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The Random Adventure Game News Thread

Boleskine

Arcane
Joined
Sep 12, 2013
Messages
4,045
Cool looking upcoming game, still funding on KS.




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Key features
Prim Is Death’s daughter and she’s the star in our creepy-but-cute 2D adventure game for PC, Mac and Linux.

You need more reasons to back our project? Well, here we go:

  • Hand-drawn HD artwork and traditional frame-by-frame animation
  • Simple one-click interface
  • 6-8 hours of varied gameplay
  • Atmospheric orchestral soundtrack
  • Control multiple characters
  • In-game hint system, hot-spots and fast-travel
  • Mini games, such as a deck-building card game
  • DRM-free or Steam key!
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Strange things are happening in the Realm of the Dead. Instead of reaping souls, Thanatos, the angel of death, has to deal with his teenage daughter Prim. Every night, Prim has the same dream: An oddly familiar human boy cries out for her help. Needless to say that our heroine tries to answer the call. There‘s just one tiny problem: The Grim Reaper has strictly forbidden her to enter the Land of the Living – she‘s not ready for the immense power she‘d develop there, he claims.

Unfortunately, when Prim finds a way to trick her father and travel to earth, it painfully turns out that Thanatos‘s presentiments have been right all along...

At its core, PRIM is a story of a father learning to let go and a girl finding out who she really is. But it's also a thrilling adventure, full of magic and darkness. On her journey, Prim repeatedly has to switch between the Realm of the Dead and the Land of the Living, where she faces demons, real ones and ones within herself, while always being accompanied by her sidekick, an eye with spider legs.

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MacGyver your way through the Realm of the Dead by using stuff with other stuff!
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Meet nasty stair-rail gargoyles and other quirky NPCs!
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Study... undead flora?!
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In the full game, there will be a deck-building card game that can be played against NPCs!
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Concept art
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Intro sequence
Music


 

MRY

Wormwood Studios
Developer
Joined
Aug 15, 2012
Messages
5,703
Location
California
I think I mentioned a while ago that I'd done a very long interview with Jeff Klaehn (or, really, a series of interviews) for an academic publication. Now that' it's finally going to print, I'll pull out the parts that seem possibly of interest, though it's still definitely tl;dr
JK: Are point and click games suited for telling stories, in your view?

Mark Yohalem: Only a certain kind of story works in point and click games. If you want to tell a story primarily about action and violence, or relationships and personal growth, I think it is a bad vehicle. For humorous stories or stories about introverted outsiders dealing primarily with machines/non-human obstacles, I think adventure games are fine. Ultimately, even though the genre has become known for its stories, I don’t think it’s particularly well suited to narrative for a variety of reasons. I do think adventures can have very compelling settings, memorable characters, interesting twists, powerful bursts of dialogue, etc. But I just don’t think that the pacing or nature of the gameplay is well suited to what we typically think of as good stories. Think about translating any well-regarded adventure game into a book or even movie – to the extent we can imagine it all, it is because we stitch together the un-interactive cut scenes while cutting out the gameplay. But if the story exists in spite of the gameplay, then the game is not telling the story.

I say this despite loving adventure games and writing adventure game stories! But, ultimately, what I hope to provide my players is not me telling a story, but them experiencing an adventure. That’s something very different. Their minds will make a narrative of that adventure that is better than anything I could narrate through the medium, if that makes sense.

JK: What genre of games would you say are most well-suited to telling stories? I think of role-playing games (RPGs) like Planescape: Torment, of Japanese role-playing games (JRPGs) such as Xenogears and the Suikoden series, and also of point and click games like Primordia, Unavowed, Kathy Rain, and the Broken Sword series, of how these games take players into new ‘virtual’ worlds where they’re able to immerse themselves in stories and characters, as they play and progress. Wonderful adventure games like The Longest Journey and Syberia also come to mind, as do Coffee Talk (visual novel) and Her Story (interactive film). What are your thoughts on digital games and storytelling, on games as interaction fiction (IF)?

