Game

The making of Theme Hospital, the legendary sim that paved the way for Two Point Hospital

Check out more retro features in Retro Gamer Magazine

Mark and Gary were making so much noise that the surgeon ordered, “Get those idiots out.” But they had seen enough now. “I remember watching a spine surgery one morning which was pretty bad and then our assigned guide said, ‘OK, we can go to the morgue after dinner if you want,'” Gary says, grimacing in memory. . “That was it for us, we had to give this game a new angle.”

“Right now, we’re starting to think we shouldn’t be too realistic,” Mark continues. “While that was our main goal, Gary thought we had to invent the diseases, so we told the whole studio and the whole team about it and we voted. I think treating a lot of diseases is scary and scary , and in Looking Back, it was the right idea. Instead, we started imagining made-up diseases.

The team didn’t want to get political (“There was such a feeling that you had the NHS and they did a terrible job, it still is, and it probably always will be,” says Mark.) To make the difficult game.

But a few months later, James was hired by Bullfrog. He shows up to find Mark and Gary in the early stages of the theme hospital. But for graphic designer Gary, it wasn’t quite what he had planned. After leaving Bullfrog to work for The Bitmap Brothers, he thought he would join the job at Dungeon Keeper, believing Theme Park would not be the success he had.

Mark’s job was to lead the project, although he was relatively new to making original games, having previously run a department that converted Bullfrog games to other formats. Peter wasn’t involved at all – “he was stuffed with the Dungeon Keeper, which sounded really good”, says Gary – but the ideas flowed. “We had planned to make the game in four different time zones,” says Gary, an idea that will require major processing later.

Under respiratory assistance

Mark and Gary decided the best approach was to remove the real feel of the graphics so that they were deliberately cartoonish. The game has also distanced itself from the NHS model. Theme Hospital was a game where profit was important and players had to treat it like a business. A successful actor can move up the ranks and work at a larger, potentially more profitable hospital (each named after a famous computer from various movies, TV shows, or comics). Either way, they would build a hospital from the ground up, specifying how the building would look and who works there, so that patients would be treated or discharged at the whim – and training – of doctors vetted by the player.

“A lot of ideas have come and gone,” says Mark. “We had a good idea of ​​what we wanted to do with the game and that helped make it the kind of game I enjoyed playing, but the important thing with games like Theme Hospital and Theme Park is that “It’s not about how a hospital is, a hospital, a theme park or a business. It’s about how people think they govern themselves.”

Ironically, working from offices next to the Royal Surrey County Hospital, the small team started with some preconceived notions about the medical process. People assumed he first appeared at a GP. “The GP kind of makes a guess, maybe sends you for an X-ray or blood tests and things like that and then you come back to see the GP,” says Mark. “So the flow of what the patients were doing was kind of that we understood what they were doing. The reality could have been very different, but it was more important to consider what a man or woman on the street could do. expect.”

To make life easier, the team took witty inspiration from the theme park and onboarded a lot of borrowed code. An editor that Peter put together to make animation easier was built by Mark, who called it the Complex Engine. The Sprite drawer was pretty much the same. In fact, the team at Tema Hospital has made great strides in their approach to sprites by cleverly combining them. For example, if you had a doctor, a chair, and a table as three sprites, and the doctor had to sit on the chair, the game would see the doctor walking to the entry point of the table. The engine will then combine the doctor and the chair into a single sprite, which will then be animated. It made life easier for programmers and artists and streamlined the game’s workflow, but the player wouldn’t be any smarter about what was going on behind the scenes.

Most notable was the establishment of rules. Players can decide how the decision-making process will go. “If you are 75% sure of the nature of the disease, you can ensure that the treatment continues, otherwise the player must make a decision,” says Mark. “If you don’t want to be bothered by that stuff, you can edit it.” Likewise, the player had to decide on the level of spending. “The idea was that there’s so much you can do without help,” says Mark.

The game also threw curveballs. “A person with an extremely swollen head may or may not have swollen head disease,” says Mark. “The bulging head treatment might not have worked because the diagnosis was a bad tooth. Suspending disbelief allows players to decide whether to risk a cure or send a patient home. It added a nice dimension gambling.”

To achieve all of this, one would expect the team to hold a large number of meetings, but given the small size of the studio at the time, there were few formal meetings. Most meetings took place around the desks of artists and programmers, and the coexistence of artists and programmers was new to Bullfrog. Traditionally, he had separated them at opposite ends of the room, but bringing the teams together made the monitoring process much easier.

