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Incline First Person Perspective (FPP) Adventure Recommendations
- Thread starter Darkozric
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Darkozric
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IIRC this is from the same company who made Ripper, right? Never played this, it looks interesting.
Correct, Ripper and another one called Hell: A Cyberpunk Thriller.
Darkozric
Arbiter
- Joined
- Jun 3, 2018
- Messages
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Ripper (1996) Take-Two Interactive
I was ready to give Black Dahlia a spin since I never played it, but I also had a weird itch to re-play Ripper, and see how it stands after so many years.
My memories of it are fuzzy, so it kinda felt like an almost fresh experience. I set aside Black Dahlia for little while, and took a dive into Ripper.
Ripper was made by the same team that brought us Bloodnet, a unique cyberpunk/gothic RPG. There was something about their brand of cyberpunk that clicked with me so strongly, that I followed their work closely for years.
After finishing Bloodnet, the team migrated from MicroProse to GameTek/Take 2.
Unfortunately, their next two games - Bureau 13 and Hell: A Cyberpunk Thriller weren't that good, despite featuring some interesting mechanics, lore, and as always, the team's intriguing takes on the cyberpunk genre.
Then came Ripper, their best effort at the time.
It has some devious puzzles, especially for non-native English speakers, but the story, the atmosphere, the cast, and that special "something" the team always had, were still present.
After that, some key figures left the team, but I've seen a few saying that their next game, Black Dahlia, is equal or even better than Ripper, though it definitely marked the end of their cyberpunk phase.
Ripper takes place in a cyberpunk future, you play as Jake Quinlin, a reporter for the Virtual Herald, who's being contacted by a copy
killer trying to emulate Jack The Ripper for a new gen technology.
It's a well-paced Cyber-Thriller divided into 3 parts, where you have to slowly unravel the secrets of 3 main suspects.
Featuring FMVs starring Christopher Walken, Burgess Meredith, John Rhys-Davies, Paul Giamatti, David Patrick Kelly, Ossie Davis, and the lead character is played by TV actor Scott Cohen.
I won't spoil any story details, suffice to say that it's a dangerous and darkly tale of a dim futuristic world with a reasonable measure of drama and suspense.
It's worth noting that after finding out who's the serial killer, the game can be played 4 more times, in each playthrough the killer will be different.
You may wonder why there are four endings when there are three suspects. Well, your worst nightmare has only just begun
The game engine was created from scratch, and it can change resolutions between 640x480 and 320x200.
All locations are well designed and atmospheric, but there are a few major drawbacks.
Ripper had a budget of 4 million, and the hiring of those big-name actors cost 25% of the game's entire budget.
Which led to the inevitable decline in other aspects of the game, such as smaller areas to explore, and reduced environmental interactivity.
The game consists of a number of computer generated scenes where you can move, each with a series of positions and an animated sequence between viewing angles.
Movement sequences are slow and unskippable. It didn't bother me that much back in the day, however this time it was quite noticeable.
At this point, I can't resist the temptation to compare it with Tex Murphy, both games share a few similarities in tone, and to some extend, execution.
This is the moment where you appreciate even more Access Softwares' brilliant job. They made Under a killing Moon - cheaper, better, and 2 years earlier.
UAKM might not had the acting magnitude of Ripper, but they've managed their budget in a
way.
Which means decent acting, 3D real time movement, bigger indoors/outdoors areas, satisfying environmental interactivity, and a plethora of items to collect.
Anyway, the paradox of Ripper, is that the decline of locations kinda works as a "positive" element. Given the slow camera movement, it's for the better having restricted areas.
On the plus side, you can visit all locations at any point from your map menu (but not sub-areas like Tex), which somewhat reduces the time-consuming walk around.
Music is subtle and appropriate to the scenes and will vary as you progress through the time-line of the game, changing to a more dramatic tempo when it approaches peak moments.
Of course, you get to listen to Blue Oyster Cult's "Don't Fear The Reaper"
The puzzles are varied and quite devious, and require careful observation and proper data evaluation.
My guess is that few codexeres could have finished it without external help.
The first 3 puzzle set pieces in Wofford Cottage, are a clear indication of what the game will mercilessly throw at you.
Tabletop mazes, mathematics, zodiac puzzles, deciphering messages, decryption of Well addresses(web pages) by placement of specific access codes, there's a lot of intricate stuff.
Not to mention the puzzles in the bizarre hallucinographic virtual reality of cyberspace, like the chess game with the twisted rules to get weapon one.
I especially liked those that are perfectly interwoven with the game's theme, like recording/processing a voice sample to open the door of a secret lab.
Or when following a cryptic set of instructions to install a set of circuits on a computer.
Of course, you'll get to solve a few generic and overused puzzles, such as sliders, and unfortunately, item-based ones are greatly reduced, but what is there, is pretty good.
Although I have to admit, I couldn't decrypt a phone number, and I wasn't willing to spend an insane amount of time to solve this shit.
So, I made the ultimate sin (didn't get it even after reading the solution
)
There are also a few
shooting sections, just put it on easy and get done with it.
Ripper is a peculiar case, on the one hand, the decline in certain aspects is pretty obvious. On the other, most of the puzzles and the atmosphere will absorb you, especially if you're a Bloodnetfag.
And if you have a sharp eye, you will even spot quite a few references to Bloodnet.
It doesn't reach UAKM or PD, but it's an intriguing buffet of various dishes, some of which you'll find mediocre and some delicious.
If you can tolerate the slow movement, and a few questionable solutions, it's worthy of at least one playthrough.
I disagree with a few design decisions, but I will agree with what Writer/lead designer F.J. Lennon commented,
"The whole industry wants to crucify FMV, people claim FMV doesn't belong in games, but if it's done professionally, I think it can work."
It just works.
Have a healthy 2025 bros, and keep adventuring!
_________________________________________________________________________________________________________________
Ripper installation package for newer versions of Windows(disk swapping is automated, just click continue).
https://www.zombs-lair.com/ripper
Also Black Dhalia
https://www.zombs-lair.com/black-dahlia
GOG will never bother with Rama, so grab a working version.
https://www.zombs-lair.com/rama
PS- There are few more interesting games on the same site, you might want to take a quick look.
