Here is an interview with Tom Hall
First could you give us some basic info on you and your past/current projects?
My name is Tom Hall. I was born in Wisconsin, and got my first
computer, an Apple II+, on June 9th, 1980. It was love. I made like a
hundred little games on it. Later, I got a degree in Computer Science
at the University of Wisconsin--Madison. During that time I did some
side programming for a teacher: educational software for
learning-disabled kids. After college, it was Softdisk, then founding
id and doing Keen, Wolfenstein, and DOOM; then Apogee/3D Realms, for
some of Duke II, Rise of the Triad, Terminal Velocity, the story for
Duke 3D (just took an hour or two, no biggie), and the starting year of
development on Prey (though it's quite a bit different now). Then I
co-founded ION Storm, I'm now working on Anachronox (pronounced "uh NAH
kruh nox"). It is cool.
What was it like working at Softdisk and why did you and the others leave?
I had been sneaking into the Gamer's Edge department at
night, after it was formed around Romero, one of our submitters that we
hired (John Carmack), and another guy. I would sneak in at night from
the Apple department, doing level design and game design. We worked
really well together. After a while, they asked if I could replace the
manager in the department, who wasn't doing that much and wouldn't
program in C (assembly only). The management wouldn't hear of it. That
was disappointing.
Around that time, Carmack had come up with a method of
scrolling the EGA screen (back when computer graphics had 16 colors)
smoothly. Softdisk couldn't do this because it was still supporting
_CGA_ (FOUR colors)! So, one night Carmack had finished the sprite over
a tile background code. It was the foundation for a game. I looked
over at the Nintendo we had in the corner, which had Super Mario Bros. 3
on it. I said to Carmack, "What if we did the first level of Super
Mario...tonight?!?" Carmack smiled, and said, "Let's do it!" I was
busy copying the graphics, converting them into tiles, entering data to
give certain tiles solidity and so on, and entering the map, tile for
tile into Romero's TED editor. John had gone home for the evening.
Carmack was blazing on making the program ready the tile info, making
the character jump and so on. I made a title screen "Dangerous Dave in
'Copyright Infringement' ", since it was a total ripoff of Mario.
At 5:30am, we finished, slapped the demo on a disk, and
put in on Romero's desk as a surprise. We went home and crashed. When
we got back, Romero said he couldn't work for three hours. He said his
first thought was "This is it! We are SO out of here." He talked to
Jay, who didn't believe him, and then he said he was serious. We
actually contacted Nintendo R&D, who said put a demo together. We
worked on it for a week, sent it off, and apparently it got to the head
table, with Shigeru...but they didn't have a PC division and didn't want
one. So we thought, hey, we'll make our own game. We needed a topic.
I asked if they cared what topic-sci-fi, fantasy, whatever. I think
Carmack mentioned a kid that saves the galaxy or something. I went off
and fifteen minutes later, came back with the paragraph that you see in
Keen 1. I read it in a Walter Winchell voice (he's a nasal 40s
radio/newsreel announcer). Carmack clapped after I was finished, and we
were off and running. During the middle of the project, Adrian joined
the department, and we had a _real_ artist!
We got contacted by Scott Miller of Apogee, and once
Keen was published, it was making enough for us to live on, so we quit
and formed id.
It was fun, hard work, and sometimes harrowing. My coworkers
were all a blast to work with, pretty much. The upper management had
more of a use-the-stick, keep-'em-down kind of mentality, combined with
a penchant to stick with the status quo that didn't allow a lot of
innovation. However, many monthly software collections got us all a
great variety of experience. I've worked on every type of program from
spreadsheets to card makers to games. It was the perfect place at the
time to hone my skills.
How did the idea for Commander Keen Series come to you, how has it evolved from your original basic idea?