James’ role was to continue to instill a sense of fun into the game. “I wrote all the text, found illnesses, and had fun while I was doing it,” he says. “I remember having to hire a cleaner and go to the toilet. If you don’t, people will poo on the floor. I remember writing a line to the councilor reminding you to provide a toilet saying that the people had taken the turtle’s head. . I think I got it from Viz, but it briefly became a Bullfrog catchphrase.”

Signs of success

Gambling was mainly brought to the fore by invented diseases. There would be a disease called Elvis Impersonator, but EA’s legal team told the team they couldn’t use Elvis’ name or likeness because Elvis’ property had the rights. Thus, it was renamed the King’s Complex. “We had other things that we just couldn’t do without,” says Mark. “The animal magnetism that people came with attached to them with a group of small animals like cats or dogs had to be cut – the idea was to create a machine that would lift the animals. But I loved the cure for the bulging head disease, especially its treatment – pop it and blow it up again. The animation, the head explosions and the doctor’s head with balloons. It was like shaking.”

In terms of workload, James admits it’s actually quite small. But it gave him time to think and come up with some crazy ideas. He also took suggestions from the ship. “There were also celebrities, and I made them up, but someone – I think a coder named Matt Chilton – had put placeholder names for me to fill in. I hired a few because I loved them, and one of them was Aung Sang Soo Kyi, the Burmese opposition leader in exile at the time.

Another discontinued feature was a screen that allowed players to mix chemicals (blue, red, and green) and apply them to different diseases. “It was a great idea and a great screen, but it didn’t render completely and it didn’t work well for the rest of the game, it felt like a really bad add-on,” says Mark. Multiplayer didn’t make the initial release and had to be uploaded as a later patch. This infuriated Mark, who kicked himself for not realizing earlier that the multiplayer mode was full of holes and incredibly buggy. If they had tried to fix them the game would have slipped, so the decision was to leave without him.

But time wasn’t the only thing the developer was concerned about – he was worried about making the game too inaccessible. The Hospital theme was complex, the player could modify most of the game through a menu system. Players could decide which doctors they wanted based on their budget and needs, and they had to prioritize care. Staff can tire easily and need breaks. It might seem like an easy job. “Most of my work has gone into simplifying the game,” says tester Jon Rennie. “Mark and Peter were really keen on helping players get straight into the game without extended practice. We kept the advisor speech bubble, but used tabbed alerts to start putting pressure on players. We then placed these tabs as icons above patients’ heads to make it as visual as possible, we used it.

In early versions of the game, row signs were full screen, making it difficult to see where people were in the hospital. “Making this a drop-down version that lets you drag and drop patients and doctors was a big deal, but it was worth it,” adds Jon. “The game ran on complex stats and triggers unlike some theme parks which had to be balanced by replaying levels to get it right.”

As the game settled down, it began to get more and more internal attention as people at the studio actively played it. Many liked the voiceover of Rebecca Green, then girlfriend of programmer Andy Coglan. “He was a budding voice actor,” James explains. “We took him in just to say the lines. He did a great job.”

And yet the game was supposed to be lighthearted but some people lost their sense of humor even before the game was released. Mark was asked to appear on a local radio station as NHS bosses complained about the game . “They said we shouldn’t deal with things like that,” he says. “They said it was unfair to make fun of hospital management and staff. But they hadn’t played the game. If they were, they would see that it said: ‘Listen, it’s hard to run a hospital, but if you think you can run it, try this’ . decision not to [using] mean real diseases [we] they weren’t in the realm of pop among health professionals. ”

The negative publicity didn’t hurt. To the surprise of EA and Bullfrog – but less so for those who worked there – the game was a huge success. It peaked at number one and was consistently in the top five on the budget charts thereafter. “It was selling all the time,” says Mark, of a game that eventually sold 4 million copies. “It was a good thing and it made everything better so it didn’t fail. There was no need to revive him.”

