gets a long list, the natural tendency can be to look at some bugs as nit-picky. I always supported my designers. I wouldn't let a game go until the designer was happy (with a couple of exceptions that I regretted later), even when it seemed like we were spending lots of money to fix stuff no one cared about. It was critical to me that the game our customers played represented the game our designer wanted produced. When I left Sierra, Roberta's ability to get bugs fixed diminished.
- Ultimately, the last year of KQ8 development was a tough one for Roberta. For a long time, she refused to let the game ship and there was threatened litigation floating around.
- This is not to say that the game that shipped isn't a good game. Roberta was reasonably happy with it at the end - but, it reflected a much wider product vision, than Roberta's alone. People other than Roberta influenced its development, in a greater capacity than in her previous products. There will be some gamers who see the change as positive, and some who wanted a Roberta product more consistent with her prior products.
- There is an example I used to use on this point. One of my favorite authors is: Steven King. I also like Peter Straub. Each alone is a bestselling (mega-selling in Kings case) author. They co-wrote a book; the Talisman, which bombed. Either alone could have sold plenty of copies, but together, the whole becomes less than the parts. KQ8 had wonderful people on it. This message should not be construed as being derogatory to anyone (other than that I am definitely critical of the management changes that took place.) My belief is that if the new owners had taken a couple of days to ask about "what made Sierra special" in the days after acquiring it (they could have asked me, or better yet, its customers) before dramatically changing things, things would have gone a lot smoother in the transition.
- -Ken W
Ken Williams at The Silver Lining forums, 2010;
- As was pointed out, MOE had a very different flavor from the earlier Kings Quest games. The 'rest of the story' is that it was developed after I left Sierra, and that there were multiple opinions as to what the game should be. When I was running the company, these differences were not an issue, because everyone knew my position on the matter. I always felt that a game is like a book, and that there should only be one author, or one creative vision, for the product, and that the game needs to sink or swim with a single vision. It was Roberta's game, and needed to be her vision. Typically, on a game, there are 100s of people, and most of them are 'wanna be’ game designers. They look for every opportunity to show off their creativity, and prove to the world that they should be the next hot designer. I understand and respect this, but it really just screws up the product. I would argue that if you were to publish a book, with the top 200 authors who ever lived each writing one page, it might have good press value, but would be an unreadable book.
- With me gone from Sierra, Roberta's ability to force the project to be her vision, alone, was compromised. It suddenly became a group effort, with lots of smart people each having their own ideas. Sierra hired only the best, so they weren't bad ideas, but they weren't Roberta's ideas. The game became a mish mash of lots of people's good ideas, but clearly not a Roberta game. There was even a period where Sierra wanted to release the game, and Roberta wouldn’t allow her name on it. After a bunch of negotiation, and changes to the product, to mosey it back towards what she designed, it did finally release.
However, it should be pointed out that based on material predating the Ken's leaving Sierra, the ideas that made it into the final game, are essentially the same ideas from the outset when Ken was still the owner and CEO of Sierra On-line. That is from the beginning when Roberta first announced the game, the game included ideas such as combat, action, and platforming elements. Early articles discuss how there was inspiration taken from sources such as Doom, Duke Nukem, Tomb Raider and Mario 64. Even Ken in his own words said that the Adventure game was dead, and according to his son, Chris Williams, paraphrasing him, they would have to evolve into something else to stay around, something that would keep the audience attention, as they were moving towards arcade games and video games such as Sega and Nintendo. These ideas survived into the final released game. The Roberta Williams Anthology (1996) even included a video of work in progress material from KQ6 that showed enemies were being designed for the game before CUC even came into the picture. Remember, the final released product was not so much a deviation from Roberta's original vision, in so much that it was left in a much reduced and less ambitious state. Has she been able to complete what she originally imagined, the final product would have been even more of what we saw in the finished game (but more open world, more enemy varities, more locales, and other features better known in RPGs at the time). The change of company owners, and lack of technology only limited from Roberta from achieving that vision. Ironically, the biggest critics of the games violence came from the Suits in the parent company CUC and Davidsons & Associates who went about trying to create their own non-violent sanitized version of the game using Roberta's team (between 1996-1997) (see King's Quest VIII MMORPG). So developmental problems from the suits, had more to do with the suits trying to censor and sanitize the game of violence (contrary to popular belief they were not the ones advocating the violence in the game). It was that problem, and there attempts to inject their own vision on the game that made Roberta feel as if she lost control over the game, and refusing to include her name (this latter anecdote may be put into question as well). Though in the end, even though she reasserted control, pushed her version through (mostly intact), the Davidson's competition certainly was one of many aspects of development that hurt the finalized version of KQ8 (beyond the technical issues). It should also be noted that Ken Williams did not leave Sierra until late 1997 (at least around Novemember 1997, and was still a manager and employee for CUC at that point, until he left to form TalkSpot radio, and still was one of the suits that had some control over what his wife was allowed to do). In 2003, Ken reassured that the direction Roberta took with KQ8 was the right thing to do for genre to evolve and survive, the future of the genre needed to be neither 'action' but neither include traditional puzzles either (but involve greater direct interactivity with the world, more randomized with characters with Artificial Intelligence);
- Ken: "The adventure game needs to be re-invented to succeed. Doing more of the same with a new plot wouldn't cut it, beyond selling a few Sierra fans. My #1 skill at Sierra was in pushing people to innovate. There is too much copycatting in the industry today. No one has the courage to do something completely different. I don't think Sierra (or, anyone) will do an adventure game anytime soon. If they do something like what Sierra did, it will be at best a mediocre success. My guess is that companies no this, but no one wants to go out on a limb with something completely different."
- "Imagine Super Mario quality animation, and the ability to interact with the world, but with realistic characters, and mature plots. But, a story game - not a action game, and not a puzzle game. Focus on characters and plot. That said, I would launch two different projects to reinvent the market, and my second idea might be the bigger one.
- I like the idea of where infocom was going. There were the inklings of an idea in their text games - which was to focus on artificial intelligence. If the same effort were coupled with today's computers - perhaps a game could be built that is a VERY accurate simulation. I like the idea of an environment with unpredictable characters. The problem with multi-player is that most people don't like multi-player environments. I think that through having truly smart NPCs, something that could be done that gives the best of both worlds; single and multi-player games. If I personally did a game, this is the area I would focus on. The problem is that games become puzzle games at some point. It's the player versus the traps left by the designer. I have a lot of ideas on how to build credible intelligent characters."
- "I always thought the future of storytelling was on the computer. I predicted that computer games would be bigger than films, and still believe there is huge potential with story-telling games - if done correctly. Watching a story from the inside is more exciting than from the outside. Phantasmagoria was a first step towards where I thought the future was. It's disappointing that we blew it with Phantasmagoria II and shot the category."
- "By the way: I always hated the word "adventure game". Phantasmagoria was a horror game. It worked when it scared you, and didn't when it felt like a "puzzle" or "adventure" game. Larry worked when you laughed. It was a "comedy" game. It didn't work when it felt like an "adventure" game. Decide the emotion you are going for; tears, laughter, fear, etc - and go for it. Do what makes the emotion, and blow off the rest. In some cases my own designers forgot the rule, and those were the weak parts of the games."
Ken admitted had he continued Sierra would have stopped producing 'adventure games' (at least in the traditional sense altogether);
- By the time Sierra was sold, it was mostly a non-game company. In about 1990 I made the decision to focus away from games. This came about as a result of a discussion with Bill Gates himself. It's a bit of a long story, but we had been talking about Sierra and Microsoft doing a project together when I got bold enough to ask Bill if he would ever consider buying Sierra (I had always had tremendous respect for Microsoft, and would have teamed up with them in a minute). His answer changed Sierra's future.
- People at Sierra remember this meeting well, because I came back and changed the company dramatically. Bill said that he had just noted the bankruptcy of United Artists. His contention was that they were in a hit driven business, and that ultimately in a hit driven business you run into a time of no hits. Sierra lived and died with the best seller charts. Fortunately, the charts were very good to us, but Bill's contention was they had also been good to United Artists. Ultimately, you run out of hits and die. It might take a hundred years, as was the case with United Artists, but it always happens. My goal with Sierra was to create a company that would live forever. I didn't want to be a "hit machine".
