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The greatest game for me is Riven, the sequel of Myst. There is one large unique world and all elements are connected to each other. There is a natural and surprising beauty all around. The puzzles are logical and a real part of the world not only added. I can feel the love in the whole ensemble of the Riven world and in the smallest detail.

The gamer has time to fill these images and sounds with its own fantasy and make it alive. If the atmosphere is so true and dense like in Riven, it's not necessary to have a "real-3D" environment for more illusion. Too much illusion shrivels the power of fantasy and imagination. I think a good "classical point-and-click graphic adventure" can be a game to advance and let grow imaginative and logical abilities.

The category "book" isn't antediluvian and obsolete at all, notwithstanding it is nothing more than paper with black signs since a hundred of years. The differentiation if a book is good or not depends on its content. It depends on the competency to let the human fantasy and intellect fly. I think, we should speak about "classical point-and-click graphic adventures" and all computer games in the same kind. It's not important for me to make more illusions, real-3D, effects, 3D-sound If a game stays on the basic of newest technical comforts to boost illusion, it will become old and unfashionable, sooner or later.

Some game reviewers criticize the category "classical point-and-click graphic adventure" because of missing illusion. They benchmark "classical point-and-click graphic adventures" under wrong attributes. I also like the original Myst. This game opens the gate to a new world. The puzzles are really great. The structure is clear and rich.

To see these works gives me power for my own work, because there are lonely days as an indie game developer. Sometimes I'm despaired by the lot of work, a missing idea, an error The original development of Rhem took 4 years, admittedly a long time for an indie game title. Why did it take so long? In retrospect, what lessons did you learn about the game development process that subsequently benefited the development of later sequels? It took me 4 years because of 3 reasons.

The first reason was: At this time I worked full time as a visual artist painter and composer. The schedule was not organized yet to add a third activity. The second reason was: The time of developing the game was as long because the way was full of meanders, blind alleys and bad organized workflow. The third reason was: In the course of time I got better soft- and hardware to implement the ideas. You have claimed that there is a sharp distinction between cinema and gaming.

This distinction, however, is not shared by all adventure game designers. Why is this distinction important? How does this enhance the gaming experience in your own games? Each category of art generates a different dependence to the public. For example: A strong dependence of time is in live music and movies in a cinema theatre. In these cases the audience is bounded to the path of the time arrow. As long as the audience doesn't leave the event, it has to follow the predetermined time.

Music on cd or movies on dvd is allowed to repeat or skip. This possibility arrogates the responsibility of the audience because they can use it for a better experience or for mutilation. For example: To use the repeat function to see a scene twice can make sense to clear a plot. But using the volume button to make a phone call cuts a music piece. The computer game normally has the possibility of freedom in every step in the specific boundaries of the game.

Maybe some steps have another result than the gamer thought, but it's always a result of his own action. For me, this attribute of freedom is one of the most important possibilities of computer games. Join other players talking about games.

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