The Dig

For other uses, see The Dig (disambiguation).
The Dig

The cover artwork for The Dig

The cover artwork for The Dig, displaying the three astronauts in the story
Developer(s) LucasArts
Publisher(s) LucasArts
Designer(s) Sean Clark
Brian Moriarty
Artist(s) Bill Tiller
Writer(s) Orson Scott Card
Brian Moriarty
Steven Spielberg
Composer(s) Michael Land
Engine SCUMM (visual)
INSANE (cut scenes)
iMUSE (audio)
Platform(s) MS-DOS
Mac OS
Release date(s)

November 30, 1995[1][2]

July 8, 2009 (Steam re-release)
Genre(s) Point-and-click adventure game
Mode(s) Single-player

The Dig is a point-and-click adventure game developed by LucasArts and released in 1995 as a CD-ROM for PC and Macintosh computers. Like other LucasArts adventure games, it uses the SCUMM video game engine. It also features a full voice-acting cast, including notable voice actors Robert Patrick and Steven Blum, and a digital orchestral score. The game uses a combination of drawn two-dimensional artwork and limited, pre-rendered three-dimensional movies, with the latter created by Industrial Light & Magic.

The game is inspired by an idea originally created for Steven Spielberg's Amazing Stories series. Unlike other LucasArts adventure games, which typically included a good deal of humor, The Dig took a somber approach to its science fiction motif. In the game, the player takes the role of Commander Boston Low, part of a five-man team planting explosives on an asteroid in order to avert its collision course with Earth. Discovering the asteroid is hollow, Low and two of his team are suddenly transported to a long-abandoned complex, filled with advanced technology, on a strange alien world. Low and his companions must utilize xenoarchaeology to learn how the technology works, discover the fate of the alien race that built it, and solve other mysteries to find a way to return home.

The Dig received mixed-to-positive reviews, with critics primarily praising its atmosphere and soundtrack. Multiple reviewers said the game's puzzles were too difficult, and other aspects of the game, such as its graphics, voice acting, and dialogue, received mixed receptions. A novelization of the game was written by science fiction author Alan Dean Foster in conjunction with the game's development.

Gameplay

The Dig is a point-and-click adventure game, where the player, as Commander Boston Low, uses the mouse cursor to point to people, objects, and other parts of the environment to look at or interact with them, collect and use items in their inventory, and talk to non-player characters. The game runs on the SCUMM game engine, and was the eleventh LucasArts game to do so.[3] A minigame can be found on the communicator menu, consisting of "Asteroid Lander", a Lunar Lander like game.[4] During development, there were plans to include role-playing game elements, but these were scrapped before the game's release.[5]

Plot

A radio telescope in Borneo detects the approach of a large asteroid on a collision course with Earth; authorities dub it "Attila" after the ancient conqueror Attila the Hun. Scientists determine explosives planted on the surface of the asteroid may divert it into a stable orbit around Earth. A five-person expedition uses the Space Shuttle Atlantis to rendezvous with the asteroid and plant the charges. The crew is led by Commander Boston Low (voiced by Robert Patrick), and joined by Dr. Ludger Brink (Steven Blum), a German archaeologist and geologist, Maggie Robbins (Mari Weiss), a linguistics expert and reporter, pilot Ken Borden (David Lodge) and NASA technician Cora Miles (Leilani Jones), who is also running for Congress.

Low, Brink, and Robbins spacewalk to the asteroid and set the charges. While they are successful in altering the orbit of Attila, they find the inside of the asteroid appears hollow, and proceed to explore. When they enter a central chamber, they are trapped as the asteroid transforms into a dodecahedron pod and rapidly accelerates away into deep space. When the three recover and can exit the pod, they find themselves on an alien planet, on a central island surrounded by five smaller, spire-shaped islands; in the game's novelization, they name the planet Cocytus. It clearly shows signs of former intelligent life, but as they explore, they find no evidence of any sentient creatures that remain, and the one advanced complex they are in shows signs of long-term deterioration. They encounter a strange form of spirit-like energy that guides them to a particular patch of ground, which they find to be soft and consistent with an opening that has been buried by time. Shortly after Brink begins digging, the ground gives way beneath him, opening a cavern into a subterranean structure. Robbins and Low soon find Brink dead at the bottom of the rubble.