- I set a new goal for Sierra to exit the hit business, and reorganized the company around a new vision to be 1/3rd education, 1/3rd productivity and 1/3rd perennial products. The first two categories should be obvious, but the last needs some explaining. My goal was to find products that could be "rev'ed" each year, such as Microsoft's Flight Simulator, or Electronic Arts Madden Football. I wanted to find an array of products that could be done better each year. Flight (and other) Simulators fit this category, as did construction sets. Products like Caesar fit this definition. The Incredible Machine.
- By the time the company was sold, I had about 80-90% of revenue that matched my vision. It's not clear that I would have continued in adventure games at all. My guess is that this vision won't make me popular with adventure gamers, but it was working. My focus was on building a company that would live forever. The new owners had different ideas and scrapped many products I considered key to this vision. I wish they had at least asked where I was trying to steer the company."
- The last King's Quest game that was produced under the Sierra label was done while Sierra was in transition (the company had been sold prior to release). Protocols that were in place to guarantee that King's Quest games followed a certain formula, and were of a certain quality, were not followed. The game that resulted was good enough that it wasn’t a disaster, but neither was it something that Roberta was proud of. She even thought about insisting her name be removed. A strong series can survive one clinker, but two in a row would kill the series for all time. -Game Informer Interview 2015
- Gamespot preview (discusses an early version of the KQ story, 20 year old Connor, mask breaking at the time of his birth)
- Gamespot May 1996 preview
- Inquisition 2000 (Spring 1997)
- Gamespot Roberta interview, Feb 1999
- Adventure Classic Gaming, Mark Seibert interview, 1999
- Game Informer interview, Jan 2015
Making of Mask of Eternity
- The 3Space engine was an engine created by Dynamix for many of their advanced simulator games. A version of the engine was being redesigned for Red Baron II. So more than likely, early on in the development, the Mask team might have been using a 3D terrain creator such as 3D Studio Max or a basic 3space level editor. The version they needed to actually design the game, and its gameplay, a heavily modified/enhanced version (perhaps the one from EarthSiege), was being designed at Dynamix' Headquarters in Eugene, Oregon. This more advanced version of the 3Space engine would have more likely allowed for better scripted events, more physics, including swimming and currents, and to develop puzzles. Still it would have required alot of modification to convert it from a flight sim engine into something that would work with adventure games.
- All or most of the scenic shots fro 'levels/maps/terrain' in this preview appear to be recordings from within 3D Studio Max v1.0 rather than actual game footage. Some shots maybe mockups (to test ideas for placeholder 'inventory' bars), unless these were only examples of a very early build (Connor is shown spinning in the world, but there is no evidence of any specific animation in these shots).
- There is no evidence of ingame animation in the preview at this point (as 3D Studio Max v.1.0 is not a game, and only allows placement of objects, but no AI). There is only evidence of models and animation being designed in the program.
- the first two promotional logos leave off King's Quest from their titles. Though all interviews and articles call it a King's Quest game,and often King's Quest 8.
- The last two promotional boxes add in the King's Quest to the titles.
- All promotions material lacks Roberta's name. Her name doesn't appear on the logo until a few months before it's release. Similar to what occured with KQ7 at least.
- 1994 (or early 1995): Roberta decides that her next King's Quest project would go 3-D.
- 1995: Initial game development begins, notes, concept art, stories start to form. she mentions that she is looking at 'Doom' for inspiration, and may focus primarily on first person perspective, with short elements of 3rd person.
