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About the Story
The first time I ever saw someone play a text adventure was in fifth grade. One of the sixth-graders didn't go to outdoor ed, and therefore spent the week in my fifth-grade classroom, playing Scott Adams's Impossible Mission on a TRS-80 while the rest of us did our schoolwork. At recess we crowded around him and shouted out commands to try. I really wanted a turn at the keyboard, but this guy wouldn't let anyone else near it. It would be another couple of years before I played a text adventure myself.
Nominee, Best Puzzles - 2012 XYZZY Awards
Rock Paper Shotgun
Look, the gameís brilliant. Go play it. Itís free, for goodness sakes Ė what have you got to lose. Would you like a score to convince you? I give it 50 fountain pens out of a typewriter. You donít need to know anything, because youíre not meant to know anything.
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Emily Short's Interactive Storytelling
Endless, Nameless is Adam Cadreís latest game. The surrounding text claims that itís the relic of the bulletin board age, but anyone familiar with Adamís oeuvre wonít be surprised to know thereís a bit more to it than a retro remake. Thereís no way to write a substantive review without addressing the ways in which it takes a twist, though; itís worth playing enough to find out just exactly how itís going to be not what you think. So please consider giving it a try before reading on.
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The player's first encounter with Endless, Nameless (which I'll call EN) suggests a nostalgic trip to the 1980s: a neatly executed facsimile of a BBS leads one to what appears to be a decidedly adolescent Zork-like "fantasy" quest -- arbitrary puzzles, a cardboard environment, unexamined motivation (you are to slay a dragon), and, of course, sudden death. But sudden death that turns out to be surprisingly productive, for rather than proving final it transports the player to a different world -- a 1980s beach-house, full of facsimile adventurers "just like you", from whom you can obtain hints (Spoiler - click to show)(not always accurate) which will enable you to re-start the quest and do better next time.
It rapidly becomes clear, however, that this is not simply an ingenious hint system. These parallel worlds comment, not just on each other, but on interactive fiction both as an art and as a community. Layers of meaning are gradually revealed.
The "adventure" world is arbitrary, apparently thinly implemented, Infocom-era; it exists only for the sake of action -- and though there is almost nothing to see, there is plenty to achieve. The "interlife" world is described in detail, richly textured, full of multi-layered detail. But nothing can be done there; it is a place in which the most that one can hope to do is to acquire information. It is passive, enervate. The puzzles and "action" of the adventure world -- a world in which things happen -- are more compelling. To return to the adventure world is an escape.
This is, in a sense, playing with fire. Cadre sets up two caricatures: one of "old school" treasure-hunting adventure games, and one of "new wave" puzzle-free exploration and interaction. Each is taken to a sort of extreme, not just warts-and-all but warts-above-all, and the two are allowed to play off each other. Yet, caricatures though they are, they are incredibly finely judged and crafted. The craft and implementation are rock solid; the design subtle and knowing (Spoiler - click to show)(for instance, just as the leaflet in the mailbox points ingenuously at Zork, so the way in which you cross the labyrinth gestures, but far more subtly and in terms of the conceit that one is playing an "old school" adventure anachronistically, towards the most famous device in Cadre's Photopia)
And the message, too, is subtle. For the argument (and the real story) emerges not in either of these worlds, and not even in the contrast between them, but in their interaction. A back story is gradually revealed, and the back story poses questions about creativity in interactive fiction in an absorbing way. As the game proceeds, the back story comes to dominate the action, and this lays the ground for a fascinating endgame.
All this, I thought, worked superbly. What I found more difficult was a set of reflections on artistic communities, and probably the interactive fiction community in particular. Since this can hardly be discussed without giving away quite a bit about the ending of the game, I'm going to spoiler-tag the whole discussion.
(Spoiler - click to show)
At the bottom of the heap (literally) are "trolls". They are, EN indicates, poison to a community: they cannot be reasoned with, ignored, or conquered. Any contact with them sullies. The only solution is to exclude them, point blank. Not much higher than the trolls, however, are "hangers on": people who having entered the community by participating in its proper activities are now simply using it as a site for undirected and pointless social activities -- not directly destructive (as the trolls are) but parasitic and ultimately damaging. Above them are those who actively participate in and create the "adventure world". And still further above are those who have "got a life" -- who have appreciated that no amount of care will enable the artifice of the adventure world to resemble the subtlety of the real one.