View of the center island and five surrounding islands of Cocytus

Robbins insists they explore the structure separately and the two part ways, keeping in contact with their communicators. In what appears to be a museum, Low discovers a pair of crystals containing a glowing green liquid. After seeing a demonstration in the museum of similar crystals being used in what looks like a resurrection ceremony, Low tries one on Brink, bringing him back to life. They then search for a means to return to Earth, using Brink's and Robbins' talents for xenoarchaeology to decipher strange alien text and images. As the trio continue to explore, they find Brink has become addicted to the crystals and started hoarding them for himself, leading to conflict within the group. Low discovers a pyramid that houses a preserved alien, whom he is able to reanimate by use of the life crystals. Through Robbins, the alien explains that the rest of his species started to recognize the corruption the life crystals had; they decided to travel to a new universe, Spacetime Six, from the current one, which they call Spacetime Four. The alien chose to remain behind to warn others about the crystals. However, the rest of the species have been unable to find a way to return to Spacetime Four, and only they would be able to provide the humans with a spacecraft to return to Earth.

Low offers to travel to Spacetime Six to show the aliens how to return, but this requires them to repower the portal that was used. They are able to retrieve two life crystals from a machine that generates them, but Low and Brink fight over the crystals, and Brink falls to his death. During the process of opening the portal, Robbins is killed. The player has the option of reviving Robbins with a life crystal after the portal is opened; however, if they do, she immediately jumps to her death, with no crystals left to revive her a second time. With no other options, Low uses the portal to meet the rest of the aliens in Spacetime Six; with the portal open, the aliens can perceive the route home and return to Cocytus. They restore Brink and Robbins to life and cure Brink of his addiction to the crystals, though this leaves him as an elderly man. If Low left Robbins dead, she is happy to see him, but if Low revived her, she is angry and scorns him. As promised, the aliens reconstruct a spacecraft for the humans, and representatives of the species join the humans as they return to Earth.

Development

The Dig was originally conceived by Steven Spielberg as an episode of Amazing Stories, and later as a movie. However, it was concluded the concept would be prohibitively expensive to film.[6] As a result, the idea was temporarily shelved. Eventually, it was decided the story could be adapted into the adventure game format. The initial video game design meeting was held in 1989 at Skywalker Ranch; it included Spielberg, George Lucas, Ron Gilbert, and Noah Falstein, the latter two of whom had created a video game based on Indiana Jones and the Last Crusade that had impressed Spielberg.[5] Writing is credited to Spielberg, author Orson Scott Card, who wrote the dialogue,[7] and interactive fiction author Brian Moriarty, whose previous LucasArts engagement was with Loom.[8] Industrial Light & Magic (ILM) created some of the CG imagery.[9]

The Dig had by far the longest development time of all LucasArts adventure games. The game's design team met for the first time at the Skywalker Ranch on the day the 1989 San Francisco earthquake struck,[10] but the game was not released until 1995.[6] During its development there were four successive project leaders, starting with Falstein, followed by Moriarty, then Dave Grossman. The Dig's final project leader was LucasArts' Sean Clark.[9]

The original production involved a story that took place in the distant future. In this story, a crew of explorers in a spaceship visit an abandoned planet, discovering signs of an extraterrestrial civilization that left behind technological artifacts. The explorers initially assume that the occupants of the planet had died off, seeing no sign of them, but as the story progresses, the player was meant to discover something very different. This premise is similar to the finished game's story, but contains clear differences.

