The Dig
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| The Dig {{#if:{{{image|}}}|<tr><td colspan="2" style="text-align: center;">{{{image|}}} | |
|---|---|
| Developer(s) | LucasArts {{#if:{{{publisher|}}}|<tr><th style="background-color: #ccccff;">Publisher(s)<td>{{{publisher|}}} |
| Release date(s) | 1995 |
| Genre(s) | Adventure |
| Mode(s) | Single player {{#if:{{{ratings|}}}|<tr><th style="background-color: #ccccff;">Rating(s)<td>{{{ratings|}}} |
| Platform(s) | DOS, Mac {{#if:{{{media|}}}|<tr><th style="background-color: #ccccff;">Media<td>{{{media|}}} |
The Dig is a graphical adventure game developed by LucasArts, and released in 1995. It was the 11th game to use the SCUMM game engine, and is famous for its connection to Steven Spielberg, and notorious for its prolonged production, that had the game bordering on vaporware.
It is the most serious LucasArts adventure game, containing no slapstick, and relatively little subtle humor, an element found abundantly in all other LucasArts adventure titles. It is also the only one to perfectly fit into the science fiction genre.
Contents |
Story
The Dig starts with a radio telescope in Borneo picking up an unidentified object, directly heading towards Earth. It is a giant asteroid that would cause catastrophic damage upon impact. A team of five is made to go up into Space Shuttle Atlantis to stabilize the asteroid (named "Attila" after Attila the Hun) in Earth's orbit. The five members of this crew are:
- Boston Low (voiced by Robert Patrick), the main protagonist— a retired astronaut and survival expert
- Dr. Ludger Brink (voiced by Steven Blum), an archaeologist and geologist
- Maggie Robbins (voiced by Mari Weiss), a reporter and fluent linguistics expert
- Ken Borden (voiced by David Lodge), expert shuttle pilot
- Cora Miles (voiced by Leilani Jones), NASA technician and political candidate
The mission was to plant small explosives on Attila to halt or alter its course. However, Low, Brink and Robbins find the asteroid to be hollow. After exploration (and activation) by the crew, it turns into a starship in the shape of a shining dodecahedron, transporting the three to a distant planet of unknown position. The crew starts to explore the deserted planet (now named Cocytus by Brink), their main priority being to find a way back home. While the planet has a high state of technology, it is in a state of decay and appears to be devoid of particularly intelligent animals.
The story's emphasis is on the stranded trio's interaction (and occasional conflict) as they spread out to explore the desolate world, each in their own way: the commanding Low determined to find the way to go home, the precocious and stubborn linguist Maggie Robbins studying the dead civilization, and the geologist Ludger Brink, who seems to be sliding into a state of hostile obsession. Template:Endspoiler
Players typically liked the sense of wonder they felt in exploring the seemingly-abandoned planet. Although they disliked the game's serious atmosphere, uninteresting characters and over-reliance on heavy-handed dialogue. Some of the more unique puzzles were described as Myst-like, also met with frustration by the players. It must be noted that the game was released close to Riven, and some observed some similarities, like the significance of number 5 in the puzzles.
Overview
The Dig was originally conceived by Spielberg as an episode of Amazing Stories (and later as a film), but was concluded prohibitively expensive. During the game's release, the director did not deny the possibility of making it into a movie. However, over a decade later, no progress has been made on a film version of the story.
An impressive list of people worked on the game: The project leader was LucasArts grand Sean Clark, Industrial Light and Magic created some of the CG imagery, it is based on a story idea by Steven Spielberg and has writing credits for Spielberg, author Orson Scott Card (who wrote the dialogue), and the well-known interactive fiction author Brian Moriarty (whose previous Lucas engagement was with LOOM).
Released as CD-ROM only, The Dig was sold for PC and Macintosh computers. It contains a full voice-over soundtrack and a digital orchestral score. For the most part, the game's graphics are hand-drawn and sparsely animated, with a mixture of pre-rendered 3D and hand-drawn animation clips also presented in certain parts of the game.
The music (composed by Michael Land) consisted of overtures and excerpts from the work of Wagner. It fit the company's iMUSE ideology (not to mention the game's scenery) perfectly with its ambient, dynamic flow. Land cited the music he personally composed for The Dig as the type closest to his own individual style. The Dig was also the first Lucas game to have its soundtrack also sold separately as an audio CD, adapted as a linear continuity of finite pieces. The CD was released in small numbers, however, and this rarity lead a lot of gamers to desperately look for it. With the popularity of the Internet, the tracks themselves can be found more easily, although with potentially dubious legality.
Alan Dean Foster also wrote a novel based on the game. This novel is not completely consistent with the game but it is interesting in that it presents the point of view of the indigenous civilizational race, something not seen in the game. The novel also provides some background detail (such as the reaction on Earth after the discovery of Attila), in addition to filling several plot holes and mysteries that can not be explained in the game.
Notoriety
The Dig had by far the longest development length of all LucasArts adventure games. Originally started in the 1980s, the game was designed by three distinct teams in succession, after the previous team gave up.[1] Each design cycle abandoned some aspects and embraced others from the earlier designs, and the team that finally put the game together and delivered the release admitted to a somewhat rushed, desperate construction, with the end result being an arguably fragmented game experience, with inconsistencies abound. Even the three main graphical elements of the game — the hand-drawn art for Cocytus, the pre-rendered 3D graphics and the hand-drawn cel animation for cut-scenes are very different-looking. The game was, however, met favorably by the press and gamers alike upon release.
Notable omissions of previous design ideas through the game's production include a survival angle, which forced you to keep water and food supplies for life support, exploration of entire huge cities on the planet, and an extra character; a Japanese science-hobbyist business tycoon named Toshi Olema, who funded the Attila project as long as he was a part of the crew.
External links
- The Dig Museum
- Template:Moby game
- LucasArts Museum
- Bill Tiller's Gallery of The Dig Background Art
- ATMachine's House of LucasArts Oddities
- The Dig development history at LucasArts Odditiescs:The Dig
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