Mark Yohalem: I’d say linear cinematic third-person action games are most conducive to telling stories. Think about the atrociousness of RPG novelizations. RPGs at least have more narrative “action” than adventure games, but the heart of the games is not where the plot is happening. It’s where the choice is happening. The moments we think of as “great story” in, say, Planescape: Torment aren’t great story. Rather, the choices (and consequences) are compelling. In a great RPG, we are expressing a role through the game, rather than merely acting out someone else’s script and directions. For that to work, RPGs give us a series of encounters (often combat, but increasingly dialogues) in which we can resolve some conflict. These encounters are only loosely tied together (in a well-written RPG, they should all advance core themes and will often tie to other encounters)—they don’t form a linear story even if we experience them in sequence. “And then the hero talked to this guy. And then that lady. And then the dwarf over there,” and so on.

There is “story” in games, and games involve many traditional story-telling media within them (text to read, video to watch, narration to listen to, etc.). But what interactive games offer in comparison to traditional story-telling media is precisely our active participation. The games that offer the most rewarding narrative experiences are not necessarily the games telling the best stories; they are the games that permit our participation within the story. Adam Cadre, a developer of wonderful interactive fiction, wrote the following (Cadre, 2001) about A Mind Forever Voyaging, generally regarded as having the best story of the classic games in that genre:
As for the story – well, had it been straight fiction, A Mind Forever Voyaging would count as about a fourth-rate dystopia: it’s no 1984, no The Man in the High Castle, not even a Brave New World. Had the author, Steve Meretzky, led me by the hand through the world he’d created – “Perry nervously walked through the zoo. He passed a sign that read MONKEY TORTURING: 2 PM IN THE PRIMATE CAGE.” – I probably would’ve groaned and felt as though I were being lectured at. But this is IF. I chose to walk through the zoo; I chose to look at the sign. What could have been ham-handed magically becomes a chilling detail, delivered with a light touch.

Cadre knows whereof he speaks: his own most famous work, Photopia, was immensely moving for me; his one novel, Ready, Okay!, “felt as though I were being lectured at.”

Thus, what I would say is that even if a linear cinematic third-person shooter is better at telling stories, the magic that Cadre is describing is conjured best by other genres.

JK: On the potential of games to be progressive and educational?

Mark Yohalem: Of course, it depends on the game. The Oregon Trail was progressive and educational. Duke Nukem was neither progressive nor educational (at least in the sense a school would use “educational”). Neither game is perfect, but both brought me great pleasure. I am totally unable to nose-count individual games or generalize about the medium as a whole. But for me, and many others I think, there is a humanist quality to gaming as a hobby that deserves mention: namely, that the interaction of the Internet and gaming means that, through discussions or online play, one’s enjoyment of a game inevitably exposes him or her to other folks from around the world who also enjoy the game. This leads to direct interactions that introduce strangers and bring them together. But it also leads to the indirect sense of universality: when I and a Polish player can both adore some obscure game (say, Dark Sun: Shattered Lands) that is proof that there is a common quality in us that is resonating with that game.

In developing Primordia, I’ve seen how it attracts as disparate players as you could imagine, on every axis – people from every populated continent and dozens of countries, the far extremes of the political spectrum, devout believers in several religions as well as committed atheists and everything in between, hardcore and casual gamers, people of all gender identities and sexual orientations, the very old (one octogenarian!) to the very young (including my girls when they were still toddlers).

This is hardly unique to Primordia. And, to be fair, it is not unique to games. But there is something distinctive about games in my mind. For when we play a game, we put on, for a time, another self—that of the game’s protagonist. And, as it turns out, that self is a well-worn suit that fits comfortably on a wide sampling of humanity. So perhaps we are not made so differently after all.

JK: How do you view the field of game criticism and analysis?

Mark Yohalem: I think there has always been a great community around computer and video games who discuss and dissect the games in ways that go far beyond simply “reviewing” them – it’s one of the special things about this pastime. In some ways, the growing body of “academic” game criticism and analysis could be seen as a subset or outgrowth of that long standing practice, but there are a couple of things about it that give me some gentle misgivings.

UseNet threads on rec.games.video.nintendo (and their successors in various forms over the years) may have been parochial and oftentimes sophomoric. But the flipside of “parochial” is that they were indigenous and the flipside of “sophomoric” is that they grew from the ground up. That is to say, these were instances of players using their experience with games to distill theory from practical know-how.

While quite a bit of serious game criticism and analysis still fits within that mold – for instance, when Emily Short writes about narrative design, she does so from the position of a player and a developer of interactive fiction as much as from the position of an academic theorist – some of it is more anthropological. People writing about games from the outside, based not on their own experience with games, but on their observations of others. As ridiculous and awful as the hurly burly of message board flame-wars and fanboying can sometimes be, I suspect that it has more direct impact on how games are actually being developed.

