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About the Story1872, with a steampunk twist. Phileas Fogg has wagered he can circumnavigate the world in just eighty days.
Choose your own route around a 3D globe, travelling by airship, submarine, mechanical camel, steam-train and more, racing other players and a clock that never stops.
150 cities to explore. Detailed research and techno-fantasy combine in an 1872 of tensions, inventions and exploration. Climb the Burmese mountains, trek the Zulu Federation, sail up the Amazon and disappear under the Indian Ocean - but don't fall behind the time!
Featuring stunning art by Jaume Illustration, a half-million word script by Meg Jayanth, original music by Laurence Chapman, and built using the same inklewriter engine that powers our critically-acclaimed Sorcery! series, 80 DAYS is an interactive adventure created by your choices, on the fly, and is different every time you play.
Playing as Phileas Fogg's loyal valet, Passepartout, you must balance your master's health, your finances, and the time, as you choose your own path from city to city all the way around the world. Bribe your way onto early departures, but don't let yourself go bankrupt or you'll be sleeping rough and begging for aid! Trade items for profit, and collect the equipment for the conditions you'll face: but too much luggage will slow you down...
80 DAYS is a breakneck race, with an in-game clock that never stops running. Trains, steamers, hot-air balloons, boats, camels, horses and more leave and arrive minute by minute.
Every city and journey is narrated via an interactive story where you control every action. Will your choices speed you up - or lead you into disaster? Will you earn Fogg's trust and respect? Will you uncover the secrets and short-cuts that can shave days off your time? Murder, romance, rebellion and intrigue await!
The app is network-connected, with a live feed that shows you the position of all the other players of the game, their routes, triumphs and disasters. You can race to be the fastest - or look ahead to learn the secrets of the world.
Share your own journey with friends, and load other's routes directly into your app so you can race head-to-head.
Winner, Best Game; Winner, Best Story; Nominee, Best Setting; Nominee, Best NPCs; Winner, Best Use of Multimedia - 2014 XYZZY Awards
This brilliant interactive novel re-imagines Phileas Fogg's journey around the world with you as loyal valet Passepartout. Phill Cameron says it is one of the finest examples of branching narrative yet created.
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Number of Reviews: 5
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Most Helpful Member Reviews
80 Days is one of the few that managed to maintain that balance and be a fun game. Though the choice to go the completely steampunk direction is sort of a no brainer given the time period and the fact that the original was a Jules Verne work in the first place. Most of the existing views here cover a lot of the positives of the game, Iíll probably go over those a bit briefly before going into the few negatives.
First, the writing and branching are well done. While thereís some places where it has a ďfake choiceĒ not really mattering too much which choice you pick, most of the time there is at least a bit of a consequence for it even if itís a minor change in your characterís hidden stats or something similar. Besides all that, there are enough events and locations to explore that itís hardly noticeable.
The resource management portion of the game is implemented very well too. Not just determining what might be directly useful on your trip at any given time, but also a bit of a trader mini-game since some items arenít really useful directly but you can sell them for a large profit at certain locations which is somewhat important as youíll definitely need a good supply of money on this journey
Plenty of variety of events, ways to travel and secrets to uncover so replay value is high. Itís worth derailing from the original goal just to uncover new things.
If I had any complaints about the game it would be the lack of danger or rather the lack of genuine danger since the game does a good enough job of making you feel like youíre in danger a lot of times. But itís almost impossible to actually DIE in this game. Fogg has a heart meter which can go up or down, but other than one place, it doesnít really effect much. Itís sort of a ďfake statĒ which is a bit disappointing really. There are many instances where I think the adventure of the game could have been better with some risk involved.
Itís not a deal breaker, indeed several video games like the old SCUMM point and click adventure games eliminated death and were still very enjoyable, but Iíll always appreciate a game that has genuine risk involved a little more. In fact, this one could have done the deaths very well given the one main example of it occurring and the writing in general.
Other than that, the game is excellent (especially with the added content) in just about every other way.
Much of the charm of Verne's original novel is the madcap dash around the world, using a variety of modes of transportation: steamships, trains, elephants, even a sledge. 80 DAYS outdoes Verne's novel, though: Its steampunk take allows for dozens of fantastical ways to travel, from mechanized versions of horse-drawn carriages to ice walkers to submarines to experimental hovercrafts - not to mention the Orient Express, the Trans-Siberian Railway, and a hot-air balloon.
You can, if you want, try to recreate Fogg's actual route from Verne's novel. In fact, that's what I had planned to do at first, since I thought it would be the most efficient method to navigate the globe. However, I picked up an object in Paris that the game told me could be sold in Berlin for a tidy sum. So I took a detour to Berlin and then Athens before heading to Suez to get back on track. But then I bought another item that I could sell in Dubai for a nice profit, and so I spent an inordinate amount of time getting to Dubai before finally arriving in Bombay for the trek across India. After having my passport stolen, surviving a mutiny and an aircraft crash in the Indian Ocean, being blown off course over the Pacific, being held up at gunpoint by Jesse James, and earning the American lightweight boxing title, I did eventually make it back to London. But not within 80 days. And then, of course, I had to try again. Because there were so many choices and routes I did not take - choices and routes that I just had to explore.
