Recaps

Lin Lixin visited Activision and found its developers debating a modern kitchen simulation based on Pressure Cooker. He praised the direction but put the idea on hold, then told David he had another project for him.

• Lin Lixin visited GameNova's first-party studio campus and asked Mike Morhaime whether Bullfrog had been causing trouble.
• Lin Lixin considered expanding GameNova's development space and dreamed of building an island studio cluster.
• Lin Lixin entered Activision's office and found David and Gary Kitchen arguing over a proposed kitchen simulation based on Pressure Cooker.
• Lin Lixin recognized the game's potential and said kitchen simulations could help fill the gap while GameNova's next-generation hardware was in development.
• Lin Lixin told the developers he would lead the kitchen simulation project later and said he needed David for another project.

Lin Lixin discussed GameNova’s virtual pet project with David, whose experience creating Little Computer People made him the ideal developer to lead it. David proposed using an 8-bit processor with Athena’s architecture and bank switching, and they headed to headquarters to pick up Will and work on upcoming projects.

• Lin Lixin explained that GameNova wanted to adapt Little Computer People into a small virtual pet device aimed at women and children, with simple minigames.
• David questioned whether the project needed a new 16-bit processor and suggested using an 8-bit chip with bank switching to expand its memory.
• Lin Lixin recognized that Athena’s architecture could support the project’s features on 8-bit hardware and praised David’s hardware knowledge.
• David told Lin Lixin that he had worked at National Semiconductor before leaving to make games for Atari.
• Lin Lixin and David agreed to stop at GameNova headquarters to pick up Will for the next-generation projects.

Lin Lixin, Vivian, and David reworked the virtual pet’s hardware design to balance compactness, cost, and game features. Vivian proposed printing static icons directly onto the LCD glass, and Lin decided to prepare the device for a summer showcase.

• Vivian suggested using a simpler MCU, but Lin Lixin said it could not support the minigames and features he wanted.
• David proposed a compromise between an SoC and an MCU, and Lin realized the team should finalize gameplay before designing the hardware.
• Lin identified the graphics chip as difficult to remove, and Vivian suggested printing stationary images onto the LCD glass so the screen only needed to draw simple indicators.
• Lin, David, and Will recognized that Vivian’s idea could improve the display while reducing power use and graphics-processing costs.
• Lin told the team to finish the device before June, then called Sam and said GameNova would attend the summer CES show.

Lin Lixin and Vivian arrived in Las Vegas for the Summer CES, where GameNova planned to unveil a new gadget. As the show opened and Fukuhara Kyoko explored the crowded booths, she heard a huge cheer coming from GameNova’s exhibit.

• Lin Lixin and Vivian stayed in a luxurious MGM Mirage suite after Wynn arranged their accommodation.
• Lin Lixin and Vivian reminisced about GameNova’s earlier CES appearance and discussed the possibility of holding a video game festival of their own.
• CES opened to a massive crowd, and Fukuhara Kyoko entered the exhibition determined to find something worthwhile.
• Kyoko explored Toshiba’s laptop display and Panasonic’s consumer electronics before a sudden cheer drew her attention.
• Kyoko saw GameNova’s logo and a new PokéPal brand logo above a large open space.

At CES, Vivian introduced GameNova’s new PokéPal, an egg-shaped Pokémon companion device designed for people who could not keep pets. The reveal showcased its small LCD screen and blue LED backlighting, while its purpose and features remained to be demonstrated.

• Fukuhara Kyoko pushed through the crowd at GameNova’s CES display, expecting to find a new Pokémon game.
• Vivian presented a Pokémon Egg in a glass case and asked the audience to remember their first pet.
• Television clips showed pets and a girl unable to adopt a dog because her household could not keep one, prompting Kyoko to relate the situation to life in Tokyo.
• Vivian said everyone could now have a companion, then turned the Egg around to reveal the PokéPal screen and three buttons.
• A camera showed the device on a nearby CRT television as the presentation highlighted its LCD screen and blue LED backlighting.

Vivian demonstrated GameNova’s PokéPal, an inexpensive electronic pet packed with care features, minigames, customization, and infrared trading. She revealed its $14.99 price and many designs, leaving Kyoko determined to secure regional distribution rights.

