Ratings and Reviews by Wade Clarke

The Hours has an intriguing opening which leads into an exciting and consistently unpredictable sci-fi adventure. You don't initially know what/where/why you are, only that you and your frantic NPC friend are being pursued by something. As soon as you think you've got a handle on this state of affairs, the state of affairs changes. And as soon as you think you've got a handle on the next state of affairs, that state of affairs changes as well. Though the game may be more linear than some players would like, it is great at pulling the rug out from under you time and time again, while also building up a complex set of rules about the time-travelling shenanigans that are going on.

This mythology is fascinating but complex, necessitating a lot of exposition; a Philip K Dick kind of premise with some of the black humour of Total Recall. The Hours moves quickly through many different moods, successfully conveying the disorientation of the Hours agents as they step in and out of their time-gating pools of water. The twitchy tonal changes between suspense, danger, mystery and paranoia kept me interested and on my toes through the whole game. The Russian doll-like development of the story's varying realities and the characters' clones is excellent, given the swiftness and smallish size of the adventure.

While the pacing and delivery of the writing is pretty good, the tone of the player's conversational choices sometimes proves elusive. I don't recommend choosing any of the "none of the above" conversation tree options because they can cause your protagonist to behave unpredictably, and The Hours is a game which subtly pays attention to how you treat the other characters.

I only became stuck twice, and in both cases, one use of the "help" command immediately got me unstuck. Both cases occurred during the game's introductory sequence (one involved an exit appearing that I didn't notice - there can be downsides to keyword based movement schemes) so the rest of the game flowed forward very well. Some obvious commands and synonyms don't work, or lead to (harmful to the suspension of disbelief) default-ish responses, but this is no big deal for someone's first Interactive Fiction game.

I imagine some of the import of The Hours's expositional dialogue could be moved into imagery or action, but I'm fine with the game the way it is. The number of complexities that open up as the mythology is described creates a kind of pleasurable tension (can I follow this? what will happen next?) which is then relieved by parcels of explanation. Some of the explanations are lengthy, but I can imagine this game being pretty hard to follow if it became too cryptic. It could in fact become an entirely different kind of game, a far more abstract one where you're left to ponder what the hell just happened. The game that is balances forward movement, action, doses of mystery and doses of explanation. And I think action can be hard to drive without motive. I always had a clear sense of what I was doing in each scene in The Hours, based on my understanding of my particular situation in that particular moment - which was often apt to change during the next moment. These are the surprises of The Hours.