Last Updated 5th May 2019
The BBC Games Archive - digital memories
Last Updated 5th May 2019
I recently tracked down Orlando/Nick, he now lives in Orlando, 10 Orlando Place, Orlando Drive! Well, maybe he doesn't, but it kinda makes it sound like I've worked harder doesn't it :))
Anyway, he was kind enough to let me ask him some questions, so, here goes, an interview with one of the all-time great programmers, enjoy!
If you have any comments please contact me.
I bought an Acorn Atom while at school, which I kept expanding by another half-a-K with any spare pocket money I had (RAM cost a fortune, BTW). I published a Galaxians-style game and advertised in the back of Your Computer back in April 1982. Acornsoft then phoned me up, said come to Cambridge and do the same game on the BBC (which turned out to be Arcadians) - I walked out of there with a brand-new BBC under my arm. It turned out not to have a serial ULA in, so I couldn't record anything to tape. I ended up keeping the machine turned on for a month, printing what I'd written, and then having to type it all in again.
So: low price and a "real keyboard" drew me to the Atom, but *Acorn* drew me to the BBC.
Firetrack - Orlando's favourite
Familiarity and laziness. 8^) I liked 6502, and enjoyed inventing new tricks and techniques. I wrote many demos that pushed the machine in new ways - like my Amiga Boing! demo (on the BBC) - but kept on finding new angles to explore.
Simple answer: I didn't like all the tabloid hype about games writers at the time ("he's got a Porsche - but he's too young to drive!!!!!"), which seemed very distasteful, especially as the reality was that most people in the industry had next to no money at all. So I wrote under a pseudonym and didn't give interviews.
I'd started solo, and found I didn't enjoy working for Acornsoft. Rather: I liked the work, but didn't enjoy the working conditions. At one stage, I worked from 6pm to 8am so that I wasn't hassled by people phoning up trying to fix clashes between Acornsoft games and Computer Concepts' ROMs, nor by the constant grind of the daisywheel printer the other side of the partition.
I actually wrote many more game engines than I ever released games, but I only wanted to release complete games with a certain "X"-factor. And I wasn't really *financially* successful: I lost a pile of money when certain distributors went down, and never released half as many games as I should. I was young, I was definitely headstrong, and making money wasn't an instinctive thing to me.
Arcadians - an oldie but a goodie
Writing plenty of bad ones and not releasing them. 8^) FireTrack was a fantastic game *creatively*, but hardly made a penny. Was that a "success"?
(1) I should have finished more games.
(2) I should have dealt with Atari differently, and maybe Delos' Joust would have come out.
Numerically: Arcadians > 3DPool > Frak! > FireTrack > Zalaga. I don't know how many Acornsoft Chess sold, but it wasn't particularly great. FireTrack was my best technical achievement, but I like all of A/3DP/F!/FT/Z. FireTrack has the best interface and "feel", but its graphics seems very spartan these days.
So: probably FireTrack by a neck.
They're completely different worlds. I had a certain amount of fun back then, but I was exceptionally poor more or less all of the time. These days I consult for gigantic international corporations (so the money's usually better), but I still manage to have strong creative and technical input to the projects I work on, which is quite fun.
Frak, the marmite of Beeb games - you either love it or you hate it.
I've said numerous times recently that I think the games industry's middle period is about to end, and that it's in transition to a new equilibrium. But I think I'll like writing games wherever the industry goes.
Is there anything you miss about the beeb family when you are programming for the latest 32 and 64 bit consoles?
All the problems we had back then - inadequate documentation, lack of RAM, second rate tools, second-rate support - never went away, they just got scaled up.
(1) Learn high-level/"formal" programming (and design) techniques and low-level/"grungy" assembler techniques: the best games programmers use (and break) both sets of rules according to context and need.
(2) Learn to work effectively as part of a team: ie, learn to get along with people. Games will continue to be written by teams for the forseeable future.
(3) Understand sound and graphics, preferably by trying to make them yourself. Even if you aren't very good, you'll really appreciate what's involved.
(4) When designing commercial games, start from basic psychology, and answer the Single Important Question - "Why should I spend £40 on this game?" If you can't answer that, you shouldn't be writing it. 8^)
I hope you enjoyed this interview, and look out for more coming soon!!
(C)2009 C. Boylan