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Starship Titanic

 
Games: Starship Titanic
 

Game Description

Radioheads and readers smitten with Douglas Adams' merry sci-fi universe of galactic hitchhikers and holistic sleuths need very little explanation. But, for the benefit of newcomers and long-lost friends, Starship Titanic can be described as an interactive adventure, wherein humor -- or rather the Adamsian sense of the absurd -- is not a feature but the intended approach, the essence and the solution.

Consider the premise: a luxury starliner crashes into "Your Lovely Home," rather destructively bestowing the ship's salvage rights to you the player. Homeless and possibly rich beyond one's wildest dreams, you must then climb aboard the starship before it takes off again on a quest for answers to some very grave matters. Questions such as how the "Ship That Cannot Possibly Go Wrong" came to be wildly careening through the galaxy, where its control components are and whether the ship's robotic crew is malfunctioning or merely programmed with the customer service initiative of a typical utilities company.

The sizeable interior of the starship is a limited 3D space that players move through by walking and taking elevators and pellerators (a horizontal transport). The sole occupants of the cruise ship are bots who appear to have a screw or two loose each, from the bellboy who acts more like a frat boy to the disconsolately amnesiac doorbot. The game proceeds as a series of puzzles that must be solved before you can move on and, like several other interactive adventures, there are no missteps that result in death, nor is there a time limit.

In addition to investigative roaming and toggling, you interact with the game through the acquisition and use of items and "spoken" exchange with the bots. This spoken (typed on the player's part) conversation capability is the title's most touted element aside from Douglas Adams' participation. Christened SpookiTalk, the feature is something of a departure from the conventional dialogue selection method and allows you to pose your own questions.

The controls for all of the actions available to the player are consolidated into a single interface at the bottom of the screen called the PET (Personal Electronic Thing). The PET is organized into five modes: Personal Baggage, Chat-O-Mat, Remote Thingummy, Designer Room Numbers and Real Life. Aside from the self-explanatory Personal Baggage (i.e., inventory), the PET's various modes provide an interface for spoken interaction with game characters, remote-controlled devices such as elevators, TVs and the item transport system in a given location, room cataloguing (to be used with item transport system), game saving and other practical operations.

In one possible sequence of events, you may use a Chat-O-Mat to summon and speak to bots via SpookiTalk either to make inquiries or requests. Having ascertained a likely place to visit through their grudging replies, a jaunt to one of many significant locations such as the Top of the Well, Bar and Art Gallery may follow, where a particularly cumbersome item may be discovered and picked up. You would then use the Remote Thingummy to activate the Succ-U-Bus item transport system (which vaguely resembles a dyspeptic and dim-witted monkey), select the destination with the Designer Room Numbers and send the item to another location. Having arrived at that location at some later time, the player may then retrieve that object and drag it over another item in the room to make them interact.

Unlike other walkabout-intensive adventure titles such as Riven, all movement in Starship Titanic must be executed in full as there are no shortcuts to well-frequented locations. In addition, not all of the ship is initially open to you -- a consequence of your ignoble Third Class status -- and all in all, the puzzle component of the game is heavy on gumshoe work.

The solutions to the actual puzzles consist of hunting down and combining items to achieve a series of major discrete goals such as gaining access to a new area, finding a component of the ship's controls and, ultimately, going home. A given puzzle will likely require the player to use all four in-game modes of the PET and plot-line mysteries are cleared up as the technical issues faced by the errant starship are corrected via your actions.
~ A.S. Kaku, All Game Guide

Roots & Influences

Adventure games have evolved from simple text-based experiences to high quality, full-motion-video-packed, interactive multimedia excursions into fantasy. The higher speed of processing in the mid-1990s gave opportunities for high-quality 3D graphics to be an integral part of the game rather than just a novelty; games like Westwood's Blade Runner started this genre and Starship Titanic takes the quality one level higher.
~ Nick Smith, All Game Guide

Review: Overall

Imagine this: You're making your breakfast when suddenly a spaceship crashes through your roof and into your living room. A strange being invites you aboard and, being curious, you wander into the craft. You enter a plush, hotel-like lobby inside the vessel, which then takes off into space with you inside.