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The making of Theme Hospital, the legendary sim that paved the way for Two Point Hospital

Read more great retro features in Retro Gamer magazine

Mark and Gary were making so much noise that the surgeon ordered: “Get those bloody idiots out”. By this time, though, they had seen enough. “I remember we watched a spinal operation one morning which was bad enough, then the person who had been assigned as our guide said ‘alright, after lunch we can pop down to the morgue if you like’,” says Gary wincing at the memory. “That was it for us, we needed to give this game a new angle.”
“It was around this time that we started to believe we shouldn’t be too realistic,” continues Mark. “Although that was our original aim, Gary felt we should have made up diseases so we talked about it with the whole studio and the team and we had a vote. I guess dealing with a lot of illness is macabre and horrible and in retrospect it was the right idea. We began imagining made-up diseases instead.”
The team didn’t want to become political (“there was, still is and probably always will be this kind of sense that you’ve got the NHS and they’re doing such a poor job,” says Mark.) but they wanted to make the game challenging.

A few months later, though, and James was hired by Bullfrog. He turned up to find Mark and Gary in the initial stages of making Theme Hospital. But for graphic artist Gary, it wasn’t entirely what he had planned. Having left Bullfrog to work for The Bitmap Brothers, believing Theme Park would not be the success it had become, he thought he was rejoining work on Dungeon Keeper. 

Mark’s task was to head up the project even though he was rather new to making original games, having previously managed a department that converted Bullfrog’s games onto other formats. Peter wasn’t involved at all – “he had his hands full with the really cool sounding Dungeon Keeper,” says Gary – but the ideas flowed. “We planned to make the game with four different time periods,” says Gary of an idea that would need some major treatment later down the line.
Running on life support
Mark and Gary decided the best approach was to strip away any sense of the real so the graphics were made deliberately cartoonish. The game also distanced itself from the NHS model. Theme Hospital was a game in which profit was important and players had to think of it as a business. A successful player would be able to move up the ladder and work on a larger and potentially more profitable hospital (each carrying the name of a famous computer from various films, TV shows or comics). In each case, they would build a hospital from scratch, determining the look of the building and the people working in it so that patients would be treated or discharged according to the whim – and education – of the doctors the player controlled.
“Many ideas came in and disappeared,” says Mark. “We had a good idea of what we wanted to do with the game and it helped that it was a genre of game that I enjoyed playing but the important thing with games like Theme Hospital and Theme Park is that it is not about how a hospital, theme park or a business runs. It is about how people think they are run.”

The small team, which ironically worked in offices next to The Royal Surrey County Hospital, began with some preconceived ideas of the medical process. People, they assumed, see a GP first of all. “The GP kind of makes a guess, maybe sends you for an X-ray or some blood tests, stuff like that, and then you go back to see the GP,” says Mark. “So the kind of flow of what the patients were doing was kind of what we understood them to be doing. The reality might have been quite different but it was more important to go with what a man or woman in the street would expect.”
To make life easier, the team drew spiritual inspiration from Theme Park – and took on board a healthy dollop of borrowed code. An editor which Peter had set up to allow for easier animation was built upon by Mark who called it the Complex Engine. The sprite drawer was almost the same too. In fact, the Theme Hospital team made some nice breakthroughs in its approach to sprites, cleverly combining them. If, for instance, there was a doctor, a chair and a desk as three sprites and the doctor was supposed to sit on the chair, the game would see the doctor walk to the entry point of the desk. The engine would then merge the doctor and the chair into one sprite, which would then be animated. It made life easier for the programmers and artists and sped up the workflow of the game, even though the player would be none the wiser of what was happening behind the scenes.
More noticeable was the setting up of rules. Players could decide how the decision-making process would progress. “You could have it set so that if you are 75 per cent sure what the illness is the cure could just go ahead, otherwise the player needs to make a decision,” says Mark. “You could tweak that if you didn’t want to be bothered with that kind of thing.” Similarly, the player had to decide on the level of expenditure. “The idea was that there was only so much you can do without assistance,” says Mark.

The game threw in some curveballs too. “Someone with a hugely inflated head may or may not have had bloaty head disease,” says Mark. “The bloaty head cure may not have worked because the diagnosis was a bad tooth. Suspending disbelief let players make decisions over whether to risk a cure or send a patient home. It added a nice dimension to the game.”
To achieve all of this, you would expect the team had lots of meetings, but given the small size of the studio at the time, there were few formal get-togethers. Most gatherings would be around the desks of the artists and programmers and to have the artists and programmers together was something new for Bullfrog. It had traditionally separated them on either ends of the room, but assembling teams together made the tracking progress much easier.

