Eleanor

Your love is gone. Dead. You wish to see her once more. Maybe even stay with her in the dark... Or say your goodbyes and live...

Eleanor is a very deep atmospheric game-experience. The sound effects immediately drew me into the dark immaterial realm where you are searching for Eleanor. Examining parts of your surroundings often brings up a pop-up window with an evocative drawing or a few paragraphs of text. These are meant to be associative asides, no background story will be spelled out in concrete flashbacks.

The setting is extremely sparse. I pictured myself/the protagonist floating in some intangible black void, with only a few recognizable props. Interacting with your surroundings happens on a dreamlike symbolic level. You trigger memories and sensations within you which make obstacles dissolve and doors open.

The Spring Thing competition version is sadly riddled with misspellings and linguistic errors. I trust most of these will have been corrected in an upcoming postcomp update.
Apart from that, it is clear that English is not the author's native tongue. This is not necessarily a bad thing. It often makes for an unfamiliar turn of phrase that emphasizes the distanced and estranged impression the game makes.

Eleanor is made harder than it has to be by its very idiosyncratic parser messages. The responses to certain commands often do not make clear whether an action is not appropriate in the current circumstances, or is simply not implemented.

That being said, Eleanor is also made hard (and rightly so) by being exactly what it wants to be: a dreamlike journey through an intangible underworld where touching and looking are actions of the mind or even of the soul; where normal physical interaction cannot take place.
It is up to the player to enter into this state of mind. Snippets of text and song lyrics that I had dismissed as atmospheric background are indispensable clues here. You must react to the voices you hear, the images that are formed in your mind's eye. They are not mere spooky mood-setters.

It is also very important that the player use the HELP-command as a real in-game command. It does not call up help from a distinct impersonal help-file, rather it implores Eleanor or an unseen narrator to aid the searching player/protagonist. The responses to HELP are often as evocative as those to LOOK or TOUCH.

I really hope the post-comp version does away with the unintended impenetrability, and leaves the intended opaqueness as an eerie, disconcerting puzzle for the player.

NOTE: The first part of this review was written about an earlier version of the game, where I got stuck on a puzzle; read on for an addendum written after I finished the updated version.

This is a new game by the author of Radicofani from last year’s Comp (link is to my review). Much like the earlier piece, Eleanor has old-school trappings – the game delights in popping up new windows with low-res graphics and hard-to-read fonts – an obtuse parser, and near-unsolvable puzzles in the way of rescuing a female love interest. Despite these off-putting features, I wound up enjoying Radicofani on the strength of its setting – an old Italian hill town under the sway of supernatural evil, complete with charming café, musty library, desecrated church, and spooky castle. This time out, though, the setting is a metaphysical underworld loosely inspired by the music of the Beatles, and it’s sadly not a change for the better.

Preliminarily, let me say that I don’t quite get the Beatles thing. As far as I understand it, the premise here is that Eleanor – who’s I think the romantic partner of the player character – has died, seemingly by suicide, and you’ve decided to make your own suicide attempt to try to retrieve her soul from the afterlife. So far so Orpheus and Eurydice, I suppose, so having a musical link has some kind of logic. But I tend to think of the Beatles’ oeuvre as love songs and psychedelia – this kind of tormented, emo-y setup seems like it would work better with someone like Tom Waits or Nine Inch Nails rather than the Fab Four. Plus, given her name I think we’re meant to understand Eleanor as lonely-spinster Eleanor Rigby, but the idea of her being coupled up seems antithetical to the character of the woman from the song! The game does include other occasional nods to the Beatles – there’s an errant quote from Strawberry Fields Forever, and the ABOUT text notes in passing that “nothing is real” but the series of references never felt to me like they meshed with the subject matter.

Still, there’s nothing wrong with an idiosyncratic choice of inspiration, and it’s not like we’re talking about a gritty S&M-themed Care Bears reboot or anything too outré like that. The real difficulty is that gameplay consists of navigating a surreal, near-featureless void, with your only companions a clumsy parser, obfuscated prose, obscure puzzles, and a vicious time limit. Taking these in order: the parser is a custom one, and has a lot of idiosyncrasies, the main one being that it’s rarely clear whether or not it’s understood what you’re trying to do. There’s lots of response text that plays on a timer, and you’ll get different responses to what would be synonyms in Inform, like say if you type KNOCK ON BLACK DOOR versus KNOCK ON BLACK (in the former case, I got “I’m sorry, I’d like to understand more”; I the latter, I got “” – which might have been non sequitur text just playing in the background?)