This interactive adventure offers everything you'd expect from a state-of-the-art computer game. The sounds and music are stunning and even mesmerizing at times. The graphics have depth and are almost hypnotic. The interior of the spaceship is based on the Ritz-Carlton (rather than the USS Enterprise), with flowing water, acres of polished marble, grand staircases, and massive restaurants. In all, there are 26 different rooms to explore.

The player moves around the ship by moving the mouse from left to right. When the cursor is over a point of interest, it changes to offer a close-up view, allow access to a different room, or begin a puzzle game. There are a number of bizarre puzzles to complete throughout the adventure, such as recording "musak" tracks to be played in the starship's first-class restaurant.

It should be mentioned that the Starship Titanic is populated by a fleet of dysfunctional robots, known as 'Bots', as well as a deranged parrot. Part of your mission is to restore the ship's 'sanity' by piecing together the ship's intelligence, "Titania," which has been deliberately sabotaged.

A big part of the enjoyment in this game comes in conversing with the 'Bots.' They understand an amazing array of concepts and phrases, which the player enters in text form. In fact, over 16 hours of vocal clips were recorded for the robots. This diligence allows for believable conversations and makes the game an extremely satisfying experience.

Starship Titanic is an intelligent game that forces the player to think laterally. It can be very a challenging, but it's always user-friendly, visually impressive, and very, very funny.
~ Nick Smith, All Game Guide

Review: Enjoyment

Memorable and mesmerising
~ Nick Smith, All Game Guide

Review: Graphics

Deep, excellent use of colors
~ Nick Smith, All Game Guide

Review: Sound

Wide range of special effects and speech
~ Nick Smith, All Game Guide

Review: Replay Value

There are several different course that can be followed next time the game is played
~ Nick Smith, All Game Guide

Review: Documentation

Color desciptive playing guide, enjoyable reference manual/story book !
~ Nick Smith, All Game Guide

