To start with, two personal notes about Myst:
- The dialogue poking fun at the game in Curse of Monkey Island was not written by me, because I was a big fan of the game. And I respect the people I worked with too much to throw Jonathan Ackley under the bus by saying who did write it. (Seriously, though, he’s always said he liked the game, too. The gags in Monkey 3 were just a side effect of Myst being the 900-lb gorilla of CD-ROM adventure games at the time, making it ripe for parody).
- My first surprising1Surprising at the time, completely obvious in retrospect crush on a video game character was Achenar in the original Myst. You guys be cool and don’t tell Rand Miller I said this, but Atrus could get it. But I only met Atrus later. For most of the game, the way Achenar would get uncomfortably close to the camera and ham it up, begging me for the pages just got me confusingly twitterpated. What can I say? I admit I’ve got a type: mentally unstable guys trapped in inter-dimensional voids via magic books.
A glance at all the Myst-related wikis tells me that the “trap books” were retconned in subsequent games, although even after reading two separate accounts, I wouldn’t be able to tell you exactly how or why. The ensuing lore after the first game — built in novelizations, several sequel games, and a seemingly never-ending line of remakes of the original — never managed to grab me. I read The Book of Atrus and played Riven, but that was about as much of D’ni as I could handle.
But that’s not a knock against the extended lore so much as an acknowledgement of what made the first game so special. It was perfectly evocative of a deeper and weirder fantasy story unlike any I’d seen before. The possibilities suggested by Myst were more intriguing to me than any book or game would be able to make explicit.
I think over the years, we’ve collectively come to an over-simplistic explanation for why Myst was such a huge hit: it came at exactly the right time. Both CD-ROM drives and 3D-rendered imagery were still a huge novelty, and the people buying new computers wanted something to show off the potential of a machine with all this newly-available storage. Everyone at the time was talking about the potential of multimedia and new media, but there was little to show for it, apart from discs filled with uninspired shovelware, The Seventh Guest, and Myst.
I think that explains why it became so huge a hit, but it doesn’t explain why Myst has had such longevity. Creatively and artistically, it was all novel and stunning. It went beyond the “steampunk” aesthetic to combine classical architecture, early-20th century sci-fi, contemporary science fiction, and high fantasy. Even the presentation was completely novel to me: the windows into the trap books appearing like static-filled television broadcasts is such a formative idea, and I’d never seen anything like it.
It’s perfectly fitting that a story whose core conceit is the ability to create new worlds by writing in books — worlds limited only by the imagination of the creators — would hop across so many different genres.
Also, I loved it because it was originally made in HyperCard. It seemed like the ultimate realization of what was possible with the software many of us had fallen in love with for its seemingly limitless potential.
A VR version of the original game came out not too long ago, and I tried it on the Oculus Quest. It was not for me. Not only did it give me motion sickness that lasted over 24 hours, but I’d forgotten the degree to which it requires note-taking and generally being aware of the world outside the screen. I tried taking off the headset, updating the notes on my phone, putting it back on to get more information, taking it off again, etc… and it almost immediately felt like more trouble than it was worth. It’s a reminder that VR games in general come from a different age2So to speak: when Myst first came out, it was still pretty common for games to require you have at least a note pad handy, if not a full supplement of printed maps, guides, and code keys. VR took off only after games demanded that everything be supplied in-game3And often with over-long and too exhaustive tutorials.
I’m usually the exact opposite of one of those people who says “In my day, we made graph paper maps for games, and spent hours figuring out ciphers and logic puzzles, and you kids today are too damn soft!” But I’ll make an exception for Myst, since it’s so good at giving you the feeling of being trapped in a world with nothing but clues and scattered pieces of paper, and it’s entirely up to you to puzzle your way out of it.