Reviews by Rovarsson

The Lost Islands of Alabaz is a fun and energetic travel-adventure. It's aimed at children and has the feel of the "boy's adventures"-books I used to eat up by the dozens as a child. (For all I knew then, girls had books about knitting and princes. Except for my cool girlfriends, who also read the boy's books... Sign of the times...?)

At the beginning of the story, you get to choose a name for your protagonist, which was a great draw-in for my son. We decided on his own name. After that, he let me do all the hard work and asked about status-reports on his quest each evening.

There is a detailed tutorial in the game in the form of Trig, your best friend NPC. He breaks the fourth wall to tell the player directly what to TYPE. Children playing their first IF might not notice, but for a veteran with several dozen games under my belt, having read numerous threads and essays about Player-PC-Narrator-Parser-relations this made me feel unbalanced at first. I concluded that the aforementioned essays were taking things much too seriously...)

One morning, you, a young knight, are called by the king to go on a quest. The ten islands of the kingdom have been separated by a cursed mist for dozens of years now and there is no sign that it will lift of its own accord. The people are suffering under the lack of trade, food and communication with friends and relatives.
The king gives you one magic pearl to guide you through the mist to one island. From there, you're on your own. Find the cause of the curse and lift it, and find your way back home.

Not the most innovative of premises, but an engaging one. I did feel an obligation to fulfill this quest for the good of all the island-dwellers of Alabaz. (And to my son...)

The premise of the ten islands makes for a great sense of space. You're a seafaring adventurer exploring the unknown!
The islands themselves all have small maps (five locations or less, except for the mazy one...) At first, I thought the author was using a Gateway-like technique, each island a self-contained puzzle-space in the bigger whole. The first islands of The Lost Islands of Alabaz are like this. The more islands you have encountered and explored though, the more it becomes necessary to revisit previous islands, making for a web of relations between the islands that has to be kept in mind.

The puzzles themselves are easy to medium difficulty.Most of them are simple fetch-quests and/or straightforward use-appropriate-object-here obstacles. To get them right however, the player needs to pay close attention to the information he's given in conversations and in the out-of-game Almanac.

That's right! With your download, you get an Almanac about the islands and how they were before the mist. It's a nice 15-minute read, almost like an historical tourist-brochure. Embedded of course are many clues on how to solve the problems in the game.
Actually, the Almanac is just one of three hint-systems for the game. You also carry a journal, in which your progress is recorded along with reminders of puzzles you have yet to solve. And there is Trig. You can ask Trig about all the puzzles, repeatedly. He will start with giving you a nudge toward the first step of the solution, and give more explicit guidance after that.

There are a whole bunch of NPCs to whom you can talk. I found them to be well-characterized with a few strokes of the pen. They talk about many things, and to avoid confusion the author puts suggested topics that pertain directly to the puzzles between parentheses. All conversations use the syntax TALK ABOUT, although you can use ASK ABOUT too. I didn't find any differences.

The Lost Islands of Alabaz plays very smoothly. There are many synonyms for nouns and verbs. The descriptions change in tune with the actions you perform on other islands, there are nice responses to "failed" attempts. The player can feel at ease that the game will not misbehave.

This game turned out to be a lot longer than I expected from the first play-session where I breezed through the first two islands. I spent a few evenings on this quest for the hidden magic pearls. Very enjoyable evenings.

Light adventurous fun. Go play.

Oh, as an extra incentive: You can compete in the Zeppelipede-racing Derby on the Island of RazzMaTazz! Yes, you can. In fact, you must!

When I entered the first room in The Adventurers' Museum, I almost breathed a sigh of relief. It was a breath of fresh air to learn that the quest at hand was to retrieve all the exhibits that were stolen from the museum by a thievish imp. Through the actions of my anonymous adventurer, I was going to help restore the historical artefacts of the Necromancer-wars to their rightful place, for the good of future generations of schoolchildren and curious adults. My sociopathic and cleptomaniac tendencies would serve a greater cause.
I'm only half joking here. Although the gameplay of The Adventurers' Museum is the same as any old puzzle-&-looting romp, the task given to me by the old and wize curator of the museum had more importance, more weight than just treasure-taking to kill the Big Bad Bully at the end.

In his review for Baf's Guide, David Welbourn says: "Want to play Zork I again for the nostalgia value, but you've already played that one so many times that it's no longer a challenge? Try The Adventurers' Museum."
I haven't played Zork yet, but I have read enough to know that if you are eaten by a Growl in the dark and if your treasure gets randomly stolen by a thieving imp, I might as well view this game as a rehearsal for when I do tackle Zork.