James’s role was to keep injecting a sense of fun into the game. “I wrote all of the text, came up with the diseases and I had a ball doing it,” he says. “I recall you had to hire janitors and build toilets. If you failed to do so, people would poo on the floors. I remember writing the Advisor a line to remind you to provide toilets, saying that people were getting the turtle’s head. I think I nicked it from Viz but it briefly became a Bullfrog catchphrase.”
Symptoms of success
The made-up diseases made the game stand out the most. There was going to be an illness called Elvis Impersonator but EA’s legal team advised the team that it couldn’t use Elvis’s name nor his likeness because Elvis’s estate owned the rights. So, it was renamed King Complex. “We had others we didn’t get round to doing,” says Mark. “Animal magnetism, where people would come in with sort of lots of small animals like cats or dogs attached to them, had to be cut – the idea was to create a machine that would remove the animals. But I liked bloaty head disease, especially the cure – popping it and re-inflating. The animation was of the head pops and the doctor twanging the head like a balloon.”
In terms of volume of work, James admits it was actually quite small. But it gave him time to think and come up with some wild ideas. He also took on board suggestions. “There were celebrities as well and I made those up but someone – I think a coder called Matt Chilton – had put placeholder names in for me to change. I kept a couple because I liked them, and one was Aung Sang Soo Kyi, the then exiled opposition leader of Burma. I didn’t check to see if she was real, but I liked the name so it went in. Turns out she was indeed real.”

Another feature that was dropped was a screen that allowed players to mix chemicals – blue, red and green – and apply them to different illnesses. “It was a cool idea and a great screen but it was not fully formed and it didn’t work well within the rest of the game, feeling like a very poor add-on,” says Mark. Multiplayer didn’t make the initial release and it had to be downloaded as a patch later. That infuriated Mark who kicked himself for not spotting earlier that the multiplayer mode was full of holes and incredibly buggy. Had they attempted to fix them, the game would have slipped so the decision was to go without.
But time wasn’t the only thing preying on the developer’s mind – it worried about making the game too inaccessible. Theme Hospital was complex, with the player able to change so much of the game via a system of menus. Gamers could decide which doctors they wanted based on their budget and needs and they had to keep on top of maintenance. Staff could tire easily and needed breaks. It could so easily have felt like work. “Much of my job was spent on simplifying the game,” says tester Jon Rennie. “Mark and Peter were really keen to help players get straight into the game without a lengthy tutorial. We kept the Advisor speech bubble but used tabbed alerts to start piling pressure on the players. We then used those tabs as icons above patients’ heads to make it as visual as possible.” 

In the first versions of the game, the queue panels were entire screens that made it difficult to see where people were in the hospital. “It was quite a big job to change that to become the pop-up version that allowed you to drag and drop patients and doctors but was well worth the effort,” Jon adds. “The game ran on a complex arrangements of stats and triggers unlike some of Theme Park, which all had to be balanced through repeated playing of the levels to get it right.”
As the game came together it was getting more and more internal attention, with people in the studio actively playing it. Many loved the voice acting by Rebecca Green, the then girlfriend of programmer Andy Coglan. “She was a budding voiceover artist,” says James. “We simply got her in to say the lines. She did an amazing job.”
And yet even though the game was supposed to be light-hearted, some people lost their sense of humour – even before the game was released. Mark was asked to appear on a local radio station because NHS bosses were complaining about the game. “They were saying we shouldn’t be dealing with stuff like this,” he says. “They said it was unfair to poke fun at hospital management and staff. But they hadn’t played the game. If they had, they would have seen that it was saying, ‘look, running a hospital is hard but if you think you can run one try this’. I think taking the decision of not [using] the real illnesses meant [we] weren’t stepping into the territory of having a pop at medical professionals.”
Not that the negative publicity did any harm. Much to the surprise of both EA and Bullfrog – but less so to those who had worked on it – the game was a massive success. It shot to number one and it constantly appeared in the top five of the budget charts thereafter. “It was just constantly selling,” says Mark, of a game that eventually sold 4 million copies. “It was a beautiful thing and made all the better for not being a flop. There was no need to resuscitate it at all.”
Save up to 57% on a Retro Gamer magazine subscription bundle and have the best retro gaming features and interviews delivered to your door each month

#making #Theme #Hospital #legendary #sim #paved #Point #Hospital

The making of Theme Hospital, the legendary sim that paved the way for Two Point Hospital

