‘So when I see a bit of technology, I'm trying to think of an idea.” “I'm driven by technology first and foremost,” he said. Alongside the studio behind Carmageddon, Ewing became enamoured by the game engine that powered the controversial vehicular combat franchise. Traffic started as a consulting company, working with Sony and other studios on their games and projects. We can make these new types of entertainment that aren’t based on mushrooms or orcs.”Īfter a stint in Los Angeles working for a Hollywood talent agency, where he was “for some bizarre reason” entrusted by Rockstar to sell the film rights to Grand Theft Auto, Ewing returned to Scotland with his “tail between his legs”, looking for a new challenge. “We can make games for adults, we can make games with adult themes. “There was a kind of explosion, a sort of liberation we all had at the time,” Ewing said. The games industry was moving that way anyway. The experience of developing State of Emergency, aside from being a crash course in manufactured controversy, gave Ewing ideas on how history, politics and current affairs “could be woven into the idea of a video game”. “The game ended up being described as if we were inspired by the riots, even though we were two years into development at that stage,” Ewing said. During the development of the game, anti-globalisation protests in Seattle during a 1999 World Trade Organisation ministerial conference turned violent. State of Emergency, published by Rockstar Games, gave Ewing his first taste of controversy.
To this day, fans still ask him for a version that gives players the simple pleasure of taking a shot from the knoll. Players took the role of heavily-armed rioters seeking to overthrow their corporate overlords and restore freedom to the country.
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He designed a game for PC and consoles, State of Emergency, which depicted an economically exhausted America under the thumb of an authoritarian megacorp named the American Trade Organisation. With a background working on documentaries for Channel 4 in the UK, Ewing entered Dundee’s bustling games industry with a company named VIS Entertainment.
JFK Reloaded offered the ability to tweak the in-game physics to a cartoonish degree, presenting the tantalising opportunity to turn the sombre events of November 22 into bloody slapstick comedy, complete with a “Chaos Meter” tracking how comically ahistorical the simulation was getting.
It’s not entirely as self-serious as it sounds. Any deviation from the official record of events - like by shooting First Lady Jackie Kennedy, or one of the other cars in the motorcade - would incur a points penalty. To maximise their score, the player’s first shot had to miss its target entirely, the second had to pass through Kennedy’s neck and strike Texas Governor John Connally in the chest, and the third had to fatally wound the President’s head.
Kennedy’s assassination, the “docu-game” allowed players to recreate Lee Harvey Oswald’s three gunshots from the window of the Book Depository in Dallas and would ultimately rate them on how closely their actions and movements cohered with the official story as laid out in the Warren Commission’s report and famously captured in the Zapruder film. Released on the 41st anniversary of President John F.
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