The technical side of this adventure is more than adequate. There are many synonyms for verbs and nouns. Trying "wrong" things usually gives a response either why you can't do that or just lets you do them and see the funny consequences of your actions (plus it moves the game into unwinnable territory, but hey, save/restore right?)

There are several really oldschool features to this game, but it's as if the author put them in out of respect for past tradition rather than to make gameplay harder.
There's a limited lantern, but there's also an unlimited light source lying right on your path. Your hero gets thirsty, but a river runs right through the cave. You feel hungry, but the curator gave you elvish waybread on your third turn into the game. The imp keeps stealing your stuff, but you can get him off your scent quite easily.
The only thing left that can be annoying to (modern) players is the inventory-juggling, but all that does is make you take a trip back to the museum now and then.
It's probably best to put any frustrations aside and do a few exploratory runthroughs of the cave without worrying about unwinnability or the order of puzzles, just until you get a feel for the place.

Coming back to the Zork-comparison: I have also read enough that I think The Adventurers' Museum really has a special mood of its own. There is a very consistent, almost friendly fairytale-fantasy atmosphere throughout the entire game (except that one room...).

I found the layout and the feel of the map to be brilliant. The cramped cave-crawling of the cave entrance soon gives way to grand vistas of splendid underground halls, a fluorescent flower garden and subterranean pools. A nice big part of the map is accessible from the start, and already in this part the gamespace is layered in three dimensions, with sidepaths leading up and over other areas. Sometimes you get treated to an eagle-eye view of a lower area.

Puzzlewise, there is a wide variety. There's attentive exploring and spelunking, some references to pop-culture, clever time/turn counting,... And yes, sometimes violence is the answer.
Some solutions do require a completely (to me) unmotivated action, and at least one object has a use that was completely unhinted. A bit of let's-try-every-verb and see what happens. That was less fun...

The pacing of the game can be a bit tedious at first. Once you have explored the accessible map though, a nice interaction between puzzles solved, museum-objects in your inventory and bottlenecks opening sets a cascade in motion where you find tunnel after cavern after hall with treasure in rapid succession. Very rewarding.

Conversations are not implemented at all, so you only get to know the few NPCs by their actions and what they choose to say to you. I did find the old curator endearing. (And a bit intimidating. How can he get from his office to the top of the museum stairs to block your way so fast!?)

The Adventurers' Museum may not be innovative or especially creative, but I had a great time playing it.

Return to Ditch Day is a puzzling experience par excellence. Challenging brainteasers/-breakers with an engaging storyline.

It starts with a great introduction. An easy puzzle in an atmosphere-rich environment. It's completely linear (apart from some amusing things when you try to resist the railroading), but it's the perfect way to get acquainted with the mood of the game, the sort of puzzles to expect, your own character and, last but not least, your nemesis. (I swear, you'll wish you had a phaser set to "burn to a crisp" after a few turns in his company.)

Some time later, you are sent to CalTech, your alma mater, as a headhunter trying to get a brilliant student to work with your tech-company. And who shows up with exactly the same purpose? You got it. The need for payback on this character in your PC is great enough to spill out of the computer and into your mind. You want to beat this guy as much as your character does. Excellent motivation to tackle this puzzle-romp of a game.

It turns out this brilliant student has turned the tables on you: instead of a normal interview where you ask the questions and set the conditions, you are invited to solve his Ditch Day-stack. He will sign with the man who solves it first. This task will lead you to hilarious situations, complicated puzzles, and a good amount of science and engineering.

Ditch Day is a CalTech tradition where the seniors leave campus and block their rooms with clever puzzles. The challenge is to solve the puzzles and get in the room (where there are treats as a bribe not to trash said room). This means that the gamespace, CalTech Campus, is bustling with activity. There are stacks (i.e. puzzles) everywhere in the dorms, the students are gathering in the hallways and in front of doors trying to solve them. This lively atmosphere gives the game a lot of energy, making you keep wanting to engage with it.

The campus is a big and complicated place so mapping it thoroughly is necessary. (I read in her review that Emily Short did not and made her way through anyway. I'm not Emily Short.) There are no mazes as such, but especially the dorm-area is twisty enough to lose your bearings. I actually started this game about ten years ago, but I quit halfway through because I didn't know where I was half the time. (That bend through the dorm-library is a cruel inside joke of the author, I'm sure of it.)