Read more great retro features in Retro Gamer magazine

Mark and Gary were making so much noise that the surgeon ordered: “Get those bloody idiots out”. By this time, though, they had seen enough. “I remember we watched a spinal operation one morning which was bad enough, then the person who had been assigned as our guide said ‘alright, after lunch we can pop down to the morgue if you like’,” says Gary wincing at the memory. “That was it for us, we needed to give this game a new angle.”
“It was around this time that we started to believe we shouldn’t be too realistic,” continues Mark. “Although that was our original aim, Gary felt we should have made up diseases so we talked about it with the whole studio and the team and we had a vote. I guess dealing with a lot of illness is macabre and horrible and in retrospect it was the right idea. We began imagining made-up diseases instead.”
The team didn’t want to become political (“there was, still is and probably always will be this kind of sense that you’ve got the NHS and they’re doing such a poor job,” says Mark.) but they wanted to make the game challenging.

A few months later, though, and James was hired by Bullfrog. He turned up to find Mark and Gary in the initial stages of making Theme Hospital. But for graphic artist Gary, it wasn’t entirely what he had planned. Having left Bullfrog to work for The Bitmap Brothers, believing Theme Park would not be the success it had become, he thought he was rejoining work on Dungeon Keeper. 

Mark’s task was to head up the project even though he was rather new to making original games, having previously managed a department that converted Bullfrog’s games onto other formats. Peter wasn’t involved at all – “he had his hands full with the really cool sounding Dungeon Keeper,” says Gary – but the ideas flowed. “We planned to make the game with four different time periods,” says Gary of an idea that would need some major treatment later down the line.
Running on life support
Mark and Gary decided the best approach was to strip away any sense of the real so the graphics were made deliberately cartoonish. The game also distanced itself from the NHS model. Theme Hospital was a game in which profit was important and players had to think of it as a business. A successful player would be able to move up the ladder and work on a larger and potentially more profitable hospital (each carrying the name of a famous computer from various films, TV shows or comics). In each case, they would build a hospital from scratch, determining the look of the building and the people working in it so that patients would be treated or discharged according to the whim – and education – of the doctors the player controlled.
“Many ideas came in and disappeared,” says Mark. “We had a good idea of what we wanted to do with the game and it helped that it was a genre of game that I enjoyed playing but the important thing with games like Theme Hospital and Theme Park is that it is not about how a hospital, theme park or a business runs. It is about how people think they are run.”

The small team, which ironically worked in offices next to The Royal Surrey County Hospital, began with some preconceived ideas of the medical process. People, they assumed, see a GP first of all. “The GP kind of makes a guess, maybe sends you for an X-ray or some blood tests, stuff like that, and then you go back to see the GP,” says Mark. “So the kind of flow of what the patients were doing was kind of what we understood them to be doing. The reality might have been quite different but it was more important to go with what a man or woman in the street would expect.”
To make life easier, the team drew spiritual inspiration from Theme Park – and took on board a healthy dollop of borrowed code. An editor which Peter had set up to allow for easier animation was built upon by Mark who called it the Complex Engine. The sprite drawer was almost the same too. In fact, the Theme Hospital team made some nice breakthroughs in its approach to sprites, cleverly combining them. If, for instance, there was a doctor, a chair and a desk as three sprites and the doctor was supposed to sit on the chair, the game would see the doctor walk to the entry point of the desk. The engine would then merge the doctor and the chair into one sprite, which would then be animated. It made life easier for the programmers and artists and sped up the workflow of the game, even though the player would be none the wiser of what was happening behind the scenes.
More noticeable was the setting up of rules. Players could decide how the decision-making process would progress. “You could have it set so that if you are 75 per cent sure what the illness is the cure could just go ahead, otherwise the player needs to make a decision,” says Mark. “You could tweak that if you didn’t want to be bothered with that kind of thing.” Similarly, the player had to decide on the level of expenditure. “The idea was that there was only so much you can do without assistance,” says Mark.

The game threw in some curveballs too. “Someone with a hugely inflated head may or may not have had bloaty head disease,” says Mark. “The bloaty head cure may not have worked because the diagnosis was a bad tooth. Suspending disbelief let players make decisions over whether to risk a cure or send a patient home. It added a nice dimension to the game.”
To achieve all of this, you would expect the team had lots of meetings, but given the small size of the studio at the time, there were few formal get-togethers. Most gatherings would be around the desks of the artists and programmers and to have the artists and programmers together was something new for Bullfrog. It had traditionally separated them on either ends of the room, but assembling teams together made the tracking progress much easier.