When Moriarty took over, he decided to start again from scratch. This version of the production was even more similar to the released game. However, it contained one extra character: a Japanese business tycoon and science-hobbyist named Toshi Olema, who uses his money to buy his way onto the Attila project crew.[10] Toshi would have met a gruesome death when he stumbled into a cavern with acid dripping from the ceiling, and the other astronauts would have been unable to safely retrieve his body and bring him back with life crystals. He was later completely removed from the story. This version of the game was also very bloody and adult. Initially, Spielberg thought this feel was very fitting. However, after the release of Jurassic Park in 1993, Spielberg received numerous complaints from parents who had ignored the PG-13 rating and brought their young children to see the movie, only to discover that it contained some sequences of horror, blood, and violence. Thus, worrying that parents would make a similar mistake and purchase The Dig for their kids, Spielberg requested the violence be toned down.[11] Other notable design ideas which were dropped during the game's production include a survival angle, which forced the player to keep water and food supplies for life support, and exploration of entire cities on the planet.[12]

Release

The Dig was first released on November 30, 1995.[2] Upon its release, The Dig became LucasArts's best-selling adventure game, with over 300,000 copies sold.[13] During the game's release, the director did not deny the possibility of making it into a movie. However, over two decades later, no progress has been made on a film version of the story.[1] LucasArts announced on July 6, 2009 that the game would be re-released using the Steam content delivery system on July 8.[14]

On February 6, 2007, LucasArts filed a notice of opposition with the US Patent Office against Digg to uphold their trademark for the game, claiming that Digg was "identical or nearly identical to Opposer's mark The Dig." After settling out of court,[6] LucasArts' notice of opposition was dropped on September 19, 2007.[15]

Reception

Reception
Review scores
PublicationScore
Adventure Gamers[16]
AllGame (PC)[17]
(MAC)[18]
Edge8 out of 10 (PC)[19]
GameSpot4.5 out of 10 (PC)[20]
GameZoneB[21]
PC Gamer (US)88%[22]
Maximum (PC)[23]
PC Magazine[24]

The Dig's graphics, voice acting, and writing were given an uneven reception by critics. Its puzzles were also generally viewed as more difficult than most LucasArts games. However, the cut scenes were more favorably received, and the music was universally praised.

Evan Dickens of Adventure Gamers stated, "The Dig is a lot more reminiscent of Myst than any other LucasArts adventure."[16] He said the game was a bit too difficult, with very challenging puzzles.[16] GameSpot's Jeffrey Adam Young agreed, saying of the puzzles, "some follow logic, others just call for trial and error, and yet others will leave you clueless".[20] A reviewer for Maximum disagreed, saying that "with the exception of one or two that were just too obscure, [the puzzles are] set at just the right level to keep a serious adventure freak riveted (and not too hacked off)."[23] Joshua Roberts of Allgame praised the puzzles, saying there were "only a few real brain twisters" and that most could be solved with patience and consideration.[17] Bernard H. Yee of PC Magazine said that some of the puzzles were "a bit more frustrating than others".[24]

Dickens noted that the graphics looked a bit dated.[16] Roberts was more complimentary, saying, "You'll be impressed with the scope of the alien landscape".[17] The reviewer for Maximum acknowledged that the graphics were stylistically outdated, but still considered them "stunning".[23] Young called the character animations "tired" and "lo-res".[20] Yee was also unimpressed, saying the graphics are "a bit blocky" and commenting that the characters "lack fine detail".[24] Dickens felt the cut scenes animated by ILM were excellent,[16] as did Yee, who said they have a "truly grand, cinematic feel".[24]

Dickens had mixed feelings about the game's audio, calling its score "majestic" and saying it was the best part of the game. At the same time, he thought the voice acting was "mediocre", saying Robert Patrick was the right voice for protagonist Boston Low, but that he missed some emotional nuances in his portrayal.[16] Young thought the voice acting was acceptable but "stereotypical." He also noted the "grand music score" as the highlight of the game.[20] Yee called the voice acting "top notch" and compared it favorably with Full Throttle.[24]