There are many NPCs. You can only talk to a few of them, but all the others seem like real persons too, concentrating on the stack of their choice or exchanging hints and clues with each other. The ones you can speak to are mostly limited to the problem at hand, giving you objects or clues. The way they act and talk to you is very personal though, giving them each their own identity. (I really liked Erin.) And although your nemesis doesn't answer any questions, he does have a snide comment ready to everything you do around him.

The writing is practical. It focuses on clarity, describing where you are and who/what is there. There is a lot of situational and action-comedy in the game, but this never becomes the main focus.
The writing is also very, very good at controlling the pace and steering the player in the right direction through clues. The size of the map and the sheer amount of puzzles you encounter on your first exploration can be overwhelming. It's important to know and remember that this is actually a very friendly game. It doesn't want to frustrate you (too much) or deliberately mislead you. If you take it slow and do things in the order the clues show you, you'll discover that there is a completely logical sequence of puzzles that build on each other towards the endgame.
But! Beware! There is a storyline that diverges from this main puzzle-sequence. It is not necessary to win the game, but it is for getting full points. It's also a lot of fun. And you get to search the steam tunnels under the university!

And now for the meat and bones of Return to Ditch Day: the puzzles. I surprised myself by not needing to look at the hints except one time, when it was (to me) underclued how to get a student to help me with an object. And I am not a great puzzler. However, I did what I wrote before: slowly going from clue to clue, without letting myself be overwhelmed by sidetracks. (I did save at a certain point, went on an exploration and experimentation rampage through campus and found tons of fun stuff and fruitflies and a solvable computer-code puzzle. After that I just restored and went on my methodical way.)
Many different puzzles, many different strategies. Some require reading and learning. Sometimes you need help from others in a tit-for-tat way. There's a puzzle where you have to manipulate NPCs by learning a bit more about them. There are gadgets and machinery to be played with. And ultimately, there is codecracking. Glorious, in-your-face-nemesis codecracking...

I spent three evenings captivated by Return to Ditch Day. Hours of reading, thinking, laughing. This game is great.

[A short bespectacled man runs into the printing press hall. He's frantically waving a crumpled piece of yellowish paper above his head, the static electricity making his hair stand on end.]

-"Where's the boss? Where is the one responsible for reviews? Or better, where is the one who writes all those "Top 100"-lists and those "Best 50"-articles and the Recommended-pages? I need to talk to the one in charge!"

[The boy at the huge black press-machine, his hand still on the big red STOP-button, lifts his cap and scratches his head.]

-"Well sir, I don't know of any boss of the top-lists. I doubt there is such a person. It's all rather more the work of the IF-community as a whole."

-"Now, now, youngun! No need for such foul language! So, I.F. Community, eh? Never heard of him. Or her, for that matter. Strange name, if you ask me.
I suspect Mr. or Mrs. Community is not here? Of course not. Well, you'll have to do. Get your leadtype out, boy, I'll dictate the article. And you make sure this gets on the front page of this Text-Game-gazette or whatever it is you're running here!"

[The boy opens his mouth, trying to clear up the misunderstanding, but the bespectacled man already charges ahead, reading loudly from his crumpled paper.]


T-Zero; A text-adventure for the ages!

A young man wakes up in the dry leaves of the forest floor. Former Librarian and Custodian of the Museum, Count Zero has dismissed him of his duties. He had been snooping around in the vicinity of the restricted areas a little too much lately.
Our protagonist is certain he is on to something however, and he will not give up before he has got to the bottom of it. That his curiosity will lead him through the boundaries of time, he did not expect. Still, courageously he presses onward, determined to set things right.

--"They tirelessly twirl in a circular swirl."--

The writing in T-Zero is exquisite. Poetic, evocative, engaging, the descriptions of locations and actions give the game a rhythm that takes the player from the real and concrete to the dream-like and back without breaking the continuity of the story.
Good writing is indeed of the utmost importance to do justice to this quite intricate story. After the initial exploration of the Museum and its surroundings in the Present, the protagonist gains the means and the knowledge to travel to Past and Future to tweak the outcome of events just so to gain victory over Count Zero's plan to enslave humanity. This involves fiddling with the state of the Past to gain access to puzzle solutions in the Present, which in turn set up the Future for your chance of besting Count Zero, the Time Smith.

To keep up the flow of this excellent writing, the author has opted to leave the exits out of the room description. Instead there is an EXITS-command that will drily list available directions. This command does not take a turn, and I did not mind reflexively typing it as I was mapping the game-area.