I guess the last thing I will say is that I think there is a disconnect between how game reviewers play and appreciate games and players play and appreciate games. Of course, I’m really biased here: Primordia did rather poorly with “respected” professional reviewers (72% on Metacritic) while doing spectacularly well among players (bouncing between 98% and 97% positive on Steam, with over 2000 reviews, 4.7 and 4.8 stars on GOG, etc.). I don’t think this is just sour grapes, though. Professional reviewers, particularly when they’re dealing with indie games, have an imperative to get through the game quickly to move onto the next thing, so they inevitably will engage more superficially and get frustrated when the game prevents them from moving onward. Thus, an RPG with a really complex ruleset and challenging combat, or an adventure game with lots of tricky puzzles, might be really appealing to players who want to dig in, but fairly annoying to reviewers who want to be able to finish the game, evaluate it, and move on with things. By contrast, a game that is short, quirky, and pretty –or has spectacular technology behind it – will be a wonderful break from the grind for a reviewer, but might be less interesting to a player.

For that reason, I tend to find retrospectives, or “features,” more interesting than reviews, though of course I’m programmed to care about review scores just like everybody else is.

JK: Your thoughts on the popularity of point and click games?

Mark Yohalem: I think that in the 1980s and early 1990s, adventure games represented the high water mark of audiovisuals and narratives in PC gaming. For that reason, they were able to attract (and then train) a very broad group of players. Today, adventure games sound and look fine, but they’re not remotely at the level of a Grand Theft Auto or Modern Warfare or Elder Scrolls title. And even adventure game developers have spent the last 20+ years publicly lecturing potential players that adventure games stink from a gameplay standpoint. No surprise that the tent has gotten much smaller as a result.

I also think that, generally, people today don’t grow up tinkering, experimenting, and puzzle-solving the way people did in earlier generations.

The generation that grew up on Apple IIc computers and the generation that grew up on Apple iPhones come to computer games with very different expectations of what it should be like to interact with a machine.

If you expect things to largely take care of themselves, and call an expert when they don’t, classic adventure games will feel “wrong,” “un-fun,” or overly demanding. But if hard knocks taught you that “mastery” over a machine in the sense of “authority” exists only when you possess “mastery” of the machine in the sense of “possession of great skill or technique,” then the demands of classic adventure games feel natural and appropriate.

This cultural shift is not a reason to eschew the defining feature of adventure games. Instead, it’s a clarion call to re-emphasize traditional puzzles. The genius of games is that they can let us partake in things that are impossible for us in real life – and sometimes make those impossible things possible.

I’ve watched my own daughters use the eccentric, ridiculous mentality of an adventure game player to discover in real life that the usefulness of a tool is not limited to the use for which it was made, that seemingly insurmountable obstacles sometimes have lateral bypasses, and that there are amazing parts all around us that can be cobbled together into delightful, unexpected wholes.

My kids might be better off if they’d learned those lessons in shop classes or by camping in the woods or from fiddling with the transmission on a car, but in the absence of learning by doing in real life, we can all at least develop the aspiration or anticipation of doing in reality by practicing in fantasy.

JK: On the importance of art within adventure games, and on artist Victor Pflug’s work on Primordia?

Mark Yohalem: I think adventure games historically were at the cutting edge of visuals, not just in terms of technology but also in terms of aesthetics. There are obvious examples of spectacular beauty, from EGA games like Loom or King’s Quest IV (especially the day-night cycle for Tamir), to VGA games like The Legend of Kyrandia II and Simon the Sorcerer II and Space Quest V, from cel animated SVGA games like Curse of Monkey Island and King’s Quest VII and The Whispered World, to even FMV games like Phantasmagoria and Under a Killing Moon, to games with utterly unique looks such as Grim Fandango or Machinarium. It’s actually hard for me to think of any genre with art that is at once so diverse and so beautiful.

That tradition is carried on by indie adventure games today. Look at Paradigm, Dropsy, STASIS, Gibbous, and Theropods – they’re all point-and-click adventures made by tiny teams, they look nothing alike, and they are all breathtakingly beautiful.