And therein lies much of what makes 80 DAYS work so well. A major way to make a game fun is to give the player a combinatorial explosion of choices. However, as an author you do not want to (and in many cases simply cannot) create a different scenario for each of those exponentially-growing number of choices. So the trick is to find a way to combine a small number of choices on the author's end into an exponential number of scenarios on the player's end. I wouldn't call the number of choices Inkle and Meg Jayanth had to create a "small number," but the fact that these choices are generally city-to-city decisions means that they can be combined in a way via the map to achieve the desired combinatorial explosion. Yet the combinatorial explosion never feels overwhelming: At any city there's never more than about half a dozen choices for where to go next, and often there are fewer. Plus you have a clearly-defined goal to help guide your choices: You've got to keep going east around the globe, as quickly as you can. A combinatorial explosion of choices on the player's end that never feels overwhelming, without a combinatorial explosion of work required on the authors' end, is great design - and leads to a lot of fun for the player.
80 DAYS handles another couple of issues deftly as well. One is the cultural difference between Western Europe in the 1870s and us today. Mainstream views on topics like gender, race, and colonialism are obviously quite different now than they were then. If you're writing a game based on an 1873 French novel (especially one in which the globe-encompassing aspect of the British empire is a plot point), how do you address that worldview gap? 80 DAYS's steampunk twist on Verne's novel provides a solid platform to handle this. For example, people groups in regions that were heavily colonized by European powers in 1873 frequently have their own takes on the advanced steampunk technology in 80 DAYS. Their technologies and their cultures don't come across in-game as inferior - just different. Something similar holds true with respect to the game's portrayal of women; in 80 DAYS women are engineers, pilots, and steamboat captains with as much frequency as men are. While this would be anachronistic for a game set in the historical 1870s, it fits right in with 80 DAYS's steampunk version of that era. This isn't to say that 80 DAYS falls into the mistake of presentism, either; here and there the game gives choices that allow you to explore some of why folks from that era might have thought differently than we do today.
As a final example, even though I doubt the authors view 80 DAYS as an educational game, it actually is - and it's even a good educational game. 80 DAYS requires the player to gain a decent overview of world geography, but it does this in a very natural way - one that is completely integrated into the gameplay rather than artificially tacked-on. It even sent me to the Internet several times, looking up central Asian cities, or wondering why Yokohama rather than, say, Tokyo, was the major Japanese port of that era. A desire to learn more is the kind of player response you want for an educational game.
Overall, 80 DAYS is an interactive tour de force that does many things well. Highly recommended.
This game employs a beautiful map used to select various routes across the world, and has nice, mostly static visuals representing your conveyance, the city you're in, and various NPCs as well as the player and his luggage. However, this game is very much CYOA in beautiful packaging rather than just a text-heavy graphical game.
The usual pattern of the game is that you start each day in your current city with some funds and the chance to get more funds, buy some luggage, sell old luggage, or explore. You then pick a route to travel onto the next city, which may or may not require waiting a few hours or days for.
Each route can cost between a few dozen pounds to 7000 or more pounds. Faster routes generally cost more. Along each route, various events happen such as mutinies, romance, murders, etc. which you have to deal with. Your choices affect what city you are in, how fast you get there, NPC reactions, your amount of money, Phineas' health, and extremely poor choices can lead to death.
The setting is steampunk, a genre which I am on the fence about. Among steampunk games, the writing is very good. Some highlights for me were Haiti (Spoiler - click to show)with organic automata, Agra (Spoiler - click to show)A city that walks on four legs, with the Taj Mahal on top, and Salt Lake City, which provided my first glimpse at an interactive fiction treatment of Mormons, my religion. On their treatment of Mormons, I was pleased to see that they treated it fairly kindly, with any negative reactions being those typical of the day. This is typical of the whole game, in that it seems remarkably well-researched (although never perfectly) for its scope.
I found the game somewhat tedious at times, especially on multiple replays. I frequently found myself skipping filler text or repeatedly tapping on the clock. However, on playthroughs where I focused on exploration over time, I had an enjoyable experience.
Overall, I strongly recommend this game for anyone without a distaste for steampunk. I know several people who would love this game if it had a more realistic flavor. But the steampunk setting allows any historical inaccuracies to be waved away, and provides for some fun pictures, so it's a trade-off.
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This is version 5 of this page, edited by Simon Christiansen on 14 April 2015 at 11:23am. - View Update History - Edit This Page - Add a News Item