no dying

Full Throttle: Saved by its Faults? screenshot

Full Throttle

Game released: 1995

Developer: LucasArts

Production: Commercial

Platforms: DOS, Mac OS 9, ScummVM, Windows

Price: Out of print

Get it from: Amazon
Jordan Magnuson's picture

I only review games that I have either just played, or replayed, as I want to make sure that they’re fresh in my head. Looking over the games I’ve played and completed in the last few weeks, the one that won’t leave me alone is, perhaps surprisingly, Full Throttle, which I recently played through with my wife. I considered reviewing the more predictable Blueberry Garden (winner of this year’s Seumas McNally at the Independent Games Festival), but with Beacon and Seiklus still so fresh on the front page, I felt like going in a different direction. I like variety, and it’s my goal with this site to review all manner of games, commercial and independent, old and new. Full Throttle beckons me because it’s different from the stuff I’ve been reviewing of late,[1] because it’s not a game that typically receives critical attention, and because it’s full of memorable characters and settings, which continue to meander through my mind.

The question, though, is how to approach a game like Full Throttle: a game so grounded in an established genre that it makes little, if any, attempt to explore new gameplay ideas? What to do with a game that relies on established mechanics so completely that it seems to seek to legitimize itself entirely through aesthetic, character development, and plot? Some might dismiss such a game out of hand as irrelevant: games haven’t done a whole lot for us in the past twenty years, right? So anything good must come from innovation, pushing the boundaries, doing something different, and new. We’ve played adventure games, and that mode can only be so successful at conveying story, at expressing mood or emotion, at highlighting the unique brilliance of the interactive medium. Case closed.

Or is it? What happens if we forget all that? If we come at a game like Full Throttle with new eyes, intent to take away everything that the game has to offer? Let’s approach this thing from the bottom up. Read more »

Photopia: Not a Mediocre Short Story screenshot

Photopia

Game released: 1998

Developer: Adam Cadre

Production: Independent

Platforms: Glulx, Z-Machine

Price: FREE

Get it from: IFDB
Jordan Magnuson's picture

If you have not played Photopia, you should play it now. You should play it because it is a beautiful work, but if that’s not enough to encourage you, you should play it because it is a very important game, and it is very short. Really, if you’re not interested in taking an hour out of your day to play one of the most significant pieces of interactive fiction of the last twenty years, then you probably won’t be interested in what I have to say anyway. All games should be experienced before they are analyzed, but some games absolutely need to be, or they cannot be analyzed at all. Photopia is one such game.

If you have not played interactive fiction before, or if you have tried and given up, then this is a perfect chance to bite the bullet and finish a piece of IF. Because Photopia is not only short, but also very easy to play. If you shy away from IF because you don’t have the patience to read, then Photopia is made for you in its brevity; if you like to read, but shy away from IF because you don’t have the patience to learn a confusing syntax and interface, then Photopia is made for you in its simplicity and linearity. “Talk to” everyone you can, use “who am I?” and if you don’t know what else to do, try “wait”-ing a few times, or just keep walking north. I promise you, you’ll finish the game in no time. Just try not to rush through it so fast that you don’t enjoy those moments that should make you say “ah.” Read more »

Seiklus: The Wonder of the New screenshot

Seiklus

Game released: 2003

Developer: Clysm

Production: Independent

Platforms: Windows

Price: FREE

Get it from: TIGdb
Jordan Magnuson's picture

Steve Gaynor recently posted a very good article on his blog about play, and the purpose of games. I am tempted to quote the whole thing, but I will just pull out this piece:

As we dig into a new gameworld and begin to fill its boundaries with our understanding, we relive the experiences of youthful play. We explore unknown spaces as we did the woods behind our houses, or the vacant lots at the far ends of our neighborhoods. We hunt in hidden corners for treasures, and collect them in our pockets.

In a lot of ways, this paragraph could have been written specifically about Seiklus. In fact, Gaynor’s whole article could have been written specifically about Seiklus, because what Gaynor wants video games to do is exactly what Seiklus wants to do: “offer us fresh worlds from which to derive the reinvigorating, electrifying wonder of the new.” Read more »

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