Dickens also thought the writing was hit and miss, panning the dialogue as "relentlessly cheesy and cliched", but approving of the overall storyline and its suspenseful atmosphere.[16] The reviewer for Maximum noted that the story has a much more serious tone than LucasArts' usual wacky fare, and praised the "well developed storyline and characters".[23] Young commented that the game takes itself too seriously to be as enjoyable as other, funnier LucasArts games such as Full Throttle, and said the dialogue was "deplorable".[20] Roberts disagreed, calling it "excellent" and saying Low was a "likable" character.[17]

Yee summarized his review by saying, "The Dig brings otherworldly adventure, a real sense of exploration, and a true cinematic style to your earthbound PC."[24] Young said, "In almost every sense, The Dig represents a leap backwards from LucasArts' previous group of adventure games."[20] Maximum stated "We have no hesitation in recommending this to all adventure fanatics, though inexperienced adventurers may want to wet their feet with something a little less taxing the first time out."[23] Roberts concluded his review by saying, "The Dig is the kind of adventure we've all come to expect from LucasArts. With an imaginative story, an attractive visual backdrop and a wealth of intelligent puzzles, it belongs near the top of the adventure game class."[17] Dickens recommended The Dig to science fiction fans more than average gamers.[16]

In 2011, Adventure Gamers rated The Dig at No. 92 on its list of the 100 best adventure games of all time, noting that gamers did not know what to make of the game at the time of its release, but adding, "Strip away the preconceptions, however, and what’s left is a very good game in its own right".[7]

Soundtrack

The Dig soundtrack
Studio album by Michael Land
Released January 23, 1996[25]
Recorded 1995
Genre Ambient[26]
Length 40:22
Label Angel Records[9]
Producer Michael Land

Final project leader Sean Clark said the music of The Dig was crucial in "establishing the overall mood of the piece."[9] During production, LucasArts desired a soundtrack with a "Wagnerian" feeling.[9] Composed by Michael Land, the music consisted of Land's original score performed on a Kurzweil K2000 synthesizer, enriched by hundreds of short chord samples from the works of Wagner.[27] Land cited the music he personally composed for The Dig as the type closest to his own individual style.[27]

The music is relatively static during most of the game, used more as a backdrop than a prominent aspect of gameplay, and has been described as consisting mostly of "vague cadenzas, modulations and movements without much consequence for the material."[26] When important sequences and cut scenes occur, however, the music comes to the forefront and becomes significantly more dynamic.[26]

The Dig was the first LucasArts game to have its soundtrack sold separately as an audio CD,[28] adapted as a linear continuity of finite pieces.[29] Land played the piano and synthesizer and produced the album. He was assisted by Hans Christian Reumschüssel (cello), Emily Bezar (vocals), and Paul McCandless (woodwinds).[29] The soundtrack was bundled with a CD-ROM that included demos for five LucasArts games, and was intended as a first step in cross-promotional efforts.[9]

Chris Greening of Square Enix Music Online gave the soundtrack 9 out of 10, calling it "accessible yet abstract, simple yet deep".[28] About "Mission to the Asteroid", the opening song, he wrote, "Much of the composition conveys beauty and serenity, yet there is a certain tragic element created with the sweeping chord changes and sometimes elegiac motifs".[28] He noted that while much of the album is quite ambient and subdued, it contains numerous subtle variations in its themes. He concluded by saying the album is "surprisingly fulfilling even on a stand-alone basis" and that it "never fails to immerse and fascinate me".[28]

Novel

Science fiction author Alan Dean Foster, famous for having written novelizations of movies such as the original Star Wars and Alien³, wrote a novel based on The Dig.[30] An audiobook version of the novel was also released.[9]

The novel is not completely consistent with the game, and sections of the story are presented from the point-of-view of the indigenous alien civilization, 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 explaining several mysteries left unexplored in the game.