I guess you can ask, “Well, there are a lot of beautiful adventure games, but is that beauty really ‘important’ to adventure games?” – which seems to be your question. In some sense, it’s not important. After all, there are also adventure games that are quite ugly but also quite good (Maniac Mansion, for instance) and interactive fiction adventures with no art at all that are magnificently evocative (Photopia, for instance). But the additive value of beauty is really not quantifiable. It clearly has long been a hallmark of the genre. I suppose you can make an ugly cathedral (I’ve seen a few) and people can still practice faith and find hope inside, but that doesn’t disprove or even discount the importance of the otherworldly beauty of light and weightless that other cathedrals offer. So I’d say that beautiful art is very important to adventure games, even if not necessary.

As for Vic’s art, I think it is a shining part of that proud tradition – his work is instantly recognizable as his (even if people don’t know who he is!), and while it is consistent with the design language of the 1990s, it has its own beautiful dialect. Vic’s characters are imbued with such personality and his backgrounds with such a richness of history, that they do much of the storytelling for me. One thing in particular that I love about his art is their Romantic quality – the way in which they take something beautiful, depict it in ruins or decay, and show how the process of decay actually reveals more that’s beautiful about it, the way that a burst pocket-watch reveals its inner workings or a weathered castle comes to peace with the countryside rather than dominating it or an old scholar’s face shows the wisdom that he’s earned. My favorite example of that in Primordia is the interior of the courthouse, but that may just be because I’m a sentimental lawyer.

Vic’s art and my writing seem to work well together because both of us are, by coincidence, interested in the overlapping gray area between life and machine, beauty and horror – when I’m writing about robots dreaming of being humans or humans being reduced to what Chaplin called “machine men” in The Great Dictator, Vic is painting machines with organic lines and organisms with mechanical parts. The ambience I want to capture in my stories is dark but hopeful, and I think Vic’s characters and settings are perfect for that. His people (and I include the robots in this) are often ugly and sad but still brimming with personality and humanity, and his scenes inevitably show a world where people built with care and have worked hard to keep things from crumbling.
 

Tramboi

Prophet
Patron
Joined
May 4, 2009
Messages
1,226
Location
Paris by night
If you like CYOA, "Over the Alps" has excellent (ie: dynamic, witty and enjoyable) writing from Jon Ingold (Mulldoon Legacy, 80 days).
It's a fun romp with WW2 spies in the Alps (yay).
It's supposed to be roughly replayable once with different choices, though I didn't, but I really enjoyed myself for a few hours.
 

Boleskine

Arcane
Joined
Sep 12, 2013
Messages
4,045
https://laurahunt.itch.io/if-on-a-winters-night-four-travelers?ac=qfCyYFQF-yt



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If On A Winter's Night, Four Travelers is a narrative-driven point-and-click adventure that explores the stories of four different characters in a masked ball taking place on a train in the late 1920s.

THE SILENT ROOM
In a luxurious hotel room in Rome, freshly arrived from Turin, Carlo awaits for his lover Patrick to arrive. However, as the shadow of fascism looms ever larger, the tension of meeting in constant hiding is beginning to take its toll.

THE SLOW VANISHING OF LADY WINTERBOURNE
Lady Winterbourne has lost her husband in a tragic accident. Now letters from pretenders to her vast fortune keep arriving every day at her mansion, yet the only thing she's interested in is the bottle of laudanum in her cabinet.

THE NAMELESS RITUAL
Harassed, ridiculed and belittled by his peers, Dr. Jordan Samuels has resorted to the occult sciences in a desperate attempt to turn the tables on his tormentors. But is he truly ready to face the Guardian of the Threshold?

IF ON A WINTER'S NIGHT
As much as Laylah enjoys her job, sometimes she yearns for a bit of variety to distract her from her daily routine -- even if it means going against her very powerful bosses' orders.

 

Boleskine

Arcane
Joined
Sep 12, 2013
Messages
4,045
:bounce:



https://adventuregamers.com/articles/view/a-video-chat-with-roberta-williams

Roberta Williams. Co-founder of Sierra On-Line, legendary game designer, famed boat adventurer, author, and a genuinely lovely individual. In this interview we get to see a side of Roberta that isn't often seen, as she waxes poetic both about her time at Sierra and her wonderful new book entitled Farewell to Tara. Of course, in typical Roberta form, she is charming from beginning to end.