James’s role was to keep injecting a sense of fun into the game. “I wrote all of the text, came up with the diseases and I had a ball doing it,” he says. “I recall you had to hire janitors and build toilets. If you failed to do so, people would poo on the floors. I remember writing the Advisor a line to remind you to provide toilets, saying that people were getting the turtle’s head. I think I nicked it from Viz but it briefly became a Bullfrog catchphrase.”
Symptoms of success
The made-up diseases made the game stand out the most. There was going to be an illness called Elvis Impersonator but EA’s legal team advised the team that it couldn’t use Elvis’s name nor his likeness because Elvis’s estate owned the rights. So, it was renamed King Complex. “We had others we didn’t get round to doing,” says Mark. “Animal magnetism, where people would come in with sort of lots of small animals like cats or dogs attached to them, had to be cut – the idea was to create a machine that would remove the animals. But I liked bloaty head disease, especially the cure – popping it and re-inflating. The animation was of the head pops and the doctor twanging the head like a balloon.”
In terms of volume of work, James admits it was actually quite small. But it gave him time to think and come up with some wild ideas. He also took on board suggestions. “There were celebrities as well and I made those up but someone – I think a coder called Matt Chilton – had put placeholder names in for me to change. I kept a couple because I liked them, and one was Aung Sang Soo Kyi, the then exiled opposition leader of Burma. I didn’t check to see if she was real, but I liked the name so it went in. Turns out she was indeed real.”

Another feature that was dropped was a screen that allowed players to mix chemicals – blue, red and green – and apply them to different illnesses. “It was a cool idea and a great screen but it was not fully formed and it didn’t work well within the rest of the game, feeling like a very poor add-on,” says Mark. Multiplayer didn’t make the initial release and it had to be downloaded as a patch later. That infuriated Mark who kicked himself for not spotting earlier that the multiplayer mode was full of holes and incredibly buggy. Had they attempted to fix them, the game would have slipped so the decision was to go without.
But time wasn’t the only thing preying on the developer’s mind – it worried about making the game too inaccessible. Theme Hospital was complex, with the player able to change so much of the game via a system of menus. Gamers could decide which doctors they wanted based on their budget and needs and they had to keep on top of maintenance. Staff could tire easily and needed breaks. It could so easily have felt like work. “Much of my job was spent on simplifying the game,” says tester Jon Rennie. “Mark and Peter were really keen to help players get straight into the game without a lengthy tutorial. We kept the Advisor speech bubble but used tabbed alerts to start piling pressure on the players. We then used those tabs as icons above patients’ heads to make it as visual as possible.” 

In the first versions of the game, the queue panels were entire screens that made it difficult to see where people were in the hospital. “It was quite a big job to change that to become the pop-up version that allowed you to drag and drop patients and doctors but was well worth the effort,” Jon adds. “The game ran on a complex arrangements of stats and triggers unlike some of Theme Park, which all had to be balanced through repeated playing of the levels to get it right.”
As the game came together it was getting more and more internal attention, with people in the studio actively playing it. Many loved the voice acting by Rebecca Green, the then girlfriend of programmer Andy Coglan. “She was a budding voiceover artist,” says James. “We simply got her in to say the lines. She did an amazing job.”
And yet even though the game was supposed to be light-hearted, some people lost their sense of humour – even before the game was released. Mark was asked to appear on a local radio station because NHS bosses were complaining about the game. “They were saying we shouldn’t be dealing with stuff like this,” he says. “They said it was unfair to poke fun at hospital management and staff. But they hadn’t played the game. If they had, they would have seen that it was saying, ‘look, running a hospital is hard but if you think you can run one try this’. I think taking the decision of not [using] the real illnesses meant [we] weren’t stepping into the territory of having a pop at medical professionals.”
Not that the negative publicity did any harm. Much to the surprise of both EA and Bullfrog – but less so to those who had worked on it – the game was a massive success. It shot to number one and it constantly appeared in the top five of the budget charts thereafter. “It was just constantly selling,” says Mark, of a game that eventually sold 4 million copies. “It was a beautiful thing and made all the better for not being a flop. There was no need to resuscitate it at all.”
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#making #Theme #Hospital #legendary #sim #paved #Point #Hospital


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