I was ready to give Black Dahlia a spin since I never played it, but I also had a weird itch to re-play Ripper, and see how it stands after so many years.
My memories of it are fuzzy, so it kinda felt like an almost fresh experience. I set aside Black Dahlia for little while, and took a dive into Ripper.
Ripper was made by the same team that brought us Bloodnet, a unique cyberpunk/gothic RPG. There was something about their brand of cyberpunk that clicked with me so strongly, that I followed their work closely for years.
After finishing Bloodnet, the team migrated from MicroProse to GameTek/Take 2.
Unfortunately, their next two games - Bureau 13 and Hell: A Cyberpunk Thriller weren't that good, despite featuring some interesting mechanics, lore, and as always, the team's intriguing takes on the cyberpunk genre.
Then came Ripper, their best effort at the time.
It has some devious puzzles, especially for non-native English speakers, but the story, the atmosphere, the cast, and that special "something" the team always had, were still present.
After that, some key figures left the team, but I've seen a few saying that their next game, Black Dahlia, is equal or even better than Ripper, though it definitely marked the end of their cyberpunk phase.
Ripper takes place in a cyberpunk future, you play as Jake Quinlin, a reporter for the Virtual Herald, who's being contacted by a copy
It's a well-paced Cyber-Thriller divided into 3 parts, where you have to slowly unravel the secrets of 3 main suspects.
Featuring FMVs starring Christopher Walken, Burgess Meredith, John Rhys-Davies, Paul Giamatti, David Patrick Kelly, Ossie Davis, and the lead character is played by TV actor Scott Cohen.
I won't spoil any story details, suffice to say that it's a dangerous and darkly tale of a dim futuristic world with a reasonable measure of drama and suspense.
It's worth noting that after finding out who's the serial killer, the game can be played 4 more times, in each playthrough the killer will be different.
You may wonder why there are four endings when there are three suspects. Well, your worst nightmare has only just begun
The game engine was created from scratch, and it can change resolutions between 640x480 and 320x200.
All locations are well designed and atmospheric, but there are a few major drawbacks.
Ripper had a budget of 4 million, and the hiring of those big-name actors cost 25% of the game's entire budget.
Which led to the inevitable decline in other aspects of the game, such as smaller areas to explore, and reduced environmental interactivity.
The game consists of a number of computer generated scenes where you can move, each with a series of positions and an animated sequence between viewing angles.
Movement sequences are slow and unskippable. It didn't bother me that much back in the day, however this time it was quite noticeable.
At this point, I can't resist the temptation to compare it with Tex Murphy, both games share a few similarities in tone, and to some extend, execution.
This is the moment where you appreciate even more Access Softwares' brilliant job. They made Under a killing Moon - cheaper, better, and 2 years earlier.
UAKM might not had the acting magnitude of Ripper, but they've managed their budget in a
way.Which means decent acting, 3D real time movement, bigger indoors/outdoors areas, satisfying environmental interactivity, and a plethora of items to collect.
Anyway, the paradox of Ripper, is that the decline of locations kinda works as a "positive" element. Given the slow camera movement, it's for the better having restricted areas.
On the plus side, you can visit all locations at any point from your map menu (but not sub-areas like Tex), which somewhat reduces the time-consuming walk around.
Music is subtle and appropriate to the scenes and will vary as you progress through the time-line of the game, changing to a more dramatic tempo when it approaches peak moments.
Of course, you get to listen to Blue Oyster Cult's "Don't Fear The Reaper"
Which is actually a clue for the last creative puzzle in the game
The puzzles are varied and quite devious, and require careful observation and proper data evaluation.
My guess is that few codexeres could have finished it without external help.
The first 3 puzzle set pieces in Wofford Cottage, are a clear indication of what the game will mercilessly throw at you.
Tabletop mazes, mathematics, zodiac puzzles, deciphering messages, decryption of Well addresses(web pages) by placement of specific access codes, there's a lot of intricate stuff.
Not to mention the puzzles in the bizarre hallucinographic virtual reality of cyberspace, like the chess game with the twisted rules to get weapon one.
I especially liked those that are perfectly interwoven with the game's theme, like recording/processing a voice sample to open the door of a secret lab.
Or when following a cryptic set of instructions to install a set of circuits on a computer.
Of course, you'll get to solve a few generic and overused puzzles, such as sliders, and unfortunately, item-based ones are greatly reduced, but what is there, is pretty good.
Although I have to admit, I couldn't decrypt a phone number, and I wasn't willing to spend an insane amount of time to solve this shit.
So, I made the ultimate sin (didn't get it even after reading the solution
There are also a few
shooting sections, just put it on easy and get done with it.Ripper is a peculiar case, on the one hand, the decline in certain aspects is pretty obvious. On the other, most of the puzzles and the atmosphere will absorb you, especially if you're a Bloodnetfag.
And if you have a sharp eye, you will even spot quite a few references to Bloodnet.
It doesn't reach UAKM or PD, but it's an intriguing buffet of various dishes, some of which you'll find mediocre and some delicious.
If you can tolerate the slow movement, and a few questionable solutions, it's worthy of at least one playthrough.
I disagree with a few design decisions, but I will agree with what Writer/lead designer F.J. Lennon commented,
"The whole industry wants to crucify FMV, people claim FMV doesn't belong in games, but if it's done professionally, I think it can work."
It just works.
Have a healthy 2025 bros, and keep adventuring!
_________________________________________________________________________________________________________________
Ripper installation package for newer versions of Windows(disk swapping is automated, just click continue).
https://www.zombs-lair.com/ripper
Also Black Dhalia
https://www.zombs-lair.com/black-dahlia
GOG will never bother with Rama, so grab a working version.
https://www.zombs-lair.com/rama
PS- There are few more interesting games on the same site, you might want to take a quick look.
Last edited:
Darkozric
Arbiter
- Joined
- Jun 3, 2018
- Messages
- 1,894
Queensrÿche - Promised Land (1996) MediaX, Inc.
Continuing in a festive spirit, I dug up another piece of obscure software that is lost in time.
Somehow I didn't know this existed, until last week.
The concept of bringing alive prog albums in an adventure format has always fascinated me.
And that is the case here. While recording "Promised Land" in their atmospheric cabin, Queensrÿche decided to make their own Myst attempt based on the same album.
