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Where should we mark the beginning of the full-motion-video era, that most extended of blind alleys in the history of the American games industry? A second transformative leap, comparable to that made by Hollywood when film went from black and white to color, was also waiting in the wings to burst onto the stage just a little bit later than the first talkies.
Soon, game players would be able to watch real, human actors right there on their monitor screens. The idea was now that the two forms of media would truly become one — that games and movies would literally merge. The last listed there, the most immersive medium of all, was now on the cusp of realization.
How many people would choose to watch a non-interactive film when they had the opportunity to steer the course of the plot for themselves? Probably about as many as still preferred books to movies. The first volume of this series alone would eventually sell 1 million copies as an early CD-ROM showcase title. The following year brought Return to Zork , The 7th Guest , and Myst as three of the five biggest games of the year; all three of these used full-motion video to a greater or lesser extent.
Myst used it considerably less than the other two, and, perhaps not coincidentally, is the member of the trio that holds up by far the best today. With success stories like those to look to, the floodgates truly opened in Suddenly every game-development project — by no means only adventure games — was looking for ways to shoehorn live actors into the proceedings.
But only a few of the full-motion-video games that followed would post anything like the numbers of the aforementioned four games. That hard fact, combined with a technological counter-revolution in the form of 3D graphics, would finally force a reckoning with the cognitive dissonance of trying to build a satisfying interactive experience by mixing and matching snippets of nonmalleable video.