The Thing's Development History: How the Cult Horror Game Was Created

Table of Contents:

• Background
• Getting Started
• Developing New Mechanics
• Casting The Thing
• Release, Reception, and Criticism
• The Fate of the Sequel
• Should We Expect a Franchise Revival?

When developing a game based on a film, it's crucial not only to follow the original's canon but also to properly integrate the gameplay. Successful projects from the early 2000s, such as Star Wars: Knights of the Old Republic (2003) and Spider-Man: The Movie (2002), confirm this. However, the overall quality of film-based games during that period often left much to be desired. Prime examples include Planet of the Apes (2001), Charlie's Angels (2003), and Blade 2 (2002), which received negative or mixed reviews from critics. It's important to learn from the past to create quality adaptations that not only capture the spirit of the original but also offer engaging gameplay.

This survival horror game about polar explorers on an Antarctic base inhabited by alien creatures has become one of the few successful projects inspired by films. This game stands out among other representatives of the survival horror genre. In August, The Thing celebrated its 20th anniversary, and in honor of this event, we look back at the history of its development and its influence on the genre.

Background

The film "The Thing," released in 1982 under the direction of John Carpenter, was initially a box office failure. One of the main reasons for its failure was the unfortunate release date: just two weeks after the premiere of "The Thing," Steven Spielberg's "E.T." was released. Both films dealt with the theme of human interaction with extraterrestrial beings, but Spielberg's approach was significantly more optimistic and lighthearted, which attracted audiences and ensured his film's success.

Amid political and economic hardship, American society desperately needed touching stories. The Thing was the complete opposite of the heartwarming E.T.: it was replete with bloody and sometimes disgusting scenes, and its narrative was saturated with depression and nihilism. As a result, the film proved too difficult for audiences to digest.

Video distribution and television played a key role in creating a new audience for The Thing. Over time, perceptions of this work have changed. The hyperrealism and innovative special effects used to create the images of extraterrestrial beings became a true source of inspiration for many directors and game designers. John Carpenter's film became a classic and a benchmark for the horror genre, leaving a noticeable mark on the film industry for many years.

The theme of mistrust in teammates explored in The Thing continues not only in the game of the same name, but also in the popular game Among Us, released more than 15 years later. This concept of collaboration and betrayal between participants creates a unique tension, forcing players to constantly question each other's intentions. Thus, the legacy of The Thing lives on, taking on new forms in modern games, a testament to the enduring appeal of mistrust and paranoia.

In 2000, Universal decided to revive its cult film with a new interpretation. The ending of the original The Thing left many questions about the fate of the surviving characters, which became an excellent basis for creating a sequel in video game format. This game not only deepened the story but also offered players a unique opportunity to immerse themselves in a world full of tension and uncertainty, while maintaining the spirit of the original work.

To realize the idea, Universal turned to Computer Artworks, a company founded in 1993 by renowned artist William Latham. Initially, the company developed interactive applications, including Organic Art, and also created animations and covers for music artists. Later, Computer Artworks focused on game production and released its first project, Evolva. This action game, set in an alien setting and incorporating tactical elements, uses genetic engineering to enhance characters. This ambitious approach attracted the attention of Universal, opening new horizons in the gaming industry.

Universal representatives approached us with a proposal to present our vision for the project. For the pitch, we redesigned one of the levels of the game Evolva, creating an Antarctic station, in the center of which we placed a terrifying creature reminiscent of "something". This small change was enough to get the contract, recalls Andrew Curtis, lead designer of The Thing.

Getting Started

William Latham expressed his gratitude to Universal for the opportunity to implement his own ideas in the game. He noted that the developers were not given strict boundaries that had to be adhered to. The Computer Artworks team was given complete freedom during the development process, on the condition of creating a high-quality sequel that continues the storylines of the film’s finale. This approach allowed for the creation of a unique gaming experience that not only meets fan expectations but also develops the original story, which underlines the importance of creativity in the gaming industry.

To create the visual style and storyboards for the film, Latham turned to concept artist Paul Catling, who had previously worked on the Lara Croft: Tomb Raider project, and was also involved in significant Marvel and Harry Potter projects. The plot of The Thing was the result of discussions between Andrew Curtis and producer Chris Hadley, during which the developers carefully considered the development of the ending of The Thing. These creative decisions emphasized the project's uniqueness and atmosphere, making it more appealing to audiences.

The fate of the surviving heroes seemed predetermined, but the developers found an original way to develop the ending. In the first level, the player finds a single frozen body, creating an interesting connection to the film's ending. Instead of seeking help, the two main characters—Childs and MacReady—remain on the destroyed station, waiting to see which of them will transform into the alien creature. In the game, the body is identified as Childs', while MacReady's fate remains an unsolved mystery. This plot twist adds tension and intrigue, highlighting the incompleteness of their story and creating space for discussion among fans.