• Vivian explained how a blue LED and yellow phosphor could produce clean white light, and reflected on the PokéPal’s technological significance.
• Vivian switched on the PokéPal, hatched a bouncing egg into a dumpling-like pet, and named it Lin.
• Vivian showed how to bathe and clean Little Lin, then played minigames to earn money for food and toys.
• Vivian demonstrated the PokéPal’s shopping options and used infrared communication to transfer a running wheel from another device.
• Vivian revealed the $14.99 price and an assortment of PokéPal designs, and Kyoko decided she wanted regional distribution rights.

PokéPal’s low price, long battery life, and built-in games drove a strong first day of sales, while Lin Lixin prepared to leave for Los Angeles and entrusted Sam with leading two fighting-game projects. Sam doubted he could manage without Lin overseeing GameNova.

• PokéPal began a buying frenzy, with its $15 price and months-long battery life helping it stand out from other portable devices.
• Sam celebrated PokéPal’s first-day sales of 91,000 units, and Lin Lixin told him that the Japanese launch was next.
• Lin Lixin said he would be away in Los Angeles to establish Lucas Arts and oversee Activision and other Southern California studios.
• Lin Lixin assigned Sam to lead Street Fighter II and The King of Fighters 91 as transitional projects for GameNova.
• Sam was surprised by the responsibility and admitted he was unsure he could handle it without Lin.

Lin Lixin told Sam he trusted him to oversee GameNova, valuing his reliability, people skills, and love of games over technical brilliance. After leaving Sam in charge, Lin Lixin drove to Skywalker Ranch to meet Lucas.

• Lin Lixin explained that Sam was the best choice to supervise GameNova because he knew how to bring people together and find the right experts for problems.
• Lin Lixin praised Sam's enduring passion for video games and left GameNova the next morning, leaving Sam watching him go.
• Lin Lixin drove north across the Golden Gate Bridge to Skywalker Ranch in Marin County.
• A security guard recognized Lin Lixin, confirmed that Lucas had arrived the previous day, and let him into the estate.
• Lin Lixin followed a staff member's directions to the underground garage and took the elevator to the main building.

Lin Lixin pitched three possible games to Lucas Arts, and Lucas chose a 3D project for the new studio's first release. Lin proposed Return of the Obra Dinn, explaining that its detailed ship would be built for weak hardware using 1-bit black-and-white visuals and prebaked lighting.

• Lin Lixin offered Infocom and Lucas three possible game directions, but Lucas chose to hear more about the 3D project.
• Lin Lixin named the project Return of the Obra Dinn and described a game about investigating a ship and uncovering its crew's identities and fates.
• Lucas questioned whether the NX could render a detailed sailing ship, and Lin Lixin agreed that its hardware would struggle.
• Lin Lixin proposed abandoning color and real-time lighting in favor of 1-bit black-and-white visuals and prebaked scene lighting.

Lin Lixin explained to Lucas and Infocom’s developers why Return of the Obra Dinn used black-and-white graphics: its deduction gameplay relied on players observing distinctive features and imagining what the deliberately incomplete visuals left out. He proposed Gestalt psychology as a design direction for Infocom, leaving the team with a new framework for the game.

• Lin Lixin asked Infocom’s developers why early text adventures had avoided graphics, and Tim explained that text and imagination had served them better than crude visuals.
• Lin Lixin described Return of the Obra Dinn as a deduction game in which players observed events that had already happened rather than intervening in them.
• Lucas questioned whether reduced graphical detail would deprive players of clues, but Tim argued that removing visual noise would make useful features easier to notice.
• Lin Lixin explained that monochrome, feature-based design drew on his discussions with Yoshiyuki Sadamoto and on the way people remembered distinctive traits rather than complete images.
• Lin Lixin introduced Gestalt psychology’s principle of closure and proposed using players’ imaginations as part of the game’s rendering and reasoning, establishing a new direction for Infocom.

Lin Lixin explored the Skywalker Ranch library with Lucas to find historical maritime records for their deduction game about a ship and its sixty passengers. He found an incomplete investigation report about a vanished merchant ship, gathering research materials as the team continued developing the game.

