Knut Müller

Interview by Orb
October 2002

Knut Müller is the designer and independent developer of the game Rhem.

What went into your decision to make a classic point-and-click adventure game?

In September 1997 (I had bought my first computer some weeks before), I found on the monthly CD of the German computer journal MacMagazin a freeware graphic adventure, The Gate of Minerva, by Stephan Stoske. I was fascinated by this game. At that time I didn't know about Myst or any other computer game. I contacted Stephan Stoske, and he encouraged and helped me to create my own game. The classic point-and-click adventure has many advantages:

1. The prerendered images have a good quality, sometimes better than images in real-time 3D in panorama-based games (Exile);
2. The user doesn't need the newest computer or graphic card to play the game;
3. The maker doesn't need to buy an expensive game engine;
4. It's possible to create a virtual, picture-based world as a solo developer.

Is Rhem the first game you have designed?

Yes, Rhem is my first game. I have created before only some small studies to test elements of Rhem.

Are there any other projects that you have worked on? What is your background as a designer?

I studied visual arts (painting, graphics) at the art college in Leipzig/Germany. Afterward I became interested in music, being self-taught as a composer and studying electronic music at the music college in Dresden/Germany. During my study of electronic music, I became familiar with the computer. Now I work in three ways: as an artist making pictures, as a composer writing music (for string quartets, piano etc.), and as a computer artist designing my own computer games. In the winter I'll start designing Rhem 2—The Sequel.

What came first in designing Rhem, the story or the environment?

At first came the idea of the environment, a world with many paths, bridges, strange buildings and hidden doors. It was necessary for me to create a independent and logical atmosphere, a world with its own rules. The story of Rhem, the brothers Kales and Zetais, the letter, etc., developed itself during the design process. The story came later but isn't unimportant.

What influenced you creatively in the style and look of Rhem?

In my mind was the idea of Rhem, and I had to find the best solution to bring it to life and not confusing to visitors. I've examined some other adventure games. So I figured out what (in my opinion) is the best interface and what's the best style and look for Rhem. I designed Rhem without extraneous elements on the screen, with a 4x90 degree image arrangement, with the first-person view and with the match of visual-virtual situation and the "what you can do."

For example, the 4x90 degree image arrangement—in Myst and Riven there is often the following situation: You turn to the right (on the screen, a new image pushes the old from right to left), but the images do not fit. You see in the pushing process double objects and breaks.

An example of the match of visual-virtual situation and the "what you can do"—in some adventure games you find situations like this: You stay on a path beside a meadow or other passable area, but you can't go on it. There is no railing, no rift, no water, but still you can't go. In Rhem I wanted to prevent this breaking asunder of visual situation and the possibilities of your own action.

It was also important for me to avoid cinema elements, which contradict the idea of interactivity. For example, in the intro of Myst 3: Exile, as Saavedro throws the fireball, the camera (the view of the gamer) moves around. The gamer doesn't turn, but the camera moves. This kind of moments contradicts (in my opinion) the idea of an active gamer.

How long did it take to make Rhem?

I've worked four years in designing Rhem.

How did the design process unfold?

1. First draft of the game (basic ideas)
2. Exact blueprint with all buildings, pathways, and puzzles.
3. Designing the 3D world.
4. Designing the textures.
4. Rendering all possible views and movies.
5. Revising all images.
6. Designing the basics of the programming structure (authoring tool).
7. Designing the sounds.
8. Assembling images, sounds and puzzles in the authoring tool.
9. Test, test, test.

In reality it's a very complex process of interweaving and overlap.

Where did you get your ideas for the visuals in the game?

There are some memories of old industrial building in my hometown, Leipzig. Some visuals developed during the making of the game. The landscape of Rhem reminds me of a landscape I have seen in a book about Australia.

What was your reasoning in not including a soundtrack in Rhem?

There is no music in the game, only environmental sounds. In my opinion, music brings an element of cinema, of movie in the game. For example: You enter a room and the music begins—that's cinema. Today you listen everywhere to music, at the railway station, in the supermarket, in the car. From this point of view, Rhem is not a continuation of usual reality.

How many people were involved in making Rhem?

Principally I have done most things alone. But some friends helped me in translations, designing the website, making tests ... (thanks to all).

Rhem was made on a Mac. What was your decision to use a Mac to create your game based on?

I've been a Mac user since 1997. I have no problems, and the work goes on. The Mac is like a friend.

What tools did you use in the creation of Rhem, and why did you choose these?

For designing the 3D world, I used Bryce3D. It's a tool with some restrictions, but I can work very well with Bryce. For assembling the images and sounds and to create the logical structure, I used Macromedia Director. It's a very powerful tool.

Are there any plans for a sequel to Rhem, or another game from you?

I'm looking forward to designing a sequel to Rhem.

What kind of games do you yourself like to play? Which game is your favorite?

I like to play adventure games. For me it's pleasure and studies at the same time. My favorites after many years are Myst and Riven.