In the late nineties the video game industry was mired in a starry eyed fascination with a few high-profile game developers who had been elevated into a kind of geek stardom. There was talk of Ferraris and rockets and exorbitant spending at short-lived companies with poor oversight. There was a pantheon of “game gods” populated by people with names like John Carmack, Warren Spector, Tom Hall, Sid Meier, Will Wright, Richard Garriot, American McGee, Chris Roberts and others. And, of course, the poster boy for the late nineties excess of the video game industry: John Romero.
The rise and fall of Ion Storm, which actually released several games of note beyond the calamity that was Daikatana, is the cautionary tale that proves that Design is not, in fact, Law. The farcical comedy of Ion Storm heralded the twilight of the cult of personality, and these once powerful figures in gaming either learned to integrate into the growing corporate structure of development, or pressed on with visions that largely twisted toward dead-ends and obscurity. And so, it seemed for a long time that in the aftermath of the end of the millennium the business of video games became very much more traditional, that the team was elevated above the personality and when the revolution came the John Romeros of the world had been the first against the wall.
Or so I had believed until the pantheon of gaming’s gods was populated anew.