Dominika B.

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This is in keeping with the development of the adventure genre; whereas many early games featured nondiegetic (outside of the story world) informational graphics, such as explanatory text, titlebars with score counters and clocks, inventory boxes or lists, and lists of response choices, later games had an increasing amount of emphasis placed on the image, which directly linked the player into the diegesis. Myst would eliminate almost all nondiegetic informational graphics, containing all its player interaction within the image, with objects held by the cursor (like the pages or the match) and only one object held at a time, so that no inventory box was needed (although Riven and Myst III: Exile would represent the books a player was holding as icons below the screen). The few informational graphics Myst did have were integrated directly into the diegesis itself, for example, the map on the wall in the library, the backstory text in the books found on the bookshelf, the note lying on the grass, and so on. Myst also had to overcome the sometimes slow loading times of early CD-ROMdrives and did so by reducing its images to around 57 Kb each and reducing its sounds to 8 bits, 11 kHz. The separation into various ages also gave the game natural breaks. A transitional sound effect and cinematic fade-out and fade-in helped to retain the continuity of the experience which could have been ruined by the ‘‘Loading...’’ screens sometimes found in other games. [By the time of realMYST in 2000 and Uru: Ages Beyond Myst in 2003, loading would again take awhile, and bars showing the progress of the load would briefly (and occasionally not-so-briefly) appear on the bottom of the screen.] Exploration and navigation play an important role in Myst. In most games before Myst, the areas of the game were seen one at a time, with entrances and exits indicated on the screen, and only by moving screen to screen could a sense of the game’s geography and layout be obtained. Examples of this would include moving from chamber to chamber in a cave system, or room to room in a house, or simply from one game location to another, with a minimal sense of the spatial connection between locations. Occasionally there might be a locked room or blocked passageway that could be opened and explored later, once a key was found, or monster guardian killed, or some other condition fulfilled that granted access. Myst’s approach to geography was quite different. As Myst Island and each of the game’s images were computer-generated models, the resulting game images could be staged in depth; one could see locations in the distance that might be several moves away, and the same objects and locations could be viewed from different angles and directions (some of these ideas appeared to a lesser degree in the Miller Brothers’s 1989 game Cosmic Osmo). Likewise, the background ambience also changed gradually from one location to another; near the shore, the sound of the waves lapping was louder, but as the player moved up the hill the sound of the waves grew fainter while the sound of the wind grew stronger. The result was an experience of deep, integrated threedimensional space which was less segmented and isolated, inviting the player inward into the world and pulling the player’s curiosity in multiple directions simultaneously.