While "Operation Mindcrime" is considered their magnum opus, the esoteric "Promised Land" was the one that hit me hard back in the day, and it's the perfect choice for a project like this one.
The premise of the game is all about the symbol or totem of the band (the Tri-rÿche), which is composed of five parts, and at the beginning of the game it scatters and every piece is in a different world.
Each of these worlds happen to be created by each of the band members' dreams and worries.
Your job is to find each of the pieces and rebuild the totem. The reward of that will be an unreleased song performed by the band in a FMV fashion.
As you find each piece, the band member who "owns" that world lets you have a glimpse of his work in the band in the form of musical videos.
You don't have to solve every puzzle to unlock the song, you only need to find the lost five parts.
This is a recommendation mostly for Queensrÿche fans (and "botany" enthusiasts).
Puzzle-wise, there's nothing substantial here. It's just a relaxing and trippy experiment, with a lot of surrealistic areas to explore, interacting with the weird, and often funny FMV band scenes.
Tbh finding 2 of those totem pieces was trickier than the puzzles themselves.
Playing this, made me wish that there were more iconic albums in a playable format.
Dare you find your own Promised Land?
"Almost called it today.
Turned to face "The Void"
Numb with the suffering
And the question,
"Why am I?"
So many times I've tried and failed to
Gather my courage, reach again for that nail.
Life's been like
Dragging feet through sand,
And never finding,
Promised land."
Continuing in a festive spirit, I dug up another piece of obscure software that is lost in time.
Somehow I didn't know this existed, until last week.
The concept of bringing alive prog albums in an adventure format has always fascinated me.
And that is the case here. While recording "Promised Land" in their atmospheric cabin, Queensrÿche decided to make their own Myst attempt based on the same album.
While "Operation Mindcrime" is considered their magnum opus, the esoteric "Promised Land" was the one that hit me hard back in the day, and it's the perfect choice for a project like this one.
The premise of the game is all about the symbol or totem of the band (the Tri-rÿche), which is composed of five parts, and at the beginning of the game it scatters and every piece is in a different world.
Each of these worlds happen to be created by each of the band members' dreams and worries.
Your job is to find each of the pieces and rebuild the totem. The reward of that will be an unreleased song performed by the band in a FMV fashion.
As you find each piece, the band member who "owns" that world lets you have a glimpse of his work in the band in the form of musical videos.
You don't have to solve every puzzle to unlock the song, you only need to find the lost five parts.
This is a recommendation mostly for Queensrÿche fans (and "botany" enthusiasts).
Puzzle-wise, there's nothing substantial here. It's just a relaxing and trippy experiment, with a lot of surrealistic areas to explore, interacting with the weird, and often funny FMV band scenes.
Tbh finding 2 of those totem pieces was trickier than the puzzles themselves.
Playing this, made me wish that there were more iconic albums in a playable format.
Dare you find your own Promised Land?
"Almost called it today.
Turned to face "The Void"
Numb with the suffering
And the question,
"Why am I?"
So many times I've tried and failed to
Gather my courage, reach again for that nail.
Life's been like
Dragging feet through sand,
And never finding,
Promised land."
Whoa, never heard of this one and I'm a big Queensryche fan (all their classic albums until Promised Land, and nothing after that).
Thanks for digging up this obscurity, I will surely check it out one day.
- Joined
- May 13, 2009
- Messages
- 28,900
Disobedience.
Cryo was hired to do a proof-of-concept of a game based on the Dune-universe, alongside Westwood Studios. When Virgin checked each company's results, they were more impressed by Westwood's game and cancelled Cryo's.
But while most of Cryo used the tech from Dune to develop KGB/Conspiracy, part of Cryo's team continued development on Dune in secret, they had such strong faith in it and didn't want to see it gone. Eventually they were found out, and Virgin was contacted and asked if they could kindly give Cryo-Dune another look, seeing was it was far more developed now. This time Virgin were truly impressed, but had the problem of being about to publish two Dune-games. The problem was solved with a simple phone call, to ask Westwood Studios if they could change the title of their game to add a '2' to it.
This is why two Dune-games were released in 1992, and why Cryo released two very similar games in 1992.
There is another similar incident in the gaming industry, where a dev team disobeyed their masters and worked on a game in secret because they had faith in it. When found out, their masters were quite lenient - they only allowed work on the game in people's spare time, and forbade them from using company resources. The team agreed to these harsh conditions, and worked after hours in their homes to code Mega Man 2 for Capcom, who had been disappointed with the success of the first game and were not interested in making a sequel.
The rest is history.
Last edited:
deus101
Never LET ME into a tattoo parlor!
- Joined
- Aug 18, 2010
- Messages
- 2,062
So you've mentioned the Sherlock Holmes games right? Those were great.
Sherlock Holmes vs. Cthulhu (Sorry it was called Sherlock Holmes: The Awakened)
Sherlock Holmes vs. Arsene Lupin
Sherlock Holmes vs. Jack the Ripper.
At "Testament of Sherlock Homes" and "Devils Daughter" it started to decline.
It was a geniune FPPCA (first person point and click) adventure. and the mechanics, controls and interface worked REALLY well along side a quick travel map that meant you could easily back track to a location without much obstruction.
Sherlock Holmes vs. Cthulhu (Sorry it was called Sherlock Holmes: The Awakened)
Sherlock Holmes vs. Arsene Lupin
Sherlock Holmes vs. Jack the Ripper.
At "Testament of Sherlock Homes" and "Devils Daughter" it started to decline.
It was a geniune FPPCA (first person point and click) adventure. and the mechanics, controls and interface worked REALLY well along side a quick travel map that meant you could easily back track to a location without much obstruction.
Last edited:
deus101
Never LET ME into a tattoo parlor!
- Joined
- Aug 18, 2010
- Messages
- 2,062
Off! I had a love experience with Darkness Within, its so rich in eary atmosphere it does the work for it without cheap scare(i mean it had those but the atmosphere was so good the cheesiness was overcome) . I also liked its "underline text clues" thought it was REALLY buggy without patches.
Two well made horror adventures, I prefer Scratches with it's typical Victorian Mansion experience. Plus it gave me the worst shock in my entire gaming career. Darkness Within is highly atmospheric too but with less focus than Scratches.
