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This is Twinsen from the planet Twinsun. In other news I've changed my name to Eurth.

I mentioned in a caption in the last article that David Gasman ruined some of my treasured childhood memories by voicing the lunatic Lucas Kane in Fahrenheit (Quantic Dream, 2005). The only reason that happened, though, was because he played a part in making them in the first place with his voice work for Twinsen in Little Big Adventure 2: Twinsen’s Odyssey (Adeline Software International, 1997). I was eleven when this game was released, I think I got a copy when I was 12 and it had been re-released by EA. At the time I was using a Pentium 166 MMX and the full motion video of this game, and the inviting 3D worlds blew my tiny little mind. What has made me so very fond of it, though, is its character. It’s a wonderful universe to get lost in, and I intend to in this blog post, in the hope you’ll dig it out, dust it down, and play it – or if you don’t have it, find it and take your first step into a wonderful new world. Also, and this is important, I’ve discovered the development of a fan-made Little Big Adventure Prequel!

Loading times were not that bad, but hardly helped by these two standing on the disc.


Twinsen’s career as a dress-wearing world saver began at the end of 1994 with Little Big Adventure (Adeline Software International). It was also released shortly after with the title Relentless: Twinsen’s Adventure. In his first outing Twinsen had to rescue his girlfriend Zoe from the clutches of the evil “FunFrock” –  a nasty wizard and dictator of Twinsun, and he must also save the goddess that lives in the planet’s core from said nasty wizard, as he wishes to kill her and steal all her power. The first game was completely in an isometric 3D perspective set entirely on the planet Twinsun. Alas the first game is rather hard to come by. It isn’t, repeat isn’t, classed as abandon-ware, but who exactly owns the rights to the franchise is somewhat tricky to decipher as Adeline Software International was officially dissolved in 2004.

Twinsen’s Odyssey…

My exposure to Little Big Adventure began with the sequel, and it supports the notion that in games – in contrast to movies and other media – sequels are often better than the originals. It also goes some way to furthering the idea that Ray Muzyka of Bioware spoke of only two days ago at GDC: “If you try to build a franchise around a single character, that can be a problem. If you build it around world, anything is possible.” Sure Twinsen is the star of these games, but the best thing about them is the wealth of characters you encounter. They were notable back in the 90s for being some of the only games in which every person you enoucntered had their own unique views, voice, and general character. Quite impressive compared to the mess that is the voice-work and NPC system of Oblivion, a game made 10 years later, that claims to be of incredible scope, where characters voices can change dramatically mid-conversation, and it can be difficult to tell people apart. When you add the fact that Little Big Adventure characters can often be walking sausages, and that they have more character and you won’t mistake them for any of the other sausages, it really stands as a testament to the brilliant design, and care that went into every detail.

LBA2: Who'd win in a fight? The cast of LBA2 or the cast of Grim Fandango? Both had cast "photos" like this.

Before I go on, I should mention this game’s great innovation: The behaviour system. By deciding what “mood” Twinsen is in, it affects what actions he is capable of, how he moves, and how he throws his magic ball/uses his weapon. This can have an affect on gameplay (the AI is also quite intelligent, LBA was one of the first games where guards would run to seek re-enforcements or sound the alarm instead of just attacking or chasing Twinsen) in terms of stealthy movements or solving puzzles. It’s main success is that it simplifies controls, which otherwise would have been convoluted.

The general tone of the LBA universe is quite light, but rich with variety, wonder, and an innocence that I think is the main reason I keep returning to it. To best set the scene you should watch the opening cinematic and beginning of LBA2 (from a “Let’s Play…”) below:

The game plays like a child’s daydream of adulthood, of adventure, and of wonder. With the mix of the fantastical and the familiar it recalls the bizarre things you would day dream innocently as a child. The mysteries of the universe are alluded to but not explicitly explained, and the most mundane things are just as mundane there. The game opens with your friend, a talking, flying, dinosaur crashing into your back garden. So you go to the pharmacy – a somewhat mysterious place for any kid, but in a boring sort of way. When you get there you find a woman (who is little ball with legs, incidentally) who can help you as she works for a wizard. When you get to her house, she’s doing the hoovering. There is a grounding in the things you observe in the world around you as a child running throughout the game. There’s a wonderful cinematic in a ferry where Twinsen gets imbroiled in the “I’ve made eye contact with another passenger – do they think I’m looking at them?” moment. It’s only short, but in this bizarre universe there are still moments like these for the character that children and adults can relate to. Innocence seems to be the by-word for LBA. There is combat, but it never feels malicious. Most of the laughs come from funny voices, or slapstick humour. And your willingness to experiment is rewarded – not by slapping you with a morality system, but by kindly forgetting your actions most of the time.