- 1996: The initial version of the game world, and enemies, player character, and NPCS are created in 3D Studio Max v1.0. 'King's Quest: The Mask of Eternity' briefly is mentioned in Summer 1996 issue of InterAction magazine, but no details are given (it promises a preview in a future issue). The first images from the game are shown around Fall. Roberta Williams Anthology is advertised or released during the Holiday season or as late as J apart of the next year, with a promo video showcasing the early work on MOE. Around this time Bob Davidson takes control of the company, due to conservative views of his wife, both criticize Roberta and her games. Davison & Associates builds development on its version of KQ8 sanitized of violence and offending themes. Development of an actual game engine may have begun at this time as well (highly modified from Red Baron, but possibly the version used for Earth Siege) but this may have come later during the following year
- 1997: In January, the Davidsons leave the company, and thus the alternate KQ8 is no longer being pushed through. Roberta is able to reassert control over the development, without them butting in. In July the King's Quest Collection 2 is released with an updated video showcasing gameplay with newly updated graphics, animation, and combat moments (in what appears to an actual game engine, possibly the early version of 3Space). The game misses its Holiday 1997 projected release date. Ken Williams leaves Sierra, not long after November 1997.
- 1998: In December the game is released.
Screenshots & concept art galleries
'Mask of Eternity: From the world of King's Quest' (1996) phase
'King's Quest: Mask of Eternity' (1997) phase
Unused game files
These are images that appear in the game files. But are unused in the game. Some can be accessed by changing a few file names and switching these in place of other files. Some are world dependent, in that they only appear right if loaded in the correct world they were designed for. Others are BMP files that can be accessed directly in the game files (as long as the game files have been unpacked). <gallery> File:Barrensundergroudnload.png|Loadscreen for the Dwarf Underground (Barrens Underground).<ref>"The Dwarf Underground" from the 500.msg file.</ref> icelordcastleloadingscreen.png|Icelord's Castle (Ice World Dungeon) Loading Screen<ref>Icelord's Castle Level 1, Icelord's Castle Level 2, Icelord's Castle Level 3, from 500.msg file</ref> Image:dwarfundergroundmap.png|The magic map of The Dwarf Underground (aka Barrens Underground), a level cut from the game. File:Icelordcastle1.png|Icelord's Castle (aka Ice World Dungeon), note that there are two maps in one (a level or two cut from the game) Image:goatunused.png|A goat, that would have appeared in the farm in Daventry. Image:RedWeeper2.jpg|Red Weeper skin, for the Dimension of Death. Image:Redeyeskel.jpg|"skltnew", Red eyed skeleton skin Image:SKLTNNBLE.jpg|"Big Skeleton", a Skeleton noble? The "Egyptian-looking" skeleton was intended to be THE SKELETON AT THE HAMMER SHRINE...it was not intended to be THE SKELETON IN FRONT OF AZRIEL'S SANCTUM. The latter skeleton was cut entirely.<ref>2000.msg file</ref>) image:critters.png|assorted critters and spirit faces (of note is the spirit and snakes). Rats at least do appear in the game. Snake animation files and other snake related files appear in the swamp assets. image:stonebody.png|stone body in DoD (soul trapped in rock?). This may have been used to form the body for the stone angel. Image:Hydra.png|Hydra textures in Swamp files (maybe reused as the bubble monster tentacle?). image:Swampprophet.png|A prophet from the swamp (marked 'proph'). An image of this character actually appears in the game as part of a totem near the temple where the Golden Ladle is found. The totem shows a carving of the swamp witch, followed by this prophet character, the face of a swamp fiend, and a mandragor. Thus suggesting that the prophet may actually have been another evil being that took over the swamps. Prophgif.gif|Prophet