How come nobody mentions The Last Express? One of the greatest achievements of storytelling, this pièce d'art manages to create an authentically feeling ride abord the Orient Express during the last days before WW1, telling a masterfully crafted story between history and ficition with a vibrant atmosphere and a cast of fascinating passengers to acompany the murder mystery. The greatest aspect is the almost realtime course of the game: The different characters lead their own lives, things happen even if you are not there to observe them, so you'll never see the whole story in all angles if you only play it once. This game is Jordan Mechners masterpiece in my opinion. Highly recommended - but everybody is advised to play the original game, not the uglyfied remaster with its horrendous GUI that has a negative impact on immersion.
I would really like to see further use of that mechanic.
Scratches was neat.
Last Express was GLOORIUS!
Darkozric
Arbiter
- Joined
- Jun 3, 2018
- Messages
- 1,894
Azrael's Tear (1996) Intelligent Games
In the dark, in the silence, and the dirt, we have awaited you thief. Only ghosts and beasts for company. While above, the hordes of human madness hurtle blindly onward, harvested as corn by the merciful scythe. Our vigil offers no rest.
We have drunk deep the cup of life, and have guarded it through the passage of centuries. Now the trumpets herald the third millennium, and the cold pitiless stars align to an age old destiny.
The time is here, can you feel the pull of destiny fated thief? We who guard the cup are calling you with impatience. Come down into the earth with us.
Forget the traditional archaeologist's image from the last century of the tweed jacketed, pipe-smoking university professor.
Τhis is the era of the children of a new age, a new breed of scavengers with the questionable title of "raptors".
Little is known of them as individuals, but they are obviously highly trained, both in the recognition of valuable artifacts and in dealing with the dangers inherent in exploring some of the locations they have plundered.
They must also be men and women possessed of extreme wealth who are able to equip themselves with the largest technology in both weaponry and portable information systems.
Τhe game puts you in the shoes of one of those sophisticated cat-burglars, receiving a letter from Colin Scott - another rival raptor, who claims to have found the holy grail in north-east Scotland.
He also informs you that he dug up the grave of Sir Guy of Bramley (Crusader and Templar Knight). In the disintegrated remains, there was a lead cylinder with his last testament.
Τhe letter ends by requesting help and promises a split of the profits 50/50.
That's an offer too good to decline, isn't it?
I'll quote both Colin Scotts' letter and Sir Guy of Bramley testament from the manual.
The plot is revolving around the search for the Grail, amidst a backdrop of eschatological conspiracy and the effects caused by "grailstone", a mineral with unusual properties.
You'll explore Aeternis, the underground citadel which is affected by the aforementioned mineral, creating a surreal environment filled with bizarre creatures and the remnants of the Templar Knights.
Documents and inscriptions are scattered all over the place, slowly unfolding the mystery of grailstone and the Holy Grail itself.
There's a variety of characters, either alive or their spectral representation, that add depth to the narrative, and they are key to solving the game's puzzles.
I liked the fact that every character has its own agenda, and in some cases, there are numerous outcomes depending on the dialogue choice.
Also, keep in mind, that the rumors about the Holy Grail travel fast, so you should be vigilant for other greedy cunts while exploring, and choose your answers carefully when needed.
Without spoiling much, the setting and world-building is as immersive as it gets. Lost ancient civilizations, sci/fi elements, Lovecraftian influences and Masonic conspiracies.
It's remarkable how everything is so cohesively well presented and developed.
Intelligent Games created their own engine to handle real-time 3D graphics, which was quite ambitious for an adventure game at the time.
A major feat, that was achieved back when most adventure games were exclusively 2D or used pre-rendered elements for their backgrounds.
Azrael's Tear is often cited as one of the earliest adventure games to use real-time 3D technology, only preceded by "Under a Killing Moon", in terms of using interactive 3D environments in an adventure game context.
It relied solely on in-game 3D models with texture mapping, offering a darker, more atmospheric visual experience.
In contrast, "Under a Killing Moon" combined 3D navigation with FMV for a richer, albeit different, visual storytelling experience.
The game's environments include medieval-style architecture, religious symbolism, and mystical elements, which resonate with the architectural and symbolic interests of Freemasonry.
The labyrinthine environment is filled with the remnants of the Knights Templar, and the choice of setting and visual design of the monastery adds a gothic backdrop to the gameplay.
However, the graphics, while atmospheric, do show their limitations when viewed closely. So, be prepared for a good pixelation dose.
They only major down-side is the occasional framerate drop, especially in complex scenes, although you can somewhat counter those moments on the fly by altering the resolution of the view (numb keys 1-4).
Ray Shulman and Kerry Minnear (Gentle Giant) composed the soundtrack, enhancing the game's eerie atmosphere.
Those interested in the intersection of progressive rock with video game soundscapes will appreciate it even more.
The tracks are steeped in medieval ambiance, creating a mystical environment begging to be explored.
Sound effects are also used creatively to heighten the sense of isolation and discovery.
The gameplay is designed around exploration, puzzle-solving, and a bit of combat.
Exploration is non-linear, with multiple paths and methods to solve puzzles and progress through the game.
The game's structure allows for a significant amount of choices on how to approach challenges, making the exploration aspect quite open-ended.
Exploration is also greatly enhanced by the unique examine/scanning function provided by your MS-2 helmet.
In most adventures, examining stuff will just give you a brief description, well, not here.
The MS-2 comes with a hands-free penetrative scanning system, allowing you to analyze and interact with various objects and environments.
There are various scanning methods, including environmental scans, DNA, and penetration scans, which can identify unknown substances, biological entities, structural details of the surroundings, and even possible threats or hazards.
Overall, the scanning system enriches even more the immersion and lore of an already atmospheric game.
Looking Glass enthusiasts will also find something to appreciate here, since the game has a systemshockian vibe to it.
Of course, Azrael's Tear is puzzle-heavy, but both games emphasize exploration over combat, where a simple encounter can be fatal.
Story-telling also works in a similar way, with plenty of environmental cues and logs.
The puzzles in Azrael's Tear are intertwined with the storyline, requiring logical thinking and careful environmental observation.
Generally they are self-contained but often build on each other, where solving one might provide the key (literally or metaphorically) to another.
There's a good variety in puzzle types, ranging from inventory-based, environmental, mechanical, to narrative-driven.