The map plays a huge part in the enjoyment of the atmosphere of this game. It is big and readily accessible, except for some well-planned bottlenecks with puzzle-locks to help with the story's pacing and to prevent the story from becoming incomprehensibly befuddling.
Many locations will seem inert at first, having no apparent interactive content or even purpose apart form being an expendable room. Most of these will come into play in the other ages you will visit, becoming an influence that moves through time.

It is a joy to re-explore the map in each era, comparing the different times. The locations and their relations will be subtly different each time, giving a fresh and surprising look at known ground.

While the story and writing of T-Zero are mindboggling in the best sense of the word, some of the puzzles are the opposite.
First: many of the puzzles are standard adventure-fare. They can be obvious or more original, but they stay within the comfortable zone of puzzle-design: the commands necessary to influence the game, the mental picture of possibilities and options to tackle an obstacle.
But then there are the perplexing puzzles. Not because they are difficult in a normal adventuring context, but because they draw on a set of knowledge and inspiration that most IF-players will not access in this context. Some of these puzzles are of the satisfying think-outside-the-box variety. bringing great joy to the player. All of them depend on the player's knowledge of a very English language and popular culture. Joyful as they may be to the player who is in-the-know, in general these are just plain unfair.

Many, if not all, default responses are personalized, most times in a beautifully literate one-sentence gem. In case of an ambiguity between nouns in a command, the game lists all the options in a menu, allowing you to choose the one you meant. Practical, but also evidence of how user-friendly the game desires to be, despite the mindblowing puzzles.
Also very practical are the location-specific hints. They helped me on many occassions with a gentle nudge. On the other hand, there were times when the hints just confirmed I had the right idea, but I still needed a walkthrough to find the proper syntax.

As is to be expected; time plays a very big role in T-Zero. It pervades the entire game. Since time is elapsing and day is followed by night, you can expect some solutions to puzzles also being time-dependent. While most of the time this adds to the anticipation, it can also mean a boring few minutes typing WAIT over and over if you were a few moves late to a specific location and you have to wait an entire day without anything else to do. (This happened to me once, but it was all a result of my own bad timing/planning.)
Tricky: you have to revisit some rooms after your first exploration. Some objects just pop up after a while without there being a reason or an obvious notification from the game about this.

Lastly, I would like to point your attention to the rag man. While he doesn't have much to say, he is a pretty nifty NPC. Without wanting to give too much away, this character teeters constantly on the edge of the game-world and our own. I spent a lot of time musing about the kind of reality he goes to after I type QUIT.

T-Zero is a mindbogglingly good game. Best enjoyed with a walkthrough on the side.


[The short bespectacled man crumples the now sweaty paper in his hands into a ball and throws it in the nearest bin.]

-"You got all that, boy? Make sure it's on this issue's front page, you hear me!? Or else..."

[Before the boy can say anything more, the man leaves the printing hall, contentedly rubbing his hands together. He even hops a little out of joy over a job well done.]

The intro to Everybody Loves a Parade sets you up for a fast and funny ride. The game itself does not disappoint. It picks up the joke ball where it landed and runs with it. Fast.

You are a female engineer (the female part becomes important near the end of the game) hauling all your stuff coast to coast through the U.S. of A in a moving van on your way to a new job in New York. Although you had written a warning against driving through Arizona all over your roadmap, this is exactly where you end up: in a small town in the middle of the Arizona desert. Where they are having a parade. And one of the floats, a pickup truck full of pebbles, broke down. Up to you to get the parade and yourself moving again.
(About those pebbles, the people of this town seem to have a very peculiar and unexplained obsession with rocks. All kinds of rocks...)

Fast and funny, I said. The game has only twelve locations, so exploring the entire map does not take a lot of time. All those locations are packed full of action. Lots and lots of NPCs, most of whom brush you off in funny ways, are going about their personal business. The author has put in the effort to write many different events for each NPC, so the whole town seems bustling with activity. The writing keeps you on your toes, trying to keep up with the next thing that's going to happen. You need to pay attention to separate the important stuff from the background ambiance of the parade.

To keep this fast and witty atmosphere going, Everybody Loves a Parade is very thoroughly implemented. The game recognizes all nouns and synonyms. I even found two nouns that were only implied by the room description. Many, many actions that do not have anything to do with winning the game are implemented, so if you're stuck on a puzzle, you can go have fun trying to poke the outer reaches of what commands you can type. Add to this that many default responses have been personalized and adapted to the locations, and you will find that the atmosphere is almost unbreakable.