Publishers Weekly panned the novelization, saying it was severely restricted by the fact that it was based on a computer game, in which the hero merely collects objects and solves puzzles. The review also said it suffered from stereotypical characters and a "simplistic metaphysics", again stemming from its computer game origins.[30]

References

  1. 1 2 LucasArts History Part 3: Broadening Horizons
  2. 1 2 "The Dig - Gamespot". GameSpot. Retrieved April 9, 2016.
  3. ↑ Strank 2013, p. 82.
  4. ↑ The Dig - User's Manual (PDF). 1995. p. 7.
  5. 1 2 Kelly, Andy (February 4, 2015). "Reinstall: The Dig". PC Gamer. Retrieved March 12, 2016.
  6. 1 2 3 Plunkett, Luke (November 2, 2011). "So, a Giant Asteroid is Heading for Earth... Again...". Kotaku. Gawker Media. Archived from the original on November 4, 2011.
  7. 1 2 "Top 100 All-Time Adventure Games". Adventure Gamers. December 30, 2011. Retrieved June 23, 2012.
  8. ↑ The Dig Museum: Cast and crew of The Dig
  9. 1 2 3 4 5 6 7 Gillen, Marilyn A. (December 2, 1995). "CD-ROM Pack-Ins Move Soundtracks". Billboard. Nielsen Business Media, Inc. 107 (48).
  10. 1 2 Moriarty, Brian (March 2006). "Interview with Brian Moriarty". Aventura y CÍA (Interview). Interview with García, Paco. Retrieved February 10, 2016.
  11. ↑ The Dig Museum: History
  12. ↑ The Dig Museum: Noah Falstein interview
  13. ↑ "Milestones: About Us". LucasArts. Retrieved January 10, 2013.
  14. ↑ "LucasArts Continues Initiative to Revive Classic Gaming Titles" (PDF). LucasArts. July 6, 2009. Retrieved January 1, 2013.
  15. ↑ US Patent and Trademark Office: LucasArts Trademark Opposition
  16. 1 2 3 4 5 6 7 8 Dickens, Evan (2002-05-19). "The Dig review". Adventure Gamers. Retrieved 16 October 2010.
  17. 1 2 3 4 5 Roberts, Joshua. "The Dig Review (PC)". Allgame. Archived from the original on 15 November 2014. Retrieved 15 November 2014.
  18. ↑ Savignano, Lisa Karen. "The Dig Review (Mac)". Allgame. Archived from the original on 15 November 2014. Retrieved 15 November 2014.
  19. ↑ Edge staff (February 1996). "The Dig". Edge (29).
  20. 1 2 3 4 5 6 Young, Jeffrey Adam (1996-05-01). "The Dig Review for PC". GameSpot. Retrieved 16 October 2010.
  21. ↑ Mooney, Shane (1995). "The Dig". GameZone. Archived from the original on 1997-06-05. Retrieved 2013-12-22.
  22. ↑ Vaughn, Todd (September 1996). "Dig, The". PC Gamer. Archived from the original on 1999-11-16. Retrieved 2014-05-05.
  23. 1 2 3 4 5 "Maximum Reviews: The Dig". Maximum: The Video Game Magazine. Emap International Limited (3): 157. January 1996.
  24. 1 2 3 4 5 6 Yee, Bernard H. (March 12, 1996). "The Many Paths Toward Adventure". 15 (5). Ziff Davis Publishing Holdings Inc: 361–262.
  25. ↑ "Dig (Original Soundtrack) Overview". AllMusic. Rovi Corporation. Retrieved December 14, 2012.
  26. 1 2 3 Strank 2013, pp. 85–86.
  27. 1 2 The Dig Museum: Michael Land interview
  28. 1 2 3 4 Greening, Chris. "The Dig Soundtrack :: Review by Chris". Square Enix Music Online. Retrieved December 14, 2012.
  29. 1 2 The Dig soundtrack (CD booklet). San Rafael, California: LucasArts. 1996.
  30. 1 2 "Fiction Book Review: The Dig". Publishers Weekly. January 1, 1996. Retrieved March 1, 2014.
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