animated. image:prophbark.png|Bark appears to be saved over one of the animation frames of the swamp prophet (this might actually be used, as part of the Mandragora plant). Image:hectorunused.png|Hector textures (not used directly, although there is an 2-d animated sequence seen from a crystal pyramid) Image:sheweirdling.png|Weirdling Dancer Image:weirdlingbartender.png|A Weirdling Bartender. Image:ogre22.png|A one horned ogre (file corrupt). Image:barrencactus.png|Cactus in the Barren Region. Image:Iceserp.jpg|Ice serpent In the reaches they are described as sea serpents that life in the cold waters of 'this ocean'. Described as an 'ice serpent' version of the Loch Ness monster in appearance. They 'come up out of the water and attack Connor as he flies along on his flying dragon' (recolored version of the Tavern dragon) Image:Snoheal.jpg|Snow Nymph Healer Image:Snowbeast.jpg|Snow Mane Image:wallcovr2.png|A tapestry (Icelord's Castle?). HelmetKQ8.png|Helmet, and faceplate for the Full Suit of Armor ClockShaft.png|ClockShaft (for a mechanical puzzle? Dwarf (or gnome) related?) AntiPoisonFlower.png|AntiPoisonFlower (an inventory item, ingame its an automatic movie) galxy1.png|A galaxy, for the room with the scale? (found in DOD files.) galxy2.png|A galaxy, for the room with the scale?(found in DOD files) galxy3.png|A galaxy, for the room with the scale? (found in the DOD files) CON64.png Dwfdoor.png|Dwarf Door (found in Daventry assets but possibly related to Dwarf Underground?) Dwfplate.png|Dwarf plate (found in Daventry assets but possibly related to Dwarf Underground?) DWFTABLE.png|Dwarf Table (found in Daventry assets but possibly related to Dwarf Underground?) Ogre01.png|ogre related graphics? icebody.jpg kq8-conj.png|Unused KQ8 skin (swamp\8bit\conj.bmp) - texture kq8-conj_front.png|Unused KQ8 skin (swamp\8bit\conj.bmp) - front kq8-conj_back.png|Unused KQ8 skin (swamp\8bit\conj.bmp) - back </gallery>
Museum of Play On Loan Collection
For anyone wanting to learn more about different versions of KQ games, the Museum of Play have been loaned most of Roberta William's concept material, including hundreds of pages related to KQ8. This stuff would be a treasure trove if anyone would be willing to look into it and add the details to this article.
Series IV: Loaned materials, 1981-1996 Subseries A: Game production Scope and Content Note: This subseries contains game production materials that are on loan from Ken and Roberta Williams. These materials include game scripts, sketches, flow charts, vocabularies, drawings, and more. Of interest are the two binders (housed in Box 4) used extensively during the production of Sierra On-Line’s well-known King’s Quest VI and Phantasmagoria computer games. The production books have scripts, annotations, illustrations, and other notes on the filming and programming from these games. For more game-related materials, see also the Sierra On-Line collection housed in the International Center for the History of Electronic Games at The Strong. Box 3 Folder 1 The Black Cauldron script, notes, and drawings (56 pages) -ON LOAN- Folder 2 The Black Cauldron flow chart and drawing (2 pages) -ON LOAN- Folder 3 The Black Cauldron overview flow charts (12 pages) -ON LOAN- Folder 4 The Colonel’s Bequest script, notes, and drawings (73 pages) -ON LOAN- Folder 5 King’s Quest I story and design ideas (27 pages) -ON LOAN- Folder 6 King’s Quest II verbs and nouns list (44 pages) -ON LOAN- Folder 7 King’s Quest II notes (orange binder) -ON LOAN- Folder 8 King’s Quest II, III, IV script ideas and notes (25 pages) -ON LOAN- Folder 9 King’s Quest VII backgrounds and block maps; King’s Quest: Mask of Eternity hand-drawn maps; Phantasmagoria storyboards and floor plans (envelope) -ON LOAN- Folder 10 King’s Quest 8 script ideas and notes (107 pages) -ON LOAN- Folder 11 King’s Quest 8 game ideas (16 pages) -ON LOAN- Folder 12 King’s Quest: Mask of Eternity new design document (20 pages) -ON LOAN- Folder 13 Various drawings (60 pages) -ON LOAN- Folder 14 Text drafts for