If you are an adventure game fan, you will no doubt be as captivated as I was for all 35 minutes of this video chat. Roberta was very candid in answering questions about her favorite games, her struggles with King’s Quest 8, her vision for Phantasmagoria, Sierra dead ends, and much more.

Roberta’s time at Sierra may not have ended as she’d wished, but she has certainly been enjoying her “retirement” ever since. Not to be outdone by her husband Ken, who recently released a book of his own (Not All Fairy Tales Have Happy Endings), Roberta has just published her first novel, Farewell To Tara, and her enthusiasm for it is infectious. The research, the time, and the love she put into melding fictional storytelling with accurate Irish history will surely attract fans of her games as well as those of us who simply enjoy a good book from a unique perspective.

So sit back, get comfortable, and enjoy the next half hour with the one and only Roberta Williams.
 

index.php

Arcane
Joined
Jul 5, 2013
Messages
876
Mar 17, 2021: Nippon Safes Inc. is Declared Freeware
Posted by sev

Exciting news! Thanks to the tremendous effort of Damiano Gerli and the generosity of original game authors, Marco Caprelli, Paolo Costabel, Massimo Magnasciutti and producer Bruno Boz, we are happy to announce the freeware release of the game Nippon Safes Inc..

This is a small but fun game created in 1992 by the small Italian studio DYNABYTE divisione EUCLIDEA s.r.l. You can read about the game and the history of Dynabyte in more detail on Damiano’s Blog, the Genesis Temple.

Both DOS and Amiga versions have been declared freeware, with permission to modify the files, which makes it possible to disable the manual protection. Nevertheless, we are distributing scanned copies of the manual as well. You can grab your copies from our games page.

The game itself has been supported since ScummVM 0.10.0, which was released in 2007.

Have fun and enjoy another great freeware point-and-click adventure!

PS. If you happen to own boxes of The Big Red Adventure and Tequila & Boom Boom titles from the same developer and have the ability to provide high-res scans of those, please contact sev.
 

Nifft Batuff

Prophet
Joined
Nov 14, 2018
Messages
3,169
https://laurahunt.itch.io/if-on-a-winters-night-four-travelers?ac=qfCyYFQF-yt



mjeyzt.png


If On A Winter's Night, Four Travelers is a narrative-driven point-and-click adventure that explores the stories of four different characters in a masked ball taking place on a train in the late 1920s.

THE SILENT ROOM
In a luxurious hotel room in Rome, freshly arrived from Turin, Carlo awaits for his lover Patrick to arrive. However, as the shadow of fascism looms ever larger, the tension of meeting in constant hiding is beginning to take its toll.

THE SLOW VANISHING OF LADY WINTERBOURNE
Lady Winterbourne has lost her husband in a tragic accident. Now letters from pretenders to her vast fortune keep arriving every day at her mansion, yet the only thing she's interested in is the bottle of laudanum in her cabinet.

THE NAMELESS RITUAL
Harassed, ridiculed and belittled by his peers, Dr. Jordan Samuels has resorted to the occult sciences in a desperate attempt to turn the tables on his tormentors. But is he truly ready to face the Guardian of the Threshold?

IF ON A WINTER'S NIGHT
As much as Laylah enjoys her job, sometimes she yearns for a bit of variety to distract her from her daily routine -- even if it means going against her very powerful bosses' orders.


The artwork in this one is spectacular.
 

LESS T_T

Arcane
Joined
Oct 5, 2012
Messages
13,582
Codex 2014




There's a demo.

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Story
A little robot Nymo, fueled by a great loss, becomes a pilgrim and decides to cross a wild world to find the meaning of life and death. He also has a mysterious goal : to find a guy called Cheyenne.

World
Ultreïa is a mystical world populated by robots. Underneath the skin of the landscape are caves filled by huge creatures living in the darkness. The journey will take Nymo through the large and phantasmagoric city of Mont St-Troy, to space, and beyond.

Puzzles
Grid-based inventory, with three main actions : Use/Take, Talk and Speak to. Use your wit, the objects around you, and a bit of creativity, to solve many logical puzzles, adventure quests and brain teasers.

Dialogues
Every robot has their own unique language, according to their functions and personality.

