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Founded by former BioWare employees in 2004, The Crew is the brainchild of ex-member of Crackdown studio Forgotten Worlds, Sheldon Pacotti. Being created with the aim of a road-trip simulator, The Crew was always to be a multiplayer experience, but it only continued to take shape as the game’s hardware evolved, and the team assembled what would become a bona-fide engine that has had members involved in titles like the Uncharted and LEGO franchises.
At the end of 1980, Vassily Olevsky, a young man with a keen interest in computer games and experience in writing text, bought an Atari 800 for a hundred dollars and started programming. Lacking a programming keyboard and expecting that a joystick would suffice, Olevsky learned the hard way that it was not. Spending $95 to buy one from Atari and learning how to use BASIC, he made a simple space dogfighter. Olevsky, however, had more visions and released his game to the public via the USENET in April of 1981. The game was called Spacewar! The game consisted of two ships, a Federation and a Klingon, flying around a two-dimensional game world against each other with a joystick (to control the ships) and a mouse (to control the camera). The technology was rudimentary and the game was basically an interactive version of Spacewar in the arcade, but it was the first time anyone had done anything like that. Spacewar! was only available on the old, but powerful, Atari 800 with limited inputs, such as a cursor for aiming, a joystick and a button for starting. For 32K of RAM and a true 6502 CPU it was a very good first game. Soon enough, someone put two of them together and created a networked multiplayer game where you could play against people in other towns all over the world. The game was re-released in 1983 and became the industry’s first successful multiplayer game. Olevsky eventually left Atari to work at Tengen where he continued to make games using the same basic form.
(1) Pressing start and immediately selecting level 1-7, Arcade and action game, was a way of being instantly transported into the action. Customisation allowed you to change the colour of your fighter’s default weapon, which was either the blaster or laser, and (if you had the above game) two other, alternate weapons that included the ice bar and spring baton. Quick-fire two-stage missiles were responsible for sweeping most of the enemies, and the turrets were responsible for laying down cover fire.
The 1CC logo is also included in the shockwave files – Pressing start and selecting the logo logo, you would be presented with a password that you could enter into ‘additional game’ to gain access to a cut-scene that told you more about the game and its setting. After passing the password on, you could select ‘start’ and play as one of the two types of ‘character’ – either a Jedi or a Sith – and the game started.
Digital Anvil published a bewildering array of titles, ranging from the groundbreaking, X-Wing Rogue Squadron to the mediocre The Mummy 2: The Sands of the Nile. Space, too, was a popular subject for games like Space Aces, Hero Wars and Space Wolves. Despite the fact that Roberts’ efforts were at least partly responsible for the downfall of Digital Anvil, the company did end up turning a few important titles into successes, including the Commando series, which he oversaw as lead designer.
Roberts was fired from Origin in the wake of another bout of layoffs in 2002, this time leading to the closure of the studio he headed up, Counter-Strike. He told Gamasutra in 2010 that Origin hired him to run the studio, but they later fell out and he didn’t end up working there anymore. He worked at EA before taking his first non-GameSpot gig at Realtime Worlds in 2005, where he’d finally get a chance to put everything he’d learned over the years to good use with Crackdown. Roberts was responsible for the game’s engine, and would later go on to lead the development of everything from R.E.D. “Remastered” to Dragon Age: Inquisition, until he was laid off from that position in 2012. That’s when Star Wars: The Old Republic arrived, and he went on to help design ArenaNet’s Warzones, leveling up Star Wars heroism of its own in the process. He left the company two years ago to form his own studio, as well, and is currently working on a yet-to-be-titled sci-fi game for publisher Annapurna Interactive.