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Change language. Install Steam. Your Store Your Store. Categories Categories. Special Sections. Player Support. Community Hub. Introversion Software. Inspired by the cult classic film, Wargames, DEFCON superbly evokes the tension, paranoia and suspicion of the Cold War era, playing on the fascinating aspects of psychological gameplay that occur during strategic nuclear warfare. You play a General hidden deep within an underground bunker. Recent Reviews:. All Reviews:.

Popular user-defined tags for this product:. Nominate this game for an award. Is this game relevant to you? Sign In or Open in Steam. Languages :. English and 4 more. View Steam Achievements Includes 22 Steam Achievements. Publisher: Introversion Software. Share Embed. Read Critic Reviews. Add to Cart. It was an evolution for us more than a revolution. Developing a PC game in I was a very different process to that of today.

However, the technical constraints played an integral part in the evolution of Myst. We knew that memory footprint was a problem, so anything we wanted to load would need to be small. We knew that consoles were a possibility, so all those constraints were taken into account too. We also knew we wanted some live action, but it had to be small.

All these things shaped Myst. The pair used still images because they could render them. Meanwhile, the Ages the levels within the game were used because they wanted to make sure they had small elements that could be loaded a piece at a time.

Even the design of seeing the pictures of the brothers in small pieces of the books was used because they could only do postagestamp movies at the time. Any good development takes into account what the technology can do and pushes the envelope past the limitations, adds Rand.

It was far from plain sailing though. The brothers had to try and squeeze everything down to the smallest amount so that it would load faster, and making the movies as small as possible was the challenge. We pushed it to the absolute limit for what we had at our disposal, but it worked. It certainly did. Nobody had ever seen anything like it at the time, but as Rand concedes: If you look back now it's pretty poor, but we had a lot of things working to our advantage.

The success wasn't just because of what we did - the timing was right, CD-ROMs were coming out and it had a certain freshness to it. For all the technical grappling with Myst, Rand admits that the craziest stuff was just us being in it", referring to the Miller brothers impromptu acting debut.

At some point along the way we knew we had two brothers in it. And we're two guys working out of our homes in Spokane, Washington State, so we're thinking, there's no way we're going to pay people to do this'. We didn't have any money to pay people. The brothers didn't think twice about this DIY method:.

We just went in the basement and didn't let anybody watch us. Then we set it up and after getting over the giggling and thinking that this is ridiculous, we put a piece of blue paper behind us and tried to act like these crazy insane brothers that were in the books. It was very unique. Despite the unusually hands-on approach, Rand is adamant that they wouldn't have done anything differently. Given the constraints, I think Myst is everything it could have been.

I mean, if we'd have had another six months we could have done a few more things here and there, but we did everything as efficiently as we could for what we were trying to do. Because we had some history doing some of these kind of games with the childrens' products, we weren't surprised at what we had at our disposal.

We knew what the technology would allow us to do. However, what the brothers can't have expected is the massive success of the game, and Rand admits that it's still hard to believe. As for his biggest achievement, he cites the stories the pair got from people saying that they felt like they were really there, that it began to feel like a real place.

That's what I'm most proud of, because I still remember Robyn and I both talking about doing everything we could to try and make it feel like you were really there when you were working out how to solve a puzzle or what to do next.

The fact that we got letters from people saying I turned down the lights, I put up the sound and I felt like I was exploring this place' was really satisfying. Unsurprisingly, the sequels followed, beginning with Riven, which Rand claims was one of the best things the duo ever did.

However, he's big enough to admit that it was also too tricky and the puzzles too hard. The gameplay in Myst was actually better than in Riven. A different - specifically online -approach was taken for the ill-fated Uru: Ages Of Myst, of which Rand wistfully muses: It's almost a spin-off - it was very different from all the Myst games.

We wanted to change the world, but primarily for resource reasons, we didn't get a chance to see what it could do. There was some amazing potential there. Bringing the series up-to-date, Rand reckons Revelation is an amazing piece of work: It opens up the story and does things we've always wanted to do. Given the amazing success of the series, it's remarkable how few Myst clones there have actually been. As Rand comments: That really surprises me.

There's a genre of games that are based on stories and exploration, typically they're called adventure games, but it's a dying breed in some regard. Because of Myst's success, we thought there'd be a whole huge evolution of those games, people pushing it further and further and further.

However, I don't think we've gotten there. Contrary to many people's belief that adventure games are a dead genre, Rand believes that they're actually the final frontier in interactive gaming right now: The gameplay systems we're working with now are all very well known, we're just doing them better now.

There's nothing wrong with that, but to me the last vestige is this one, the adventure game, and I think it's waiting for someone to make another innovation. So does Rand reckon that he'll be the one to revolutionise the genre in the future?

I don't know that it'll be us, but it'll be done by someone who brings innovation to storytelling. It needs someone to base a game on exploring and storytelling that will then bring in a whole new generation of people, making them say, 'I felt like I was really there'.

I hope it happens - that some game somewhere touches that nerve again. There's so much potential there, it feels like it's still the infancy of that part of the industry. There's something inherent in human nature, the desire to explore. I think we touched on that a little bit in the Myst series.. Myst is yet another cd game that has had rave reviews for the Apple Mac version and, consequently, been given a new lease of life on the pc.

As cd adventures go, it's closer in style to what you would expect from a normal adventure game than most of the others. Titere's no hanging about watching endless video clips only to click the mouse a few times at the end of them. In Myst, interaction is the name of the game. Jolly good! So what about the rest of it?

Well, it all begins when you stumble across a tatty old book. According to the intro, you have just found a book entitled Myst. As you flick through the pages, you read about a distant island world. Just as you lay your hand on the last page, your own world dissolves into blackness and you find yourself in the island world described in the book.

With nothing else to do, off you go to explore the island. Er, that's about it for the plot really. You see the world of Myst from a first-person perspective viewpoint. Before you get all excited and start imagining super-smooth, 7th Guest type, multi-directional scrolling, I think there's something we should get straight from the start. Myst uses the static flick screen scrolling more common in rpgs than the freedom of movement you would expect from your average adventure game.

If you want to move somewhere, you click the mouse where you want to go and, just like magic, you are instantly transported to a completely new screen. You don't really feel as though you've moved at all. It's just like blinking and opening your eyes to discover you are somewhere totally different. As you can imagine, this doesn't do much for the game in the way of realism.

As for the game itself, you spend your whole time wandering around the island solving lots of puzzles and unravelling the plot with the help of all the clues left lying about everywhere. There are numerous switches to be activated and lots of loose pages with helpful info to be read. You have to work out pretty quickly what all the clues mean and start making progress or you'll just get hopelessly stuck and, as a result, bored to tears.

The main reason you'll get bored is because there isn't anyone to talk to. Zipping about trying to work out how what you do in one place affects what happens in another is all very well, but it would really help the flow of the game if you could converse and interact with other characters. You sometimes feel like giving the game a good kicking just to liven it up. It says something about the game that the most interesting location in it is probably the library.

Hidden maps and switches are all over the place. There are also several books to read - if you have the patience. When you click on one of the books in the bookcase it opens up for you to read. You will find several accounts of the island's history in these and much clue-gathering can be done here.

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