unproduced games -ON LOAN- Box 4 Object 1 King’s Quest VI Production Book (navy blue binder) -ON LOAN- Object 2 Phantasmagoria Production Book (light blue binder) -ON LOAN- Folder 1 The Colonel’s Bequest (Murder Mystery) flow drawing -ON LOAN- Subseries B: Memorabilia Scope and Content Note: This subseries includes the first issue of Sierra News Magazine¸ notable correspondence (including a letter from Apple’s Steve Wozniak to On-Line Systems), and other related memorabilia on loan to The Strong from Ken and Roberta Williams. Box 3 Folder 15 Sierra Magazine, Autumn 1989 (Vol. 2, No. 2) -ON LOAN- Folder 16 Correspondence -ON LOAN- Folder 17 Other memorabilia -ON LOAN-
Credits Team Mask
Designer/Writer Roberta Williams
Producer/Director/Co-Designer Mark Seibert
Art Director Jason Piel
Animation Director Jason Zayas
Programmers Adam Szofran Alan Clark David Wenger Jeff Orkin Jeff Pobst Jim Edwards John McKinnie Scott Bodenbender
3D Artists Barry Sundt Bob Munsil William Todd Bryan
Animators Ethan Walker John Piel Marc Vulcano Ray Bornstein
Quality Assurance Lead Jennifer Keenan
Sound FX & Additional Music Ben Houge
Additional help from: Al Eufrasio John Shroades Layne Gifford Mark Martino Mikhail Agadzhanov Rob Kenny Steve Conrad William O’Brien
Voice Director Roberta Williams Mark Seibert
Voice Casting Roberta Williams Mark Seibert
Voice Auditions VoiceCaster Burbank, CA
Voice Recording Hollywood Recording Services
Voice Recording Engineer Mark Howlett
DREAMS Software Specialist Ben Houge
Original Music Composed & Performed By Kevin Manthei Ben Houge Mark Seibert
Opening, Closing and Flight to Temple Movies Digital Post Graphics Seattle, WA 39
Packaging Dan Amdur Jim Veevert
Documentation Mark Seibert Cheryl Sweeney Roberta Williams
Quality Assurance Manager: Gary Stevens
Assistant Manager: Ken Eaton
Lead: Bernadette Pryor
Engineer: Erinn Hamilton
PC Technician: Pat Callahan
Compatibility: Byron Hummel
Analysts: Ishmael Burns, Julie Bazuzi, Marc Nagel, Kate Powell, Noel Prude
Beta Testers Kate Ashley, Chris Canavan, Alan Chan, Lars Christen, Robert Glover, Mark Goodman, Chris Kateff, Geoff Keighley, Noah Koontz, Linda Lindley, Wes Litt, Tom Marley, Sherry Marshall, Steve Martin, Jeff Miller, Michael O’Brien, Michael Piontek, Della Rodgers, Mike Shavelson, Charles Solen, Corey Vanderlaan, Robin Ward, Stuart Young Special Thanks To Mark Hood, Scott Lynch, Jim Murphy, Zippy the Incredibly Inflatable Spitting Wonder Llama, The World Famous Talking Bear, --and all the moms, dads, husbands, wives, girlfriends, boy friends, & significant others without whom this game would have been completed months earlier.
- Ben Houge Ferryman, Skeletons
- Bill Farmer Weirdling tradesman, King Gryph
- Daran Norris King Graham, Weapon Seller Gnome, Ice Lord (Thork)
- Jan Rabson Crystal Mystic, Henchman
- Jennifer Darling Swamp Wisp, Lady of the Lake, Unicorn/Ugly beast
- Jim Ward Unseen Voice, Armor Seller Gnome, Hillman
- Kevin Richardson Prophet Tree, Lord Azriel, Lucreto
- Kirsten Seibert Gwennie
- Mary Kay Bergman Swamp Witch, Apothecary Gnome
- Neil Ross Spirit Knight, Archon, Wizard
- Nick Jameson Daventry Official, Sage Gnome
- Philece Sampler Swamp Wisp, Queen Freesa
- Richard Horvitz Swamp Wisp, Ice Orc Foot Soldier, Skeleton
- Scott Bullock Connor, King Mudge
- Tasia Valenza Sylph, Sarah
Several characters are unclear, perhaps unlisted (or listed under an alternate name)... These include the Old Man/Hermit (and his younger counterpart) in the Gnome Realm, the mining Gnomes, the Fire Dwarves, the Crystal Dragon, Hector, Snow Nymphs, Gryphs, Weirdling Shaman, Gwennie's brother, Whispering Weeds, and perhaps a few others.
The Crystal Mystic could be either Hector or the Old Man/Ancient (or perhaps all three).
- The shape of Castle Daventry's throne room was due to limitations in the game engine at the time. It was simplified to work within the game engine. It also appears to have directly referenced the appearance of the throne room as seen in a picture in the The King's Quest Companion, 3rd Edition.