Production Credits

Story, Game Concept & Script: Douglas Adams; Software Engineering: Tim Browse, Rilk Heywood, Mike Kenny, Sean Solle; Game Authors/Additional Design By: Adam Shaikh, Emma Westecott; Positronic Robot Brains Engineered By: Richard Millican, Jason Williams; Dialogue Support: Renata Henkes; 3D Artwork & Animation: John Atard, Gillian Best, Darren Blencowe, Nikki Bridgman, Phil Dobree, Bernie Doyle; 'Pet' Interface & 3D Game Object Graphics: Jack Kreindler; Production Designers: Oscar Chichoni, Isabel Molina; Game Outline: Douglas Adams, Michael Bywater; Post Production & 2D Artwork and Animation: Paul Sharling, Graeme Shepherd, Mark Wise; Velocitext Conversion Engine: Linda Watson; Character Dialogue Writer/Manager: Neil Richards; Character Dialogue Script: Douglas Adams, Michael Bywater, Neil Richards, D.A. Barham; Sound Designer: John Whiehall; Proper Joined Up Music Composed and Produced By: Wix, Douglas Adams; Additional Ambient and Sound Effects: Douglas Adams, John Whitehall; Producers: Theodore Barnes & Emma Westecott; Assistant Producer: Guy Lafayette; Quality Assurance: Tessa Glover, Francine Verchin; Production Accounting: Kathy Burslem; Production Support: Bob Dowland, Chrissie Dalziel, Adrian Day, Elaine Doyle, Paul Lanier, Jasper Sharp; TDV marketing: Mary Glanville; Marketing Coordinator: Sophie Astin; Systems Manager: Claudio Calvelli; Marketing Demo: Bob Dowland; STARRING The Succ-U-Bus & Leovinus: Douglas Adams; The BellBot: Quint Boa; The Bomb: Kim Bread; The BarBot: Dermot Crowley; Elevator & Pellerator: Renata Henkes; The DoorBot: Jonathan Kydd; Titania, The DeskBot & Ship's Announcements: Laurel lefkow; The RowBot, The LiftBot & The Maitre d'Bot: Phil Pope; Parrot and Novel: Terry Jones; Devised By: Michael Bywater, Alison Humphrey; Produced By: Michael Bywater, Oscar Chichoni, Yoz Grahame, Rob Hegeman, Alison Humphrey, Cynthia Miall, Isabel Molina; In-Flight Magazine Written By: Michael Bywater, Neil Richards; Titles By: Browse OpticalFX; The Team Wish To Thank: Scott Adams, Apache.org, Emanuel Attard, Ed Comes, martin Coulson, Mandy House, James East, Lisa Hinton, Neville Gumphrys, Annabale Iarossi, Dave Knell, Robert Lloyd, Paul Mackerras, Richard Mallett, Need to know, The Onion, O'Reilly and Associated, His Excellency the Emperor Palpatine, Chris Parks, Rob Pickering, Andy Pennell, Pianoman Instrument Hire, Reinhard Schrutzki, Stainless Software Ltd., Linus Torvalds, Neil Trevett & Tim Lewis, Scott Willing, Larry Wall, Staff & Horses, Woodly Riding Stables; The Producers Wish to Thank: Apple Computer, Richard Creasey, Creative Labs, Simon Davies, Richard Harris, Inspiration, Intel, Integraph, Jakki Kelloway, Metatools, michrsoft, QSound labs, Inc., Steinberg, Ian Stewart, Ed Victor; SIMON & SCHUSTER INTERACTIVE; President, Consumer Group: Jack Romanos; Executive Producer: Kenneth Gordon; Publisher: Gilles E. Dana; Creative Director: Jeffrey Siegel; Director of Marketing and Distribution: Water W.J. Walker; Contributing Producer: Elizabeth J. Braswell; Simon & Schuster Interactive: Peter Binazeski, Susanne Colten, Jill Mazzuca, Susan Daulton, David S. Rheinhardt, John Crowe, Robert Francese, Dewanda Howard, Rick Stark, Diane Strack, Deborah Taverna, Amanda Thornton, Peter Von Schlossberg; Simon & Schuster Legal: Rick Cooper, Jennifer Weidman; Simon & Schuster Online: Ari Feldman, Faye Horwitz, Kate Tentler; International Sales: Octagon Entertainment, Lloyd Melnick, Kirk Owen; Packaging: Button Design Company, Ian Laing, Anne O'Shaunessy; Publicity: KillerApp Communications, Lana Iny, Lana Kim, Maria Poulos; Quality Assurance: Cendant Software, Christina Hsu, Brandon Norton, Sherry Patterson, Tom Thomas, Daryl Vaughn; QA Consultant: Sheila O'Rourke; Special Thanks: Eileen Gentillo
~ Nick Smith, All Game Guide
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Wikipedia: Starship Titanic
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Starship Titanic

Developer(s) The Digital Village
Publisher(s) Simon & Schuster Interactive
Designer(s) Douglas Adams
Platform(s) Mac OS, Windows
Release date(s) EU 10 February 1998
NA 31 March 1998
Genre(s) Graphic adventure
Mode(s) Single-player
Media CD-ROM (3)
Input methods Keyboard and mouse

Starship Titanic is a computer adventure game designed by Douglas Adams and made by The Digital Village. It was released in 1998. It takes place on a starship of the same name which has undergone "Spontaneous Massive Existence Failure" and crash landed on Earth on its maiden voyage (in an allusion to the 1912 disaster involving the real-world RMS Titanic).

The player acts the part of a human (whose house the starship crashed into) who goes aboard to help fix the ship, and must solve puzzles to collect the parts of the sabotaged onboard computer, Titania. Once all the parts have been collected and inserted in the correct places, Titania comes alive and talks.

Contents

Gameplay

One of the most significant parts of the game is the conversation engine (dubbed "Spookitalk") used to interact with the robot staff onboard the ship. Players type what they wish to say into the Personal Electronic Thing (PET) at the bottom of the screen. The robots' responses appear as text in the PET and are also spoken. The conversation engine works by interpreting user input and selecting relevant pre-recorded speech responses.