• Lin Lixin and Lucas visited the Skywalker Ranch library, where Lucas showed him its research collections and film archives.
• Lin Lixin found books and records about the Age of Sail, including naval histories, East India Company materials, and trade documents.
• Lin Lixin discovered an old investigation report about a merchant ship that had vanished at sea and returned with its crew dead.
• Lin Lixin read the report's account of food shortages, violence, and the captain's suicide, then complained that the investigation ended without resolving key questions.
• Lucas explained that historical investigations had limited methods, and Lin Lixin gathered maritime research materials before they left the library.
• Lin Lixin connected the report's mystery-driven premise to the research that had inspired Return of the Obra Dinn.

Lin Lixin explained to Lucas how Return of the Obra Dinn used frozen scenes and Gestalt closure to let players investigate and reinterpret clues instead of watching cutscenes. After the crew mapped all sixty sailors and brought in maritime researchers, the developers struggled with structuring the story, and Lin proposed combinatorial storytelling.

• Lin Lixin staged a frozen murder scene and showed Lucas how its incomplete details could support multiple interpretations as players found more clues.
• Lucas recognized that frozen scenes suited close investigation, reduced production costs, and made deduction satisfying without relying on hardware limitations.
• Lucas recalled how he had recruited Spielberg by presenting Indiana Jones as part of a larger planned series, and wondered what else Lin Lixin had already envisioned.
• The crew finished mapping all sixty sailors, and Lucas brought in Age of Sail researchers to help with development.
• Adventure game developers questioned how to tell a story through freeze-frame scenes without overwhelming players with information.
• Lin Lixin rejected both linear and branching narrative structures and proposed combinatorial, fragmented storytelling.

Lin Lixin explained how fragmented storytelling and a death-revisiting pocket watch would shape the game’s investigation narrative. Lucas brought him to Skywalker Sound, where they began gathering recordings to create realistic sounds of waves against a wooden ship.

• Lin Lixin described how players could piece together a story from scattered clues and become its narrators.
• Lin Lixin proposed that the player be an insurance investigator who used a pocket watch called [memento mortem] to witness the moment a corpse died.
• Lin Lixin suggested hiring Hans Zimmer to compose the music, but Lucas offered to use Skywalker Sound’s resources instead.
• Lin Lixin and Lucas visited Skywalker Sound at Skywalker Ranch, where Lucas showed him its large recording studio and sound library.
• An engineer searched the archive for recordings of waves and wooden structures that could be mixed to sound like a wooden merchant ship at sea.

Li An, a financially struggling aspiring director visiting Hollywood, bought Lucas Arts’ mysterious black-and-white game Return of the Obra Dinn and began playing it. The chapter left him at the opening of the game, hearing a boatman’s voice as the unseen ship awaited investigation.

• GameNova released Lucas Arts’ Return of the Obra Dinn for the NX, presenting it as a first-person 3D puzzle game about a merchant ship that disappeared at sea.
• Li An discovered the game in a California store and was intrigued by its unusual cover and Lucas Arts credit, despite its price and sparse description.
• Li An bought an NX and the game, then set it up in his hotel room and started playing.
• The game introduced an 1807 insurance investigation into the Obra Dinn through documents and a dispatch order directing the protagonist to assess the ship at Falmouth.
• Li An heard waves and a boatman say that the company had sent him to ferry the protagonist to the Obra Dinn, while the game still showed no scene.

Li An explored the Obra Dinn, discovered the investigation journal and pocket watch, and used the watch to revisit the moment a corpse died. The flashback revealed the captain shooting one of two men who had threatened to break into his cabin, leaving Li An to investigate the ship’s deaths.

• Li An found that only the Obra Dinn’s deck was accessible and returned to the corpse outside the captain’s cabin.
• The boatman told Li An to take the heavy suitcase, which contained an investigation journal and a pocket watch called Memento Mortem.
• Li An skimmed the journal’s extensive crew lists, ship diagrams, and other reference material, then returned to the corpse.
• Li An used the pocket watch and entered a dark flashback filled with voices arguing outside the captain’s cabin.
• The captain fired his gun, and Li An recognized the man struck in the neck as the corpse he had found on deck.