- Before KQ8 was released, there were some fans complaining about the series, claiming that it was "getting old", and wondering if Roberta would create a new series instead. Roberta disagreed.
- After eight games, don't you think the King's Quest series is getting a bit old? Will you ever consider starting a brand-new series from scratch with an entirely different and original plot and characters? If so, what technologies will this game use?
- Let's wait to answer that question after King's Quest: Mask of Eternity has shipped. I think you will find that we were very successful in breathing new life into a series which could be construed as "getting a bit old." It is totally a breath of fresh air. It is like nothing else but yet feels very much like King's Quest. We may have accomplished the "impossible." I truly believe that this newest, latest iteration of King's Quest will be the best-selling yet! As far as starting a brand-new series from scratch with an entirely different and original plot and characters: I've done that many times in my career, and in the future ... who knows?
- MOE news updates
- PC Gamer Roberta Interview
- Another Roberta interview discussing MOE
- Ken Williams discussing how Adventure games needed to evolve (similarly to KQ8) to survive.
- Cindy Vanous, Pers.com 10/11/2020: "...Marketing decreed that several other big companies' series were no longer including installment numbers, so we should follow the naming trend. ...They were quite firm on that matter, heehee!"
- Private correspondence with Mark Seibert, 2010-2011
- Interaction, Fall 1996, pg 10
- Mark Seibert, Roberta Williams Anthology Making of Video ()
- "After Connor kills the goblin he can take the breastplate. When he does he says this."
- According to Mark Seibert, private correspondence 2010-2011
- John Shroades: I was the art director on Mask when it started. Mask had a big influence on why I and others left Sierra. It was obvious Sierra had, unfortunately, lost touch with the direction of the game industry in the mid 90's. In my opinion adventure games are like interactive picturebooks for adults, which isn't a bad thing. But they need to have a very interesting abbreviated story and beautiful and interesting environments to play in. The disappointing decision to force Mask into a 3d engine before 3d was ready for that kind of experience couldn't deliver the visuals needed. You must admit, in the mid 90's the game audience started demanding a deeper or more fast paced experience and the slow story experience was a smaller audience that was difficult for game companies to justify production for. That experience is making somewhat of a comeback in the found item games on Facebook. I never played Mask, but I know it was a forced project trying to use a technology that wasn't ready to deliver that kind of experience.-Sierra Memorabilia on Facebook
- Mask of Eternity Talkspot, part 1
- Roberta's Concept notes, at the Museum of Play
- Interaction Fall 1996
- Interaction, Fall 1996
- InterAction, Fall 1996, pg 95
- PROGRAMMER NOTE: We see the little girl SITTING AT the table. (So -- we would need a table in here -- with a bench or something.) The girl would be sitting on the bench at the table. (I feel she should AUTOMATICALLY get off the bench and walk over to Connor when he enters the house -- and talk to him from a standing position. The conversation should begin AUTOMATICALLY once Connor first enters the house.) Then -- once she's finished talking to him, she can go and sit back down on the bench. PROGRAMMER: At this, the little girl goes and sits back down on the bench. The conversation is over. PROGRAMMER: Now, it's up to the player as to whether they want to take the gold or not. It's just sitting on the table. (It wasn't there before if Connor had visited the house BEFORE saving the little girl.) If Connor doesn't take it now -- it will just stay there on the table until he does. Also, the little girl will just stay sitting at the table.
- PROGRAMMER: The little girl will now just stay sitting at the bench. She will not stand up for this particular conversation. She will turn her head to face Connor.
- NOTE: It's a GOLD mushroom now -- NOT a GREEN mushroom!", "NOTE: It is now a GOLD mushroom -- NOT a GREEN mushroom!"
- Interaction, Summer 1997
- All Your Base Are Belong To Us: How Fifty Years of Video Games Conquered Pop Culture by Harold Goldberg, pg 157, 158
- Pers.Comm, March 11, 2006
- Interaction, Fall 1996, pg
- According to Mark Seibert in private correspondence, 2010-2011