The Thing was developed on a more modern game engine that supported newer consoles like the PlayStation 2 and Xbox, compared to the technology used in Evolva. This made it possible to use larger storage media like DVDs. The development team hoped that the advantages of the new engine would allow them to create a more expansive and detailed game world, initially envisioning locations with numerous creatures. However, due to optimization issues, this ambitious idea had to be abandoned.

Diarmid Campbell, lead programmer on The Thing, spoke about the optimization issues the team faced. He noted that, having succumbed to the hype around gaming consoles, they mistakenly assumed that the hardware would cope with any requirements. During development, Michael Brathwaite, a programmer at Computer Artworks, conducted calculations that showed that three enemies per location should be enough. However, Andrew Curtis expressed his dissatisfaction with this decision. Optimizing games for consoles is a complex process that requires careful analysis and consideration of the hardware's technical capabilities.

Developing New Mechanics

In the 1990s and early 2000s, The Thing's gameplay set it apart from other games in the genre. Unlike many games of the time, where the protagonist fought enemies alone, Computer Artworks offered a new approach. They not only retained the action elements but also implemented a unique system of player interaction with NPCs, a true innovation for the gaming industry. This change made the game more multifaceted and interesting, introducing elements of strategy and tactics.

Supporting characters actively participated in battles alongside the protagonist, rather than remaining static dummies. The player had the ability to give them orders, distribute first aid kits and self-defense items, and monitor their physical and mental health. Caring for the team was an important part of the gameplay, but no action guaranteed that a teammate wouldn't fall victim to an alien entity or die in some other way. These elements added tension and depth to the interactions, making the experience more immersive and realistic.

At a time when squad management games were just beginning to gain popularity, the development of our fear and trust system, along with the infection mechanics, felt quite innovative. These ideas emerged during early discussions, when we watched the film together and began searching for unique solutions for our brand. We concluded that it was necessary to create a new element of artificial intelligence, one that hadn't been used in games before. This element was meant to convey the film's atmosphere, which is always uncertain: you never know who will end up as the alien monster.

The fear and trust system in the game context plays a key role in maintaining NPC morale. The environment is a key factor: prolonged observation of the dead bodies of comrades can cause them to become nervous and even have panic attacks, which, in turn, can lead to indiscriminate shooting or suicide attempts. To help their teammates, the protagonist can distribute weapons and ammunition to them and avoid actions that could aggravate the tense situation, such as targeting their allies. The level of trust directly affects the behavior of NPCs when following orders and assisting in battles with enemies. These aspects add realism to the gameplay, as NPCs behave like real people and experience understandable emotions, which increases the player's engagement with the game world.

In the early stages of The Thing's development, it was possible to save all NPCs who had escaped infection and continue with them to the end. Andrew Curtis later described this idea as naive. The infection system didn't work properly, which led to significant difficulties in managing the team interface and balancing the resources needed to support teammates. These issues impacted the overall gameplay and the perception of the mechanics of interaction with NPCs.

The team rethought the game's concept and implemented scripted infections that activated at certain stages regardless of other factors. This solution provided the ability to eliminate some NPCs, which helped circumvent technical limitations. However, Curtis later admitted that this move was a serious mistake.

Because of pre-scripted deaths, events sometimes unpredictably unfolded, which was confusing to players. For example, a teammate who had just successfully passed an infection test could suddenly transform into a monstrous tentacled creature. These unexpected plot twists created tension and heightened the atmosphere of uncertainty, making the gameplay more exciting.

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The game's infection system was originally planned as a simulation capable of generating different results with each playthrough. This could have significantly increased the project's replayability. However, the game was deeply tied to the plot and required strictly defined scenes in which characters were to become infected at specific points in time. As a result, the developers faced a conflict between these two concepts. They found a compromise by introducing interesting plot twists and new gameplay mechanics, but were unable to avoid some logical inconsistencies. Ironically, these shortcomings become apparent upon replaying the game, as noted by Diarmuid Campbell.

Casting The Thing

The studio invited professionals from film and television to voice the characters in The Thing. One of the most famous participants is William Bruce Davis, who played the legendary Cigarette Smoking Man from the TV series The X-Files, who voiced the main antagonist, Colonel Wheatley. The female voice of the automated security system in the game belongs to actress Kat Cressida, known for her work in the animated series Dexter's Laboratory and Gotham Stories, as well as in the games Epic Seven and The Wolf Among Us. This cast of actors gives the project a special atmosphere and depth, which makes it more appealing to players.