When I went back to my office, I think the things that
influenced me were numerous. There was Chuck Jones' "Duck Dodgers in
the 24-1/2 Century". And a short story called something like "A Study
of the Worp Reaction", in which an autistic kid goes out to the junkyard
behind his parent's house, and keeps bringing back pieces of stuff, each
seemingly perfectly fitting with each other. One day he gets up on top
of the pile of garbage, gets inside it. It rises off the ground, with a
glow underneath, then settles to the ground. Then he slowly takes it
apart day-by-day. That was cool. The "Bean-with-Bacon Megarocket"
comes from a George Carlin routine about instead of deodorant, people
could put bay leaves under each arm-doesn't stop the sweating, but you
smell like soup. Someone smells a soup smell, and the other person
goes, "No, I'm 'Bean-with-Bacon'." Obscure reference, to be sure, but
this is the first time I've mentioned it. :) The style of the
paragraph was based on the 30s and 40s serial shorts, like Buck Rogers.
Keen grew more and more a combination of my childhood, and Chuck Jones'
amazing visual style.
What was it like working at id during the early years?
It was awesome. We had just enough money to survive, and we
were working 16-18 hours a day, and loving it. We were all in one room,
all listening to loud music, all playing the same games, all critiquing
what we liked about them, and all doing completely separate tasks that
we were all very good at. It was perfect. I think it was really
perfect until Town East Tower for me, when everyone was in a separate
office. I really missed that sort of social workplace.
What was it like making the first 3 keens?
We were taking home our computers, using every spare minute for development. We did the Keens in 2.5 months, at night
and on weekends. Romero and I did the episode three levels in two days.
It was crazy, but we were so in the zone. It was insanely fun.
What was it like making Keen Dreams, and the other id games that came before Goodbye Galaxy?
As part of leaving, we agreed to do games so the Gamer's
Edge product could continue. At the time, I really didn't want to do a
Keen for them, but we needed a ramp-up for the next Keen trilogy. I was
eventually convinced. We were doing this game and some other game at
the same time. It was kinda crazy. But doing all those different types
of games (puzzle, shooter, platform, and so on) was incredible training.
You'd have to work for a decade on normal-sized games to get that
experience. We did it in a year.
What was it like working on Goodbye Galaxy and Aliens Ate My Baby Sitter? How was it different from working on Invasion of the Vorticons?
Since we'd moved to Wisconsin in the winter (I wanted to
move in the summer, but the rest of the guys wanted to enjoy the
boathouse in Shreveport for one more summer), we didn't go outside much,
and we worked long hours. We moved back down south, to the warmth of
Dallas.
I had done most of the art in the original Keen trilogy.
With Adrian working on this new set of Keen, his skills honed over many
games, the art was looking awesome. We did Keen 4, then Keen 6 (Aliens
Ate My Baby Sitter), and then Keen 5. We did Keen 5 in one month. That
was an amazing amount of work, but it's probably the favorite Keen, even
though it doesn't have a Dopefish.
Deciding on the tilted perspective made things look really cool,
but the levels look a lot longer to make. I think the overall art
design was a lot cooler, though I have a definite place in my heart for
the original Keen development. We were in Wisconsin (my home state) for
most of this development. We got convinced to make the third game a
commercial game, which I think hurt sales of the first two a lot.
Getting a trilogy seems great. Getting the second half doesn't seem at
cool. They still did decently, though.
What do you think of the other Commander Keen projects that are being made by 3rd parties under the approval of id (i think)?
It's really cool to see people loving Keen so much that they
want to extend their experience.
What did you have planned for Keen 7? Do you think Keen has any future?
If I can ever get the rights back to Keen, or if I can
strike a deal with id so I have creative control of him forever, then
you'll see Keen again. I don't want to start Keen back up, only to have
him taken away again if he's successful. That just wouldn't seem fair.
I would love to do another Keen. My last idea for Keen
7-9 was a game world was 3D, and at certain places the camera rotated
with you for different games. It was halfway between Super Mario 64 and
Pandemonium. This was two years before those games came out. I wish
I'd been in a place where I could've made that happen back then.
I do miss the good ol' days of Keen. I love the
universe and the gameplay, and I'd love to make another chapter in the
saga. We will see how the future unfolds....
----------------------------------------------------
Later,
Well, I don't want to talk too much about it, as I may do it
someday, but as you know from the end of Keen 6, Mortimer McMire is
back, and he has big, bad plans for the end of the Universe as we know
it...
Okay, that's it! I gotta get back to work. Take care!
Tom