The puzzles are good. In such a small map, there is at least one, sometimes more puzzles in each room. They are all in plain sight from the start of the game. I did find it hard to find the first loose thread, since all the puzzles are arranged as a chain. Solving one gives you access to the next.
The puzzles are diverse. Some just require good old adventuring skills to get the missing parts, so you'll want to X the heck out of everything. Others require multiple steps to manipulate an NPC into doing what you need. So talk to everyone.

I finished this game in two afternoons and I had a lot of fun from start to finish. I advise everyone to do the same. Enjoy

Because, strangely, there is no inn in this otherwise standard Fantasy adventure.

I say standard, but it's actually a very good game.

After a lengthy but very funny introductory scene where you, the smith's apprentice, are appointed "volunteer" by the villagers to kill the dragon and get its treasures (the town has a bit of a tax-problem), you find yourself in a traditional Fantasy land. After talking to all the villagers and starting to explore a bit, you remember that aside from funny narrators, hidden treasure and a wizard in his tower, old-school Fantasy adventures also tend to be Big and Difficult.

-Setting: The entire map (minus a handful of hidden locations) is accessible from the get-go. The game thus has a great sense of spaciousness. The boundaries of the playable area are also very naturally worked into the narrative. There are mountain ranges with their peaks stretching out as far as you can see, grassplains too big to cross where you see the next town shimmering against the horizon, the ocean shore where you can just see the barbaric islands through the mist...
There are many, many locations. It helps a lot that they are geographically ordered. From the central village, you can choose to go to the river/swamp region, the forest or the rocky hills. The wizard's tower lies on its own mountain peak.
Some of these locations are truly beautiful: a hidden lake seen from a cliff above, a lone giant tree in the forest, the tower seen from a hill top far away...
The openness of the game world does mean that it can be hard to find that next loose thread while puzzle-solving, meaning that you will see some of the locations so many times that you don't care about that wonderfully described scenery anymore.

-Puzzles: The puzzles in The Windhall Chronicles are a mixed batch.
The three parts of the Wizardry-test are great. They are followed by a logic puzzle that I took out my chess pawns for and had a lot of fun solving. Most puzzle fans will probably have seen it in some form before though. There's a fetch-quest for the wood-elf that I found very enjoyable, and then there's the Mire Cat's riddle.
Then there are some puzzles that make sense,...in hindsight. The kind where you couldn't possibly tell what other function an object might have. Or where the sequence of actions is underclued.
One or two puzzles just make you go "Huh?" after finally checking the walkthrough.
It's a shame that the final puzzle, the dragon-fight, is completely clear and obvious (which I find a good thing for a final puzzle),but not described clearly enough to solve it while staying in the flow and thrill of the endgame.

-NPCs: To solve the puzzles, there are many characters that will help you. That is, if you help them first of course... This leads to some interesting fetch-quests and some funny conversations. It also adds to the feel of the game that all the characters have different opinions of one another, giving you a glimpse of the town's social dynamics.
Very important here is that all the characters (you/the protagonist included) have sleep cycles. Wildly differing sleep cycles... Your dwarven master gets up at 5:30 while the lazy alchemist doesn't wake up before 10:30 am. Some crucial information has to be got from an insomniac knight who doesn't show himself until after dark... Sometimes you can be forced to WAIT twenty turns because the character you have business with is still asleep. (Knocking on their door doesn't help...)
On the other hand, it is very rewarding to plan out your actions so that you can solve a puzzle and give the result to a character just as they get up. Therefore, I strongly recommend copying the sleep times from the walkthrough. They are all listed at the top of the page.

-Writing: The writing is good, sometimes very good. I only found a handful of typos, which is not a lot in a game this size. Some location descriptions are simply beautiful, but the prose does turn a bit purple after you solve some key puzzles. Also, both the intro and the epilogue are very wordy. Well written, but wordy.
The writing is also truly funny at times. Can't say much without giving the away the jokes but: (Spoiler - click to show)the shed falling apart when you turn the long-sought-after key...

So:
-The sense of space, Fantasy feel, natural borders and wonderful surroundings make this gameworld a joy to explore.
-The lack of pacing/bottlenecks, the sleep cycles and the undercluedness of some puzzles can lead to pointless wandering.

All in all, I was absorbed in this game for a week, often pondering puzzles in bed and coming up with new things to try.

Strongly recommended.