Some actors decided to get creative and sent Computer Artworks alternative versions of their lines in free interpretations. This unexpected decision initially surprised the developers. The soundtracks created by the actors were considered for inclusion as bonus material. However, unfortunately, due to limited disk space, they were not included in the final version of the game.

To create the character appearances in the game, Computer Artworks used edited photographs of the studio's employees. For example, Andrew Curtis served as the prototype for the medic Falchek, and Dr. Faraday was based on John Carpenter, who is not listed in the game's credits. Using real people as character models adds uniqueness and depth to the game, allowing players to better empathize with the characters and immerse themselves in the game world.

Release, Reception, and Criticism

The PC version of The Thing was released on August 20, 2002, and quickly gained popularity among players. The developers later adapted the game for Xbox and PlayStation 2 consoles, which allowed it to expand its audience. The Thing became known for its immersive atmosphere and innovative approach to gameplay, which made it a cult project in the world of video games.

Critics praised the horror, although they pointed out some shortcomings. IGN's reviewer highlighted the atmosphere of despair and the fear/trust system as strengths of the game, giving it depth and realism. However, he noted that the imprecise controls in the PC version make shooting difficult, which can distract players from the overall experience.

GameSpot praised the masterful execution of the lighting and sound effects in the game, and also noted the detailed textures. However, critics pointed out that the game is more reminiscent of the run-and-gun genre than a traditional horror game.

Computer Gaming World magazine rated The Thing 3 stars, citing issues with the placement of save points, a limited field of view, and scripted NPC infections that disrupt the game's logic. These shortcomings were also mentioned by Andrew Curtis in his review. Despite an interesting story and atmosphere, these aspects significantly affect the gameplay and overall perception of the project.

Despite some shortcomings, The Thing took first place in sales charts in the UK and Germany, reaching the mark of 1 million copies sold. Moreover, the project was awarded the Game Innovation Spotlight award at the GDC 2003 conference, which underlines its influence and significance in the video game industry.

The success of the game, combined with an ambiguous ending, where the missing MacReady unexpectedly returned in the final frames, hinted at the possibility of a sequel. However, The Thing 2 was never released. This lack of a sequel leaves fans wondering what might happen next in the story.

The fate of the sequel

Computer Artworks began developing concepts for the second part immediately After the release of the first game, The Thing 2 is planned to see MacReady and the first game's protagonist, Blake, team up to fight alien creatures against a backdrop of oil rigs and refineries.

Artist Ron Ashtiani recently unveiled concept art for the sequel in his ArtStation portfolio, including promotional art, environment and creature designs, and a new mutation concept called Burstout. This mutation type offers several variations, in which the infected's bodies rupture, forming a terrifying fusion of human limbs, tentacles, and ragged, fanged mouths. In 2002, such visual effects looked truly ambitious and were a significant step forward in the world of concept art.

Development of The Thing 2, unfortunately, did not advance beyond the concept stage. In 2003, fans of the series were shocked by the news that Computer Artworks studio closed and all its projects were canceled. Andrew Curtis later explained that the company was overwhelmed: in addition to The Thing 2, the team was busy with other projects, including Alone in the Dark: The Abductions. This decision was a significant blow to fans who were hoping for a sequel to the cult game.

After finishing work on The Thing, we struggled to find new contracts. Business was slow, and when opportunities arose, we agreed to several projects that perhaps shouldn't have been taken on. This is a classic situation in the industry. In 2003, several British studios went bankrupt. With the exception of large gaming companies, developers effectively became service providers. While directors wield significant influence in the film industry, in the gaming industry artistic control lies with the publisher, who can grant or withdraw it from developers at their own discretion. This leads to instability in studios and impacts the quality of games.

Should we expect a franchise revival?

Twenty years later, horror fans continue to look back with nostalgia on The Thing, which maintains high ratings and popularity. The film stands out for its originality and represents a successful sequel to the cult classic in video game format. Despite the developers' uncertainty about the implementation of their ideas, The Thing remains significant in the world of horror games.

Modern technologies could significantly change the approach to survival in Antarctica, home to alien creatures. One can easily imagine a sequel set in an open or semi-open world, using a procedural infection algorithm and hyper-realistic graphics. The possibilities for imagination in this area are limitless. Creating a unique gaming experience based on a combination of realistic settings and science fiction elements opens new horizons for developers and players. Visual effects and environmental mechanics can increase immersion and make the game truly immersive.

Development of a new game based on The Thing is possible only with the consent of the copyright holder, and there is currently no official news about it, although rumors of a new film continue to circulate. In light of the current trend of updating classic games, it is possible that the story of MacReady and Blake is not yet complete. Perhaps soon we will see a new part that will attract the attention of both old fans and new players.