The initial puzzles' focus is on simple item usage and basic environmental interaction, but as you progress, they become more complex, requiring not just logic but also a comprehensive understanding of the game's lore.
A personal highlight is the orrery puzzle; when you first encounter it, the orrery is dismantled. The initial task is to activate it, which involves solving a rotation/alignment puzzle to put it back together.
After that, to fully activate it and proceed, you'll need the four shields scattered throughout Aeternis. Each shield not only acts as a key but also symbolizes part of the journey/test to claim the Grail.
This puzzle is emblematic of the game's design philosophy, that encapsulates many of the game's themes and challenges.
Non-linearity also adds an extra difficulty layer, in which you'll have to backtrack to previous areas with new items and knowledge.
The game provides a rudimentary map feature through the MS-2 helmet, but it's primarily for orientation rather than detailed navigation.
So you'll need to remember or manually note down where certain items or puzzles are located due to the limited in-game map functionality.
The good thing about Azrael's Tear is that is devoid of abstract logic, everything has a purpose and has been naturally integrated into the game world.
Combat plays a relatively minor role, but it is still essential in a few situations.
You can toggle between normal and combat mode by pressing the space bar. In combat mode, a target appears on the screen (similar to Ripper) and you can shoot with your MS-7 sniper by left-clicking.
However, the game encourages to avoid unnecessary combat where possible. For example, one can choose to run away from or talk to enemies instead of fighting them, which can sometimes lead to different outcomes.
One head-scratching decision, is the implementation of inverted mouse movement when holding down right-click for looking up and down, as if we were playing a fucking flight sim.
Not that big of an issue since you can alternatively use the page up/down keys, but it's worth mentioning nonetheless.
Azrael's Tear is an ambitious and overlooked gem, that had the misfortune of being released in the same year as Quake, which significantly impacted its commercial performance (weak marketing campaign also didn't help).
It's not without a few flaws, with the most notable being the performance, which impacts the necessary backtracking.
However, it offers a unique, challenging, and atmospheric experience for those willing to navigate its labyrinthine corridors.
Usually I'm allergic to remakes, but if there's one title worthy of a proper remake, it's definitely Azrael's Tear.
Night Dive Studios attempted to acquire the rights in 2017, but there hasn't been any news since then.
At the very least, even a spiritual successor by some talented madman could do the job.
A Templar Knight can dream.
EDIT: Forgot to include the download link, I played this version.
https://collectionchamber.blogspot.com/2015/09/azraels-tear.html
(don't pay attention to the reviewer, his take is somewhat retarded)
We have drunk deep the cup of life, and have guarded it through the passage of centuries. Now the trumpets herald the third millennium, and the cold pitiless stars align to an age old destiny.
The time is here, can you feel the pull of destiny fated thief? We who guard the cup are calling you with impatience. Come down into the earth with us.
It's the year of our Lord 2012, China has become a major world power while America, Japan, and Russia have fallen into decline.
However, from the environmental perspective, the world's climate has changed significantly - and in particular, global warming has accelerated and become much more severe.
All nations have been affected by this, some disastrously. Moreover, catastrophic earthquakes have rocked the world since 1998.
Not all was merely suffering and setbacks: Archaeology suddenly thrived, for the world's changing water levels have led to the discovery of an astounding number of archaeological sites that had been lost for thousands of years.
This did not just happen within the Mediterranean basin or Northern Africa, but in Some very unexpected places, such as South America, Canada and Australia.
Most of these newly discovered structures were underground and some were vast and magnificently constructed complexes.
The discoveries also sparked a much-needed regeneration of pride in human achievement and a renewed sense of optimism for the future.
The artefacts became the symbols for this new change in attitude and a new obsession swept the world. People started buying artefacts, and those that could afford it wanted the genuine articles.
It soon became a social necessity among the wealthy to have at least one valuable artefact on show in the home.
Large corporations too wanted artefacts in their foyers and offices. Serious collectors desperately wanted genuine artefacts from the recent finds.
They were willing to pay extraordinary prices, and they didn't care whether they came from legal or illegal sources.
The demand couldn't be met by the existing, inadequate black market, so new entrepreneurs came in and filled the vacuum.
A new breed of young, smart and ambitious people emerged.
However, from the environmental perspective, the world's climate has changed significantly - and in particular, global warming has accelerated and become much more severe.
All nations have been affected by this, some disastrously. Moreover, catastrophic earthquakes have rocked the world since 1998.
Not all was merely suffering and setbacks: Archaeology suddenly thrived, for the world's changing water levels have led to the discovery of an astounding number of archaeological sites that had been lost for thousands of years.
This did not just happen within the Mediterranean basin or Northern Africa, but in Some very unexpected places, such as South America, Canada and Australia.
Most of these newly discovered structures were underground and some were vast and magnificently constructed complexes.
The discoveries also sparked a much-needed regeneration of pride in human achievement and a renewed sense of optimism for the future.
The artefacts became the symbols for this new change in attitude and a new obsession swept the world. People started buying artefacts, and those that could afford it wanted the genuine articles.
It soon became a social necessity among the wealthy to have at least one valuable artefact on show in the home.
Large corporations too wanted artefacts in their foyers and offices. Serious collectors desperately wanted genuine artefacts from the recent finds.
They were willing to pay extraordinary prices, and they didn't care whether they came from legal or illegal sources.
The demand couldn't be met by the existing, inadequate black market, so new entrepreneurs came in and filled the vacuum.
A new breed of young, smart and ambitious people emerged.
Forget the traditional archaeologist's image from the last century of the tweed jacketed, pipe-smoking university professor.
Τhis is the era of the children of a new age, a new breed of scavengers with the questionable title of "raptors".
Little is known of them as individuals, but they are obviously highly trained, both in the recognition of valuable artifacts and in dealing with the dangers inherent in exploring some of the locations they have plundered.
They must also be men and women possessed of extreme wealth who are able to equip themselves with the largest technology in both weaponry and portable information systems.
Τhe game puts you in the shoes of one of those sophisticated cat-burglars, receiving a letter from Colin Scott - another rival raptor, who claims to have found the holy grail in north-east Scotland.
He also informs you that he dug up the grave of Sir Guy of Bramley (Crusader and Templar Knight). In the disintegrated remains, there was a lead cylinder with his last testament.