The Spookitalk engine was developed exclusively for the game by creator Douglas Adams and several programmers from The Digital Village, the company working with Adams to develop the game. The engine has the ability to converse with the player in an almost lifelike manner, partially because it incorporates over 10,000 different phrases, pre-recorded by a group of talented voice actors. The recorded phrases would take over 14 hours to play back-to-back.

A feature of the game and the starship itself is the "Succ-U-Bus", a communications system which moves physical containers through a network of tubes by vacuum. Messages and objects can be placed in the containers, and the system is used to deliver items to the player from other locations. The name of the system is a play on the word "succubus." Similar systems called pneumatic tubes exist in the real world; for example, those used by supermarkets to offload cash from tills to a secure area.

Among the voice actors for the game are former Monty Python members Terry Jones as the Parrot, and John Cleese (under the pseudonym of Kim Bread, itself an in-joke as this was the nickname John Cleese wished to be credited as when appearing in a Doctor Who serial written by Douglas Adams.) as the Bomb.[1] Adams himself is the voice of the Succ-U-Bus, and plays the part of the ship's creator, Leovinus, in one of the closing scenes. If you turn on the television in the prologue of the game Douglas Adams will appear and tell you to get on with the game.

Related media

A novel entitled Douglas Adams's Starship Titanic, based on the game, was written by Terry Jones. The book follows a group of three humans who are taken aboard the Starship when it crashes on Earth and returns to the planet Blerontin where it was launched, with various subplots including an onboard bomb, a love-triangle between the characters, and an attempt to commit insurance fraud by the investors in the ship.[2] In an unusual move for a publisher, the contents of the novel - every word - has been published on the official Starship Titanic website. The words are in alphabetical order, for convenience in referencing them, although readability suffers somewhat.[3]

The Starship Titanic and "existence failure" were first mentioned in Life, the Universe and Everything, the third book in the Hitchhiker's Guide to the Galaxy "trilogy". This may suggest that the game takes place in the same fictional universe as the Hitchhiker's Guide stories. However, details regarding the ship's construction in Life, the Universe and Everything do not match those in the novel Starship Titanic. If a player in Starship Titanic mentions characters or quotations from the Hitchhiker's Guide series, the game will accuse the player of mixing up different universes.

Prior to the game's release, the publishers launched a web site purporting to be that of an intergalactic travel agency called Starlight Travel, which in the game is the Starship Titanic's parent company. The site combined copious amounts of Python-esque writing (by Michael Bywater) with methods commonly associated with alternate reality games to generate interest in the site, and in the game, long after the initial site visit. A typical example of this occurred when a site visitor filled out a personal information form, including email address and "favorite frog" (from a convenient - and long - drop-down list); approximately one week later, a spam email for something other than Starlight Travel would arrive, and would include a reference to the specific frog that the visitor had selected. Another example involved a series of three emails; the first called the reader's attention to a password-protected area of the Starlight Travel site, the second urged the reader to delete unread any future emails, as confidential information was being erroneously emailed, and the third revealed the confidential password for the restricted site: "1".

The Doctor Who 2007 Christmas Special "Voyage of the Damned" takes place on a Starship by the name of Titanic; this episode has several references’ to Douglas Adams' writings, including several key plot line similarities between the episode and ones used in the game and book. No reference to Douglas Adams is included in the credits.

See also

References

  1. ^ Wish You Were Here, The Official Biography of Douglas Adams, Nick Webb, p. 326.
  2. ^ Jones, T. Douglas Adams's Starship Titanic (1997) London: Pan Macmillan Publishing
  3. ^ http://www.starshiptitanic.com/novel/

External links


 
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Copyrights:

Games. Copyright © 2008 All Media Guide, LLC. Content provided by All Game Guide ® , a trademark of All Media Guide, LLC. All rights reserved.  Read more
Wikipedia. This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Starship Titanic" Read more