(If you enjoy this kind of text adventure, be sure to check out Larry Horsfield's Alaric Blackmoon-series)

"You have discovered the secret of the Theatre and have completed the game with a score of fifty out of a possible fifty in one thousand, one hundred and fifty-eight turns."

Yes, and I enjoyed every single one of those turns!

I'm not normally one to test my wits against what is described as a puzzlefest, most of the time enjoying more story-oriented IF. Once in a while though, I like to crack my noggin on some oldschool puzzles. I've given up on "Curses!" thrice already and "Christminster"'s opening scene sent me screaming to my walkthrough.

Theatre was different though. I never got completely lost, always having at least one clear goal. The solutions to the puzzles were always fair, also the ones that I didn't get. The very vague in-game hints were enough for me until very late in the game, and even then the problem was adventurer's fatigue on my part, not having explored thoroughly enough.

The setting and descriptions are creepy enough, but I never felt fear or horror. Instead I was excited and curious the whole time about what would be around the next corner of this sprawling run-down Theatre.

"Theatre" does show its oldschool heritage: a key gratuitously hidden on the opposite side of the map from the door it's supposed to open, picking up everything that's not cemented to the floor to use it in a puzzle far down the road. Apparently ghosts have made a hobby of tearing up diaries and spreading the pages all over the place for no apparent reason...

The backstory was just good enough to be interesting in its own right, but it's not much more than a fragmented Lovecraftian template that supports the dark and damp atmosphere.

The great puzzles mostly revolve around getting to the next part of the map, getting "around the corner" as it were, in varying original ways.

There are glimpses of true genius here, especially one "puzzle that isn't": (Spoiler - click to show)"Tunnels go out in all directions." is not limited to the compass directions. This one had me stumped for a long while, and it was an exhilarating feeling when it finally *clicked*.

A fantastic experience, well recommended!

"Let's get out of this cabin and go to the shack. No wait! What have I got in my hands? Put that in the sack so no one will see it. Phew, lucky I thought of that."

While playing Lydia's Heart I was well and truly immersed in the story, caring enough about my PC to not go "adventuring " all over the place. I left rooms as I found them, put books back on the shelves after reading them, closed cupboards after searching them,... Most of the time this was unnecesary, but this game made it feel natural.

The writing is great. Clear descriptions that also give you the feel of the place. Some of the puzzles I needed a nudge with, but they were all well integrated in the story.

And what a good story it is! Or better, how well is this story told! Those who like a bit of Lovecraft now and then will not read anything new, but they, and hopefully all others will read a thrilling, frightening adventure.

I must confess to a serious character flaw, a deeply rooted chasm that runs through the heart of my being. It is a source of frustration and temptation, it leads me to reach above my abilities and cheat to grasp above my reach. It is the following:

I suck at puzzles and I love puzzle-games.

I had previously banged my head against the front door of Christminster University. I gave up each time. This time I gave in to temptation and sinned. I consulted a walkthrough. And I have no remorse.

I loved this game. The puzzles after that fiendish first one were milder to me (I cheated a few times more though), and stubborn exploring got me further and further in the game, and also in the story.

The progression of the story is great. You get the chance to get to know your character and one NPC in particular, a marvellous professor with whom you get to spend a good amount of time. The clock on the tower announces your progression through the puzzles as you get nearer to the endgame. That detail works as a brilliant way to heighten the tension, it lets you know each time you've gotten closer to... what?

The puzzles are hard, but the reward you get is great. You can explore more and more hidden parts of the old building, and the atmosphere is gripping.

A really really good game.

(Well, it actually plays out as much around the city as in it, but I have my reasons...)

First things first: It has a cannon! -Hmm?.. Yes, I'll wait...

Now, Risorgimento Represso is a very good puzzler. Because the main puzzles center around the same theme, completing the first (silly) task before you is one big trial run to prepare you for what's to come. It gets you comfortable with the feel and humorous tone of the game. It also teaches you what details to look for and trains you in the specific puzzle-solving mindset you need for the game.

All the puzzles are well thought-out and in-game logical; on top of that, you might pop an eyeball or two laughing while solving them.

Storywise, Risorgimento makes fantastic use of the Wizard's Apprentice-trope. The whole concept gets the player and the PC on a shared learning curve, facing the same obstacles, and scratching their heads at the same times. I found this really heightened my involvement with my character and with the story.

There's a great build-up of tension, from playful exploration and experimentation to seriously hard thinking about how to save your Master. That's a good learning curve ànd a good immersion curve for you!

So, go shoot that cannon, those of you who haven't done so already; and don't smell the paint thinner, it's bad for you.