Features
  • More than 50 locations to discover and explore
  • Over 20 non-playable characters
  • Over 1000 lines of dialogue
  • Unique art and sound design
  • A beautiful original soundtrack by Yann Latour
 

LESS T_T

Arcane
Joined
Oct 5, 2012
Messages
13,582
Codex 2014




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Lord Alistair Ainsworth is giving a lecture at the University of Edgestow on the enigmatic figure of Waldemar the Warlock, who is said to have reigned with an iron fist and through the use of dark magics in the distant region of Groldavia. But his investigations are little more than absurd in the eyes of the scholars, for there is no proof of the existence of the warlock. Lord Alistair, frustrated, decides he should look for it in Groldavia.

There, he will find an imposing portrait of the warlock, which appears to be the depositary of Waldemar´s errant soul ‒ a soul that is still yearning to carry out its grisly vengeance and presents Lord Alistair with an offer he will not be able to resist...

Or will he?

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Are you looking for a place to hide dark secrets? Are you a fugitive who wants to remain comfortably anonymous? Are you tired of your mundane worries and need a sinister place where superstition is held with intensity? Groldavia is your promised land!

Far from any hint of civilization and lost among the deepest mountains of Eastern Europe, the Barony of Groldavia offers its visitors the most authentic obscurantism, based on a rancid tradition of illiteracy, fear and sheer ignorance.

Discover Groldavia! Savour the true flavour of the fateful Europe!

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  • Two storylines to choose from: same overarching plot, one choice that changes everything you play.
  • Two playable characters, two world visions: step in the shoes of both Lord Alistair Ainsworth and his butler, Nigel.
  • Grand adventure design: experience a complex series of intertwined organic puzzles at the heart of the game.
  • Captures ‒ with a twist of humour ‒ the charm of the horror films from the 60s and 70s based on the works of Edgar Allan Poe and H.P. Lovecraft; and the charisma of actors such as Vincent Price, Peter Cushing, Christopher Lee and Barbara Steele.
  • Both point & click and direct control options: you are at the helm.
  • Atmosphere reigns supreme: rich artistic imagery, lively and colourful 2D backgrounds, and wholly blended 3D characters.
  • Original soundtrack with live instruments, full voiceovers in English.
 

LESS T_T

Arcane
Joined
Oct 5, 2012
Messages
13,582
Codex 2014
From the developers of Jolly Rover and MacGuffin's Curse:



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Vincent Cassini, decorated war hero, but still just a Captain in the police force he started, is patrolling the orbital slums of his home planet Cetus, when he stumbles across a lead in a war crime that resulted in the mysterious disappearance of thousands of Cetans, including his first wife and best friend. Captain Cassini and his robot partner MAC, must ally with morally questionable characters to stop an old enemy before their crimes are erased forever.

Players solve puzzles, in point and click adventure style, and navigate branching narratives to manage Vince’s relationships with his family, allies and enemies. Decisions players make in conversations and the order in which they undertake tasks result in outcomes that could cost the lives of thousands. Players actions ultimately decide what type of father, partner, friend, officer and saviour Vince will be.

Features
  • Make decisions that affect the lives of thousands of people, and determine relationships between family and friends
  • A 2D point and click adventure in HD
  • 6-8 hours of gameplay with branching decisions resulting in multiple unique ending sequences
  • Authentic Australian feel voiced by a predominantly Australian cast
  • An alternate timeline of humanity branching from a castastrophic singularity event
  • Original Soundtrack by Thomas Regin
  • Explore via ship from the planet surface, through the orbital community to the outer reaches of the planetary ring
 

Silentstorm

Learned
Joined
Apr 29, 2019
Messages
885
Wouldn't be so bad if it raised enough interest to make a new game, but they already announced it and it seems to be a simple VR game...which is fine for people who own VR systems, bad for everyone else.

Well, more and more people are getting VR and it seems to be the next thing from all the developers supporting it, it just feels weird seeing Sam And Max being VR Exclusive.
 

LESS T_T

Arcane
Joined
Oct 5, 2012
Messages
13,582
Codex 2014
For some reason Infogrames' Voodoo Kid gets re-release by a company called Digital Theory, the developer of Interplay Solitaire. (They also did something with Interplay's Hunter: The Reckoning.)





https://af.gog.com/game/voodoo_kid?as=1649904300

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Apparently it runs with Boxedwine, Linux emulator that runs Wine, so theoretically it can run older Windows games on modern Windows out of the box.
 
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