Τhe letter ends by requesting help and promises a split of the profits 50/50.
That's an offer too good to decline, isn't it?
I'll quote both Colin Scotts' letter and Sir Guy of Bramley testament from the manual.
Friend!
May I call you friend?! OK! So we're rivals and you're wondering "why the hell is he writing to me?" Well, my friend, I am onto the big one, and I mean big with a capital B.
The star prize. But, the fact that you've received this letter means it's proved way too big for me. You see I arranged to have this letter delivered to you if I hadn't returned in four days time.
Obviously I haven't, so I'm stuck and need your help - but first let me backtrack and explain.
I swear I am writing this cold bloody sober. I've found the grail itself (I said the big one). I spent a lot of last summer searching the journals of pilgrims traveling through the Holy Lands after the First Crusade,
when I came across an account of a mysterious shipment leaving Jerusalem in 1146.
The shipment was escorted by twelve Templars, so I knew this was important! But there were no other records of its arrival or departure.
It took me nine months of searching thorough every library in Europe to find the next clue: it was the burnt fragment of a transfer order for twelve knights to Wick, in Northeast Scotland.
But of course that just raised more questions. Why send so many Knights to such a barren place?
And were these the selfsame Knights that left Jerusalem? I was sure they were, so I kept looking until I found the next clue in Paris - the original transfer order had been authorized by the Templar Grand Master himself - so this just had to be big!
Last week I traveled to Wick, and it was there that I found the final clues.
In a graveyard I found a tombstone dated 1763 which reads "Here lies Sir Guy of Bramley, a Crusader now in God's Holy Army."
Clearing the grass away from the base of the stone I found a line of Latin text, badly eroded but still legible, which translated to read "The answers you seek lie close to my heart."
I was dumbfounded! Sir Guy of Bramley was the name of one of the twelve knights on the transfer list! But 1763? 600 years after first arriving on Scottish soil?
The reference to crusader was another tantalizing clue, but the clincher for me was the Latin text, the answers were buried with him. So, next morning - when it was, appropriately, still the dead of night - I dug down to Sir Guy's coffin.
In the disintegrated remains I found a lead cylinder. Inside was his testament, which I've translated, copied out and enclosed with this letter. When you've finish this, read it for yourself - it's an amazing tale.I know the whereabouts of the grail.
I came back here to sort things out, and tonight I'm driving back to get it out.So why am I telling you this? Because I'm getting fearful and superstitious, I suppose, and because I feel that nothing about this affair is quite as it seems.
As you are now reading this letter, then it seems my sense of foreboding is not misplaced.
I need your help. Come to Aeternis, help me and we'll split the profits 50/50 - that's fair, isn't it?
Goodbye and hurry! I wish you better luck than it seems I've had.
Colin Scott
May I call you friend?! OK! So we're rivals and you're wondering "why the hell is he writing to me?" Well, my friend, I am onto the big one, and I mean big with a capital B.
The star prize. But, the fact that you've received this letter means it's proved way too big for me. You see I arranged to have this letter delivered to you if I hadn't returned in four days time.
Obviously I haven't, so I'm stuck and need your help - but first let me backtrack and explain.
I swear I am writing this cold bloody sober. I've found the grail itself (I said the big one). I spent a lot of last summer searching the journals of pilgrims traveling through the Holy Lands after the First Crusade,
when I came across an account of a mysterious shipment leaving Jerusalem in 1146.
The shipment was escorted by twelve Templars, so I knew this was important! But there were no other records of its arrival or departure.
It took me nine months of searching thorough every library in Europe to find the next clue: it was the burnt fragment of a transfer order for twelve knights to Wick, in Northeast Scotland.
But of course that just raised more questions. Why send so many Knights to such a barren place?
And were these the selfsame Knights that left Jerusalem? I was sure they were, so I kept looking until I found the next clue in Paris - the original transfer order had been authorized by the Templar Grand Master himself - so this just had to be big!
Last week I traveled to Wick, and it was there that I found the final clues.
In a graveyard I found a tombstone dated 1763 which reads "Here lies Sir Guy of Bramley, a Crusader now in God's Holy Army."
Clearing the grass away from the base of the stone I found a line of Latin text, badly eroded but still legible, which translated to read "The answers you seek lie close to my heart."
I was dumbfounded! Sir Guy of Bramley was the name of one of the twelve knights on the transfer list! But 1763? 600 years after first arriving on Scottish soil?
The reference to crusader was another tantalizing clue, but the clincher for me was the Latin text, the answers were buried with him. So, next morning - when it was, appropriately, still the dead of night - I dug down to Sir Guy's coffin.
In the disintegrated remains I found a lead cylinder. Inside was his testament, which I've translated, copied out and enclosed with this letter. When you've finish this, read it for yourself - it's an amazing tale.I know the whereabouts of the grail.
I came back here to sort things out, and tonight I'm driving back to get it out.So why am I telling you this? Because I'm getting fearful and superstitious, I suppose, and because I feel that nothing about this affair is quite as it seems.
As you are now reading this letter, then it seems my sense of foreboding is not misplaced.
I need your help. Come to Aeternis, help me and we'll split the profits 50/50 - that's fair, isn't it?
Goodbye and hurry! I wish you better luck than it seems I've had.
Colin Scott
This is the solemn, true and final testament of Sir Guy of Bramley, Crusader and Templar Knight. Read well, for my death draws near and I have little time.
I beseech you, what rests in darkness must, by God's grace, be brought back into light. In the year of our lord, 1146, I was to be found a young Templar knight, fighting battles long and hard with my holy brothers.
One such battle with my mighty brother Tallum brought us to great renown. The fire and fury of our faith supported us both at the battle of Corinth.
We two fought against the horde, laying waste to full fivescore Saracens and causing tenscore more to beat a hasty retreat. It was this renown that led us to be amongst those twelve Templars chosen to guard the holiest of relics.
For in Jerusalem, that holiest city, a wondrous discovery had been made and thence kept secret by the leaders of our order. They had found the grail itself.
Though strange it is, fashioned of a stone that lights and warms the darkness. A holy light that heals all wounds and denies the reaper his harvest.
