GoblinBoy was absolutely an innovator, and I loved his games, but I consider them to be something different than what Ariane and I do.
Fully agreed. GB, for better or worse, was primarily focused on writing porn. More story arose as he matured, and while I think SD3 was a strange nexus of his interest and his growing skill (the characters, on the other hand...ugh), but the throughline from Ariane to you and your various artistic partners was entirely different.
I grew up playing Infocom games, and there was always something magical about them for me.
Me too. It's why I adored AIF. BBBen's still around, but there are a number of creators that I wish had continued into the current era. One-Eyed Jack. Lucilla Frost. I think we could've gotten some great stories from people who already knew that they only had words to tell them, but that there were artists who only lacked the words.
But I never felt that what Ariane and GoblinBoy did were comparable. They were Jazz to Blues, or Rock and Roll to Metal. Similar in that they both told erotic stories, and both good in their own right, but significantly different in technique and capabilities.
Ariane and the "dating" genre (which you followed, for a little while) were absolutely different from GB, who didn't gate relationships, but instead gated sex. With GB you were absolutely going to get laid; the gameplay was about who, and how much.
As I said upthread, I think his real non-graphic innovation was introducing proper branching. There may have been a AIF game before Camping Trip that had full branching (remind me if you can think of one), but it so I don't recall it; usually, it was a not-so-clear path to the only storyline. Whereas CT could end one of two very different ways. SD2 was a disaster because he got lost in his code and his primary NPC was grossly underage, but SD3 has at least six discrete endings and path-exclusive content on each, and that was definitely new. He didn't
always do the same in his later games, but a lot of them (including the one we're talking about in this thread) certainly featured it. That, in addition to graphics specific to the narrative, is GB's legacy.
The things you could do with the primitive parsers of the time were incredible. I wonder what would happen if someone built a new "TADS" equivalent around a modern AI parser. I also wonder if there's any room for it in today's world. I mean, at the height of GoblinBoy's fame, his games were already nostalgic for me. Would the people playing today even give a text adventure a chance? Today's players, who yell and scream whenever a VN isn't identical to every single other one? Today's players, who spend more time complaining about tags than actually playing the games? I suspect a new text adventure wouldn't be well received.
Yeah, by the time Tesliss Equation came out, GB's work was somewhat quaint. Sophisticated (again, save for the writing, which was often cringey), but gaming was already moving on. As for text adventures, they still appear here and there but it seems they're massively unpopular. And maybe that's GB's and Ariane's true legacy: they killed words in favor of pictures. Ariane at least started that way and didn't waver. GB dominated, and then killed, his own genre. Ironic.
Honestly, I think a classic parser paired with AI has potential, because not having to handcraft graphics could allow an enormous amount of narrative flexibility, but there's still so much hostility to AI. I think it's silly — it could greatly democratize creation, while the great artists who still do fantastic work will be rewarded — but I'm obviously in the minority.