Relatedly, even when the parser isn’t been a slippery little eel, the writing is awkward, with lots of typos and infelicities starting on the very first page. I don’t think the author’s a native English speaker, and fair enough, this is far better game than any I could write in another language, but getting proofreaders and testers who are fluent is really necessary in these cases!

These issues feed into a bigger one, which is the difficulty level of the puzzles. I found them pretty unintuitive, apparently operating on dream-logic (I solved two and a half, with the help of what’s actually a rather-nifty help feature that pops up images that prompt you towards the solution). But the thing about dream-logic is that you need to establish the rules of the dream, and create symbolic associations between the objects in the dream and the emotions or relationships that they represent, in order for the player to understand what role they’re supposed to play. Here, the necessary actions didn’t seem cued in any way by the situation, and instead are just random verbs you can apply to the contextless nouns on offer. For example (Spoiler - click to show)there’s a mirror in the first room, and you need to break it to make progress – but there’s no indication that the mirror is showing anything about the protagonist that he rejects, for example, or that there’s anything on the other side, which would motivate the breaking. Worse, after that you need to blow on the fragments of the mirror, which I guessed because it’s in the hint image but can’t even construct a post-hoc metaphorical rationale for.

What this means is that most of my experience playing Eleanor was trial-and-error, with the parser and language issues making me unsure whether my trials were actually producing errors. And then making things worse, after 20 or so turns failing to make progress, a timer ends the game. There are copious autosaves so it’s hard to lose too much progress, but running into the fail-state so frequently sucked much of my motivation – as did feeling like I knew how to solve the last puzzle blocking my progress, but couldn’t find the syntax to make it work ((Spoiler - click to show)I think you need to adjust the clock so it’s showing the time as midnight, but no version of SET CLOCK TO MIDNIGHT was accepted or even threw off a useful error).

Eleanor definitely boasts a compelling atmosphere, and I admit I’m curious to know how the Beatles stuff all comes together in the end (I’m waiting for Father Mackenzie to show up as a defrocked exorcist tormented by literal demons and living on the edge). With a lot more polish, and some additional resonance to the puzzles, I could see this being a lot of fun – alas, as it is I found it an exercise in frustration, without even Radicofani’s pretty cityscapes as a consolation.

ADDENDUM: the author made some updates, including making the guess-the-verb puzzle discussed above a little easier, so I was able to go back and finish it. The second half of the game isn't radically different from the first, but either the puzzles get a little easier or thematic or I just got more in tune with them, since I didn't find the remainder too hard to get through so long as I kept consulting the HELP function. I might have missed the "real" ending since I finished with 17 out of 18 points and were indications that another outcome might have been possible, but I'm satisfied with where the story ended (Spoiler - click to show)(the main character deciding to let go of Eleanor now that she's gone, and try to continue with his life).

The prose continued to have a fair number of errors and awkward phrases, but there were some nice pieces of writing too, including a short exegesis on Eleanor Rigby that helped knit the game's themes together rather nicely. It's still a little too abstract for my tastes -- there are a few memories or images of Eleanor that start to give her a bit of specificity as a person, but she remains largely a cipher throughout, which allows the themes to come through but drains away some of the emotional immediacy. Glad I was able to see the rest of this one!

This game has many flaws, but I like the heart beating underneath them.

Where to begin with the problems? It's windows only; it requires installing a program on your computer; it is a custom parser that doesn't recognize very many things; it's a game where the game itself is unsolvable without hints but the hints themselves are puzzles; it has a timer that kills you repeatedly (but you can reset the timer by moving up or down, but if you die it doesn't matter because typing in the wrong filename for the 'restore' option brings you back to the moment you died); the INSTRUCTIONS command gives a list of commands, none of which actually are useful in the game except maybe 1 or 2; the game has popups which use pixelart cursive text, perhaps the most unreadable choice of font I have seen; it employs voice acting that sounds like it belongs to a very different kind of game; there are numerous typos and getting the right answer depends on using non-idiomatic English; etc.

Behind all of that, I found the game fun on two levels. One being the surreal setting. Exploring a dream world while in a coma is an old trope in IF, but I always have fun with it.
Second, the game being so difficult to parse out almost made solving it more fun since it gains a second layer of puzzliness, the two layers being 1. figuring out what the solution should be, and 2. figuring out how the author wanted it written.

I only scored 10/18 points, so if anyone figures out how to open the door in the hourglass room, let me know (I already dealt with the hourglass itself).