Perhaps it's not fair to treat this as a sermon (Cadre himself has said that it isn't didactic); though it is couched in terms which seem to me to invite that reading, rather explicitly. As a diagnosis of community ills it's arguably reductive, simplistic, even inhumane. It insists of classifying not behaviour, but people. And there seemed to be (but perhaps it is my imagination) a degree of venom about it. As a more-or-less outsider to the community, it is hard to put my finger on what is going on; but this aspect of the game had the slightly uncomfortable feeling of walking in on the aftermath of someone else's marital row.
All in all, it's a great piece -- in many ways a brilliant piece. It has many levels, and many of them are impressive, thought-provoking and enjoyable, even if seasoned by a hint of acid.
I played Endless, Nameless expecting an old-school text adventure, and I wasn't disappointed. It's a text adventure, wrapped in interactive fiction.
It starts out simple: you are the hero in a game called Nameless Quest (formerly known as Endless Quest) and you have to rid the land of an evil dragon.
You have to solve puzzles to learn magic and to get weapons. They are generally hard, but logical, and asking for hints is encouraged.
The story might seem a bit thin at the beginning, but slowly expands as you progress in the game, which I found very intriguing. You're not only working towards your quest, but also uncovering a greater mystery; and without spoiling too much: dying is important, and the game is quite meta.
I especially liked the writing, it's humorous overall and manages very well to create a fitting atmosphere.
All in all, I'm extremely impressed by Endless, Nameless. It's a great synthesis between puzzles and story, humor and mystery, between classic adventure and innovation. I've played it for many hours, hunting for easter eggs and finding all the beautiful and horrible endings, and I enjoyed every minute of it.
There are at least three camps in the IF world: those who hate using hints; those who rely strongly on walkthroughs; and (the largest group) those who like to play as long as possible without getting hints, and then use just enough to get them through.
This game appeals to all three groups; on one hand, the game world is fairly open and completely forgiving, allowing explorers to try other areas when they are stuck on a given puzzle.
On the other hand, the hint system is embodied in a large group of NPCs with fun personalities. Even better, some of the hints are wrong, as the NPCs have imperfect knowledge of the world.
The gameplay is most similar to Heroes, with a magic system and a lot of find-item-use-item puzzles.
The one annoying part was having to repeat the same basic commands over and over again. The "record" command is very helpful, although I won without it.
Unlike many similar games, the endgame was very rewarding.
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Recommended ListsEndless, Nameless appears in the following Recommended Lists:
Opus Ignored: Big games that didn't take off by MathBrush
It happens over and over: an author spends hundreds of hours on a game, often setting up a commercial company, and then releases it to almost total silence. This list contains such games, as well as other big games where the author was...
Games about interactive fiction itself by MathBrush
This is hopefully my last list. These are games that comment on the nature of interactive fiction or the interactive fiction community itself. The quality of these games varies wildly, and this list doesn't attempt to sort by quality....
My Top Ten List by MathBrush
This list is of my top 10 favorite games that I can also recommend to everyone. (Former items on this list included Anchorhead, Theatre, Rogue of the Multiverse and Eidolon).
PollsThe following polls include votes for Endless, Nameless:
Games centered around a "groundhog day" loop by Merk
Two that come to mind, which I haven't played in years and may be remembering wrong, are Moebius and All Things Devours. Games with fail states, by their nature, fit the bill from a mechanical level, but I'm curious about games where...
Give me a second chance! by verityvirtue
I'm looking for games which work like Bigger Than You Think - where dying isn't the end, where you're given second chances, where your second chances give you gear or skills or knowledge that you need to know to win the game.
Mise-en-abÓme by Sobol
Mise-en-abÓme is a technique of having a play within a play, a painting within a painting, etc. Let's list those interactive stories where the characters play interactive stories.
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