In the cold winter of 1153 we left the world of ordinary men. We followed our leader and Lord Tobias de Treece deep beneath this Scottish soil to begin the long vigil that has wrecked and tortured our souls, breaking the spirit of more than one of us.
My eyes grow dim and my hand falters. I must hurry; for believe me; the year is now 1763 and without the power of any grailstone to protect me, the long decades fall upon my flesh with the hunger of wolves.
Read on and mark my words well! Woe is the lot of men for a son of devils is among you. Malik the traitor has escaped with stolen grailstone and treads the lands of fragile humans feral and immortal.
Havoc is his true name and only in the power of the grail lies a hope of salvation for humanity. I charge you who have found this document of my shame and failure to enter the temple of Aeternis and retrieve it.
May the Lord forgive me for I have failed in preventing his evil to enter this world of youth and vigour.
I beseech you, what rests in darkness must, by God's grace, be brought back into light. In the year of our lord, 1146, I was to be found a young Templar knight, fighting battles long and hard with my holy brothers.
One such battle with my mighty brother Tallum brought us to great renown. The fire and fury of our faith supported us both at the battle of Corinth.
We two fought against the horde, laying waste to full fivescore Saracens and causing tenscore more to beat a hasty retreat. It was this renown that led us to be amongst those twelve Templars chosen to guard the holiest of relics.
For in Jerusalem, that holiest city, a wondrous discovery had been made and thence kept secret by the leaders of our order. They had found the grail itself.
Though strange it is, fashioned of a stone that lights and warms the darkness. A holy light that heals all wounds and denies the reaper his harvest.
In the cold winter of 1153 we left the world of ordinary men. We followed our leader and Lord Tobias de Treece deep beneath this Scottish soil to begin the long vigil that has wrecked and tortured our souls, breaking the spirit of more than one of us.
My eyes grow dim and my hand falters. I must hurry; for believe me; the year is now 1763 and without the power of any grailstone to protect me, the long decades fall upon my flesh with the hunger of wolves.
Read on and mark my words well! Woe is the lot of men for a son of devils is among you. Malik the traitor has escaped with stolen grailstone and treads the lands of fragile humans feral and immortal.
Havoc is his true name and only in the power of the grail lies a hope of salvation for humanity. I charge you who have found this document of my shame and failure to enter the temple of Aeternis and retrieve it.
May the Lord forgive me for I have failed in preventing his evil to enter this world of youth and vigour.
The plot is revolving around the search for the Grail, amidst a backdrop of eschatological conspiracy and the effects caused by "grailstone", a mineral with unusual properties.
You'll explore Aeternis, the underground citadel which is affected by the aforementioned mineral, creating a surreal environment filled with bizarre creatures and the remnants of the Templar Knights.
Documents and inscriptions are scattered all over the place, slowly unfolding the mystery of grailstone and the Holy Grail itself.
There's a variety of characters, either alive or their spectral representation, that add depth to the narrative, and they are key to solving the game's puzzles.
I liked the fact that every character has its own agenda, and in some cases, there are numerous outcomes depending on the dialogue choice.
Also, keep in mind, that the rumors about the Holy Grail travel fast, so you should be vigilant for other greedy cunts while exploring, and choose your answers carefully when needed.
Without spoiling much, the setting and world-building is as immersive as it gets. Lost ancient civilizations, sci/fi elements, Lovecraftian influences and Masonic conspiracies.
It's remarkable how everything is so cohesively well presented and developed.
Intelligent Games created their own engine to handle real-time 3D graphics, which was quite ambitious for an adventure game at the time.
A major feat, that was achieved back when most adventure games were exclusively 2D or used pre-rendered elements for their backgrounds.
Azrael's Tear is often cited as one of the earliest adventure games to use real-time 3D technology, only preceded by "Under a Killing Moon", in terms of using interactive 3D environments in an adventure game context.
It relied solely on in-game 3D models with texture mapping, offering a darker, more atmospheric visual experience.
In contrast, "Under a Killing Moon" combined 3D navigation with FMV for a richer, albeit different, visual storytelling experience.
The game's environments include medieval-style architecture, religious symbolism, and mystical elements, which resonate with the architectural and symbolic interests of Freemasonry.
The labyrinthine environment is filled with the remnants of the Knights Templar, and the choice of setting and visual design of the monastery adds a gothic backdrop to the gameplay.
However, the graphics, while atmospheric, do show their limitations when viewed closely. So, be prepared for a good pixelation dose.
They only major down-side is the occasional framerate drop, especially in complex scenes, although you can somewhat counter those moments on the fly by altering the resolution of the view (numb keys 1-4).
Ray Shulman and Kerry Minnear (Gentle Giant) composed the soundtrack, enhancing the game's eerie atmosphere.
Those interested in the intersection of progressive rock with video game soundscapes will appreciate it even more.
The tracks are steeped in medieval ambiance, creating a mystical environment begging to be explored.
Sound effects are also used creatively to heighten the sense of isolation and discovery.
The gameplay is designed around exploration, puzzle-solving, and a bit of combat.
Exploration is non-linear, with multiple paths and methods to solve puzzles and progress through the game.
The game's structure allows for a significant amount of choices on how to approach challenges, making the exploration aspect quite open-ended.
Exploration is also greatly enhanced by the unique examine/scanning function provided by your MS-2 helmet.
In most adventures, examining stuff will just give you a brief description, well, not here.
The MS-2 comes with a hands-free penetrative scanning system, allowing you to analyze and interact with various objects and environments.
There are various scanning methods, including environmental scans, DNA, and penetration scans, which can identify unknown substances, biological entities, structural details of the surroundings, and even possible threats or hazards.
Overall, the scanning system enriches even more the immersion and lore of an already atmospheric game.
Looking Glass enthusiasts will also find something to appreciate here, since the game has a systemshockian vibe to it.
Of course, Azrael's Tear is puzzle-heavy, but both games emphasize exploration over combat, where a simple encounter can be fatal.
Story-telling also works in a similar way, with plenty of environmental cues and logs.
The puzzles in Azrael's Tear are intertwined with the storyline, requiring logical thinking and careful environmental observation.
Generally they are self-contained but often build on each other, where solving one might provide the key (literally or metaphorically) to another.
There's a good variety in puzzle types, ranging from inventory-based, environmental, mechanical, to narrative-driven.