Li An played through Return of the Obra Dinn, learning how its death scenes, chronicle, and gradually unlocked bodies guided his investigation. After completing the book, he was left inspired by the game’s interactive storytelling and resolved to try fragmented storytelling in a future film.

• Li An examined the restricted flashback scene and realized its staging also improved performance by limiting the rendered environment.
• The chronicle identified the dead man as an unknown person and asked Li An to determine who he was and how he died; he concluded the captain had shot a senior crew member.
• Li An returned to the ship and found the captain’s cabin open, with two bodies inside as his next investigative targets.
• After investigating until daylight, Li An completed the chronicle and established everyone’s fate.
• Li An praised Return of the Obra Dinn’s storytelling and decided to experiment with fragmented, seafaring storytelling in a film.

After Return to the Obra Dinn became a critically acclaimed sales success, Lin Lixin left Skywalker Ranch and gathered Activision’s developers in Los Angeles to begin a kitchen simulation project. He chose Gary Kitchen to lead it, but had not yet revealed what game they would make.

• Return to the Obra Dinn earned numerous award nominations and sold more than 500,000 copies in half a month.
• Lucas described the game as the first installment of a trilogy but declined to reveal details about the next two titles.
• Lin Lixin left Skywalker Ranch and traveled to his industrial park in Los Angeles to start Activision’s Pressure Cooker project.
• Lin asked the developers how many could write NovaScript, and several raised their hands.
• Lin appointed Gary Kitchen to lead the project, then considered possible kitchen simulation games, including Pizza Tycoon.

Lin Lixin explained that the team should build a browser game around Pressure Cooker’s core gameplay loop instead of adding disconnected business-management systems. He proposed interactive pizza preparation that gives players immediate feedback and improves customer ratings, leaving the team impressed by how the mechanic united their competing design goals.

• Lin Lixin announced that the team would make a browser game using the NS interpreter and explained how browser games had developed from Java Applet through Flash to HTML5.
• David worried that a browser game would struggle to deliver enough content while accommodating weak hardware and slow connections.
• Lin Lixin asked the team to identify the most enjoyable moments in Pressure Cooker and defined its core loop as accepting an order, preparing food, and turning it in.
• When the team proposed branch expansion, business competition, loans, taxes, and stock trading, Lin Lixin rejected those systems as unrelated to the core loop.
• Lin Lixin proposed giving players feedback while preparing orders, such as scoring how neatly they placed salami, with high scores improving customer ratings and tips.
• The team recognized that Lin Lixin’s mechanic combined action-oriented gameplay with kitchen simulation while keeping the design focused and cohesive.

Lin Lixin helped the developers shape their pizza-shop game around a streamlined core loop, and they named the project Papa's Pizzeria while ordering lunch. As the team considered how to balance challenge and frustration, Lin proposed that failure itself could be fun.

• The developers expanded the core loop with shop decoration and other features as Lin Lixin guided their design discussion.
• Lin Lixin ordered one of every large pizza and wrote the project name, Papa's Pizzeria, on the planning board.
• Kitchen explained that a simple rating system could abstract the flavor and reward players for ordering, making, and submitting pizzas.
• David and Kitchen worried that the rating system could frustrate players as the game grew harder, and Lin Lixin said failure itself could be part of the fun.

Lin Lixin explained how exaggerated customer reactions could make failure entertaining in Papa's Pizzeria, then revealed plans to expand the game into a long-running series and build a browser-game portal. David and Kitchen saw the potential for Activision to shape the kitchen-simulation genre and control a major destination for browser games.

• Lin Lixin explained that customers’ exaggerated expressions could turn low-scoring pizzas into a source of comedy, and Kitchen laughed at the idea of players deliberately making terrible food.
• Lin Lixin cited Jacksmith as another game that made failure funny and criticized Blacksmith: Ignite the Forge for copying its mechanics while losing its theatrical reactions.
• After the pizzas arrived, Lin Lixin told David and Kitchen that Activision needed a long-running IP and proposed expanding Papa's Pizzeria into a series of kitchen-simulation games.
• Lin Lixin suggested forming an independent studio and creating a portal that collected browser games, and David recognized the portal’s potential as a major gaming storefront.

