" Planescape: Torment, Part 2: …to the Desktop The Digital Antiquarian
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Planescape: Torment, Part 2: …to the Desktop
08<br>Jun
The photographer’s model for the visage of The Nameless One on the now-iconic Planescape: Torment box was actually Guido Henkel, the game’s producer, who was enlisted at the last minute when the planned professional model had a "scheduling conflict."
This article tells part of the story of Dungeons & Dragons on the tabletop and on computers.
Usually if you choose the longest dialog option, that’s the best option.
— Chris Avellone
Quite some years ago now, I briefly interviewed Brian Fargo about Interplay’s 1988 adaptation of the William Gibson novel Neuromancer. He was plainly busy and a little distracted with more modern game-development matters — this was in the midst of the Kickstarter-funded Wasteland revivals — but he was helpful and friendly enough during the half-hour or so that I spoke to him. Toward the end of our conversation, he mentioned that he had a box full of papers from his Interplay days gathering dust in a filing cabinet in his home office. Upon hearing this, I leapt immediately to make a pitch for my archivist friends at the Strong Museum of Play in Rochester, New York. And lo and behold, a Brian Fargo collection showed up at the Strong within a year or so. I don’t know whether these two events are related, but I like to think that they are.
Regardless, the next time I made it up to the Strong, I naturally made it a point to go through the collection. And it was there, amidst a mishmash of other documents spanning the nearly twenty years that Fargo spent running Interplay, that I first stumbled upon the original pitch document for Planescape: Torment, the one that crossed his desk in June of 1997 and led to the project being formally green-lit. I found this document rather shocking at the time, in that its tone was so totally out of keeping with the hallowed reputation which the game had long enjoyed even then as the most credible claimant to the status of true Interactive Art that the CRPG genre has ever produced. Much of this pitch, by contrast, seemed to have been written by Joe Lieberman’s most stereotypical nightmare: by a sadistic, DOOM-addled teenager who turned it out in between dry-humping everything around him with an even vaguely feminine shape.
No more using boring swords, daggers, or bows to carve bloody swaths through opponents. Plunge scalpels into foes’ eyes, lace their food with poisonous embalming fluid, push them into man-eating pockets of ooze, sic them with sarcastic biting skulls, hurl them into razorvines, conjure burrowing rot grubs within a victim’s brain, cast spells that make them bleed from every orifice, or change a person’s scent so they attract packs of hungry rats. Deliver punishment in ways that will bring a smile to your face.
"Fireball" can go hide in the fucking corner when you unleash your arsenal. Jam your hand into an opponent’s body, rip out his soul, and tell it to kill its owner. Make a gesture and summon a blanket of crawling, biting insects to turn your enemy into a Happy Meal. Send your foes on a field trip to Hell without a permission slip. Taunt someone to death. Summon your darkest shadows from across existence and send them into battle to feed on your opponent’s physical strength. Your succubus ally can kiss your opponents to death — they die with a smile on their face.
This game will have lots of babes that make the player go wow. There will be fiendish babes, human babes, angelic babes, Asian babes, and even undead babes. Think babes. Then think more babes.
To which one can only reply, whoa… whoa. Settle down there, Beavis, before you rub that thing raw.
This document, which has long since surfaced publicly and made the rounds of the Internet, has become something of a problem for Planescape: Torment’s cult fandom, being so markedly at odds with what they wish the game to be. Some have gone so far as to claim that the juvenile profanity was nothing more than an elaborate ruse to get Brian Fargo and his marketing cronies to sign off on such an uncompromising piece of art, or that this is the only corporate pitch document in the history of the world to inhabit the category of satire. But personally, I’m not buying these pat explanations. I think that the finished Planescape: Torment that we know is a blending of the adolescent and the rarefied, the commercial and the idealistic. It’s not that the higher concepts and grander themes don’t exist. It’s just that they’re embedded into a licensed and branded Dungeons & Dragons computer game — made by, let’s face it, a bunch of nerdy twenty-something American men with the same predilections and blind spots as their peers elsewhere in the industry. We probably...