The initial puzzles' focus is on simple item usage and basic environmental interaction, but as you progress, they become more complex, requiring not just logic but also a comprehensive understanding of the game's lore.
A personal highlight is the orrery puzzle; when you first encounter it, the orrery is dismantled. The initial task is to activate it, which involves solving a rotation/alignment puzzle to put it back together.
After that, to fully activate it and proceed, you'll need the four shields scattered throughout Aeternis. Each shield not only acts as a key but also symbolizes part of the journey/test to claim the Grail.
This puzzle is emblematic of the game's design philosophy, that encapsulates many of the game's themes and challenges.
Non-linearity also adds an extra difficulty layer, in which you'll have to backtrack to previous areas with new items and knowledge.
The game provides a rudimentary map feature through the MS-2 helmet, but it's primarily for orientation rather than detailed navigation.
So you'll need to remember or manually note down where certain items or puzzles are located due to the limited in-game map functionality.
The good thing about Azrael's Tear is that is devoid of abstract logic, everything has a purpose and has been naturally integrated into the game world.
Combat plays a relatively minor role, but it is still essential in a few situations.
You can toggle between normal and combat mode by pressing the space bar. In combat mode, a target appears on the screen (similar to Ripper) and you can shoot with your MS-7 sniper by left-clicking.
However, the game encourages to avoid unnecessary combat where possible. For example, one can choose to run away from or talk to enemies instead of fighting them, which can sometimes lead to different outcomes.
One head-scratching decision, is the implementation of inverted mouse movement when holding down right-click for looking up and down, as if we were playing a fucking flight sim.
Not that big of an issue since you can alternatively use the page up/down keys, but it's worth mentioning nonetheless.
Azrael's Tear is an ambitious and overlooked gem, that had the misfortune of being released in the same year as Quake, which significantly impacted its commercial performance (weak marketing campaign also didn't help).
It's not without a few flaws, with the most notable being the performance, which impacts the necessary backtracking.
However, it offers a unique, challenging, and atmospheric experience for those willing to navigate its labyrinthine corridors.
Usually I'm allergic to remakes, but if there's one title worthy of a proper remake, it's definitely Azrael's Tear.
Night Dive Studios attempted to acquire the rights in 2017, but there hasn't been any news since then.
At the very least, even a spiritual successor by some talented madman could do the job.
A Templar Knight can dream.
EDIT: Forgot to include the download link, I played this version.
https://collectionchamber.blogspot.com/2015/09/azraels-tear.html
(don't pay attention to the reviewer, his take is somewhat retarded)
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- Joined
- May 21, 2014
- Messages
- 211
I loved this game, thanks for the writeup.
Truly a forgotten gem. Somber, mysterious, fantastic atmosphere.
The intro (which is basically just some text appearing on a black background) is pure poetry.
"While above
The midi music in the game is beautiful:
Some more info about the game from one of the developers, including some interviews, design document pdfs, etc.
https://geekboss.com/blog/azraels-tear
Truly a forgotten gem. Somber, mysterious, fantastic atmosphere.
The intro (which is basically just some text appearing on a black background) is pure poetry.
"While above
the hordes of human madness hurtle blindly onward
harvested as corn by the merciful scythe
our vigil offers no rest."
The midi music in the game is beautiful:
Some more info about the game from one of the developers, including some interviews, design document pdfs, etc.
https://geekboss.com/blog/azraels-tear
Darkozric
Arbiter
- Joined
- Jun 3, 2018
- Messages
- 1,894
Finished INFRA, a fairly grindy experience, here are some brief thoughts.
I was expecting a walking sim, which it is, however, it turned out being more than taking pictures of industrial structures.
Let's say that we have a case of a thinking man's walking sim.
The first part, which includes most of the outdoors areas, is pretty decent. The Hammer Valley Dam and the surrounding locations, contribute to a strong sense of exploration.
Pitheath Water Treatment Plant was among my favorite ones, a constrained area but with a lot of stuff to do.
Then you have Stalburg Steel, an industrial complex so fucking huge, that searching for an item feels like looking for a needle in a haystack.
And here lies the main problem of the game. A major part of the problem-solving, beside operating controls, resolves around collecting valves, fuses, unnamed keys, and cards.
Since the inventory system is non-existent, this naturally leads into increased, relentless walking.
Annoyed by pixel hunting in 2D adventures? You haven't seen nothing yet bruh. Have fun playing a constant hidden object game in Stalburg Steel, and the rest of the underground areas.
Also, there are plenty of trial and error situations and often unclear motives, especially in the middle part of the game, where you spend most of the time underground.
Sure, it's a game about a structural analyst, and so, reduced variety in problem-solving is to be expected. But holy shit, this game felt like it'll never end!
Problem-solving would've been less repetitive, if the game was half in length. The middle part was unnecessarily over-stretched imo.
And don't ask about backtracking, I've walked as much in this shit, as I haven't walked for the last few years irl.
Ascending from the never-ending underground tunnels like a jaded, underpaid troglodyte, you finally get to the 3rd part - Stalburg, under the setting sun.
Fuck yeah, finally some urban atmospheric exploration! Things do get a bit interesting again, where you have to operate the bridge and explore a boathouse.
Unfortunately, this will not last long, as the game will return to the same gameplay loop until the final, and very Finnish, reward.
Which is:
Good job nigga, I knew you could do it.
and
If you ever wanted to get back in the saddle so to speak, we might have something coming up.
My answer
The story is about how a feud between two businessmen, lead to the neglected desolation of an entire city's infrastructure.
Exploring topics such as industrial competition, conspiracies, corruption, and hallucinogenic mushroom addiction (few of those can be eaten).
You can ignore the papers and docs around (increasing the difficulty), focusing on documenting infrastructure damage, or you can dig deep into the secrets behind the collapse of industry.
As for the atmosphere and level design, they often give the illusion of a VtM/DeusEx kind of game, but without NPCs.
For a Source engine game, I'd say it looks fine.
From my pov, I'm not sure I can fully recommend it. There are good parts, but you'll have to endure the inevitable repetition to get there.
The overall presentation and exploration are good enough to carry you throughout the whole game (I wouldn't have finished it otherwise), but to reach completion, it depends on one's curiosity and willingness.
My career as a "structural analyst"
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