It could be argued that I’m taking it too far. Perhaps I am, but this is a game that is aimed at children, but I don’t feel is speaking down to them. It is, however, and I think quite intelligently, playing to their imaginations. As an early example of a game where free-roaming in a 3D environment was done well (the French have a way with breaking ground in 3D things if Isabelle was anything to go by) it found a way to reward a lot of the things your childhood mind could throw at it. Yeah, you could hump a cow. They knew you’d do that. If you went into the school and for some reason hit a child their big brother would meet you at the gates and box your head in, only fair. And if what game would provide you with a car for getting around, and not throw in a racing track? Not LBA2.

Not long ago I wrote an article in which I discuss GTA IV, and how in that game you’re being pulled in two directions – emergent (or dick-around) gameplay vs a linear mission structure. The beautiful thing about LBA2’s tone is that – due to the fact that the story is sufficiently lighter in its presentation (at one point all of the children from your home planet are stolen, but this is done quite elegantly, showing an empty school bereft of activity. An empty field where once lessons were taught -the actual kidnap being over in moments) you never really feel hurried. It is only later in the game where a cutscene of a moon that is hurtling toward Twinsun is shown (at random intervals) that you feel encouraged to get on with things. This isn’t enforced in the design, thankfully, as by this point you are on the planet Zeelich, and they’ve given you a casino to muck about in, complete with a Wheel of Fortune game hosted by a talking, monocled, crocodile. If that doesn’t scream “Mess around with me!” I don’t know what does.

I’ve always been interested in the idea that if you’re going to make a game you should know what sensations you want to encourage before you get started. Adeline, it seems, knew that they wanted to make an Adventure game here that was fun. Not just entertaining, or engaging, but specifically fun. That seems like a redundant thing to say, but I don’t think that fun is a prerequisite of game design – I said in the previous article that I enjoyed the opening of Fahrenheit, but I didn’t think hiding a dead body was fun. Stressful and exhilirating maybe but not giggly fun. It brings forth to mind the idea that games can have the same draw as a Fisherprice activity centre and that sometimes you can have fun without a forced narrative at all. That often doesn’t last when its done alone (Amanita Design’s The Pantry is more-or-less just that: A pantry where you can click on things on screen and see unexpected (though scripted) interactions take place. A fun distraction/experiment but you will tire of it after 5 minutes), but the LBA series takes that idea and runs with it in the context of a linear narrative adventure game. If there were no little distractions, easter eggs, secrets or whatever you call them,  then – partially due to the graphical limitations of the time – Twinsun might feel a bit lifeless. As it stands, and especially with LBA2, you get the feeling that every corner of every area has had something interesting put in it so you’re never just darting through thoughtlessly. In a genre that is known primarily for being one where the story is the main focus, the LBA series manages to spread its charm, wit, and personality, equally and thickly over every element of the game. From character design, voice-acting, animations, world design, and certainly not least its sound design.

The music of LBA is another big draw for me. I personally love it, and it fits perfectly with the tone of the game. Take the main theme of LBA2 (embedded below). Being of better sound quality than that of the first game, it captures the excitment, joy, and wonder of the adventure without sounding gamey. It’s not overly dramatic, fast, or grand sounding. Compare it with the music of Zelda, and you begin to understand that the music also supports the idea that the game is encouraging a feeling of innocence while playing. There is dramatic music when the situation calls for it, but the main theme is the aural stamp of the game. The mission statement as it were, and LBA’s mission is innocence, wonder, and fun.

It would disservice to not mention that LBA2 is supported in text and voices in several languages, with the ability to set the speech and text to different languages. I, myself, and I know of several others who have used this to supplement their learning of another language, and the game has a certain noteriety for it. I used it for my German exams at school in 2002 even.

As I mentioned at the beginning of the article there is a fan-made prequel in the works, and potentially a game set between the events of LBA1 and 2. These, I feel, deserve their own article that I’m preparing.

Mike Dunbar

P.S. Does anyone know where I can get the item-recieved inventory sound effect for my phone?