John Schnatter met with Lin Lixin and learned that GameNova wanted to partner with Papa John's on a pizza-shop simulation game and a broader marketing campaign. Lin proposed using GameNova's resources to help Papa John's grow while keeping John in control of its brand and operations.

• John Schnatter arrived at Activision's temporary conference room and found developers examining a Papa John's pizza for a new game called "Papa's Pizzeria."
• Lin Lixin praised Papa John's pizza and heard John eagerly offer to run GameNova's cafeteria.
• Lin clarified that he wanted a larger collaboration: GameNova was making a simulation game about running a pizza shop.
• Lin explained that Papa John's quality and independent ownership suited GameNova's plans, while GameNova could address the chain's limited funds, expansion, and brand recognition.
• Lin proposed a two-way partnership and cross-industry marketing campaign, promising not to interfere with Papa John's recipes or daily operations.

John Schnatter helped the Activision team refine Papa’s Pizzeria into a game centered on freely assembling pizzas, but the resulting assets seemed too large for a browser game. Lin Lixin showed them how asset reuse and vector graphics could drastically reduce the game’s file size.

• John Schnatter joined the project as a pizza studies consultant and helped settle the game’s core loop as taking orders, assembling, baking, and slicing pizzas.
• Kitchen and the team realized that the freely combinable toppings and other assets could make the browser game tens of megabytes in size, so they called Lin Lixin for help.
• Lin Lixin explained how asset reuse could reduce the amount of data needed, citing techniques used in Super Mario and PokéPal.
• David proposed building customers from reusable components, drawing on Tokimeki Memorial’s character system, while Beat Hazard’s audio compression offered another optimization method.
• Lin Lixin demonstrated vector graphics by drawing an onion ring and other toppings with only a few lines of code, showing that the files could be far smaller than image textures.

After Papa John's opened, Pauly followed the aroma of Margherita pizza and brought home a Papa's Pizza crossover meal for his daughter Connie. Connie recognized the promotional pizza and toy with excitement, while Pauly discovered that the new restaurant had drawn a large crowd.

• After Papa's Pizzeria was completed in a month, Pauly smelled a familiar aroma outside Luigi's coffee shop and learned that Papa John's had opened nearby.
• Pauly found a long line at Papa John's, where employees delivered pizza boxes to an arcade across the way.
• Pauly ordered a Margherita pizza, which the cashier identified as the GameNova crossover Papa's Pizza, and received a free toy.
• Pauly brought the pizza and toy home for Connie, who recognized the promotion, eagerly welcomed the meal, and asked for the toy.
• Pauly pulled the slightly squashed crossover toy from his pocket, and Connie cheered.

Pauly tried Papa's Pizzeria, a browser game, after Connie explained the collaboration, and was impressed by its character creation and visual design. He served his first customer with near-perfect results and asked Connie whether he could keep using the computer.

• Connie told Pauly that Papa's Pizzeria was a free GameNova collaboration with Papa John's, then guided him to the game's website.
• Pauly created a new save and customized a character to resemble himself, while Connie teased him about its appearance.
• Pauly began the game as a delivery worker asked by Papa Louie to look after the shop, then took Gerald's pizza order.
• Pauly spread the sausage evenly, baked and cut the pizza, and earned ratings of 100, 95, 100, and 99, along with tip money.
• Pauly asked Connie whether she still needed the computer.

Lin Lixin explained the attention economy to Nexus’s leaders and decided to monetize the growing service with embedded advertising. He left the meeting by proposing a platform rather than simply selling web ads to advertisers.

• Sam worried about Nexus’s rising maintenance costs as free email and Papa's Pizzeria drew more users and strained the network.
• Connor passed Sam a call from Lin Lixin, who returned to San Francisco and went straight to Nexus’s headquarters.
• Lin Lixin told the assembled Nexus leaders that the department would become GameNova’s most profitable.
• Lin Lixin explained that attention, not information, would become the internet’s scarce and valuable resource, and discussed the risks of the attention economy.
• Lin Lixin proposed embedded GG on web pages, then clarified that GameNova would build a platform rather than merely sell advertising space.