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Lights, camera..., December 5, 2023(This is a lightly-edited version of a review I posted to the IntFiction forums during 2023's IFComp).
My wife and I visited Venice a few years ago, on a trip that had a lot of conventional highlights – the Arsenale! The Bridge of Sighs! That quadriga they stole from Constantinople! – and one that was quite unconventional. We went in late October, as the tourist season was starting to ebb, and though the city was still flooded with people during the day, many of them were cruise people who went back to their ships in the evenings, so once the sun was down it was surprisingly thinly populated. In fact one night as we walked back after dinner, the campo in front of our hotel was completely deserted, and as we marveled at the romantic ambiance, we suddenly spied a flickering light off at the other side of the square, in a heretofore-unnoticed breezeway leading around the side of a decaying building. We crept closer and saw that, oddly, small candles had been placed at intervals at the sides of the passage, leading us down and down the arcade into a night that suddenly felt quite black and cold, though still just as absent of human life. As we considered whether to keep going, I felt near-certain that either a ghost was going to appear, or we were going to be murdered, but either way it was going to be stylish.
From its movie-aping cover image to its multilingual-pun title (“yellow” is “giallo” in Italian, of course), Barcarolle in Yellow is similarly enticing, promising lurid thrills in a memorable setting. As an actress specializing in Italian B-movies, you’re summoned to Venice with the promise of work, but soon find yourself teetering at the edge of madness as plot points from the film – like a mask-clad stalker and a depraved cult – become all too real. Have you just been popping too many pills, or are the brutish director and sinister psychoanalyst in on the plot? And are you just the victim, or something else entirely?
This is a lovely lovely premise, but sadly for me the game didn’t quite live up to it, for two main reasons. First, the setting is surprisingly underutilized, and in fact Barcarolle in Yellow overall doesn’t provide much in the way of striking imagery. There’s something charming about entire districts of Venice being rendered as single locations, but the effect is to make an already-small city even more cramped. The general absence of implemented scenery – or even mentioned scenery – also drains the setting of some charm. Like, here’s the description for Piazza San Marco, omitting only the listing of exits:
"The best-known square of Venice, perhaps of Italy, featuring the church of San Marco, the iconic Campanile and the Doge’s Palace, as well as a grand view of the lagoon to the south and the island-monastery of San Giorgio Maggiore on the other side of the water."
This is a singularly underwhelming rendering of one of the most beautiful places on earth, and what’s worse, trying to examine any of the landmarks gets a terse reminder that you’re here “to work, not to see the sights.” Where a screenwriter might be able to get away with simply writing “EXT – LIDO – NIGHT” on faith that the director will add the details and ambiance, this works less well in IF form; again, I could fill in the blanks a bit from my own experience, but I still found myself wishing that the prose provided a more evocative jumping-off point for my imagination – all the more so since this is nominally a giallo, which thrive on atmosphere. Sure, things do get more evocative and intense in the interstitial cut-scene sequences, and there is the occasional exception, like a psychiatrist’s office that’s described with well-chosen details, but this can’t really substitute for the relative thinness of the interactive sections.
And speaking of interaction, that’s the other place where I thought the game fell a bit short. You’ve definitely got some interesting things to do, from escaping a violent mob to trying to catch the killer on film, but I never felt like an equal partner in proceedings; instead, like an actor working for a domineering director, I felt henpecked, pushed to do whatever specific thing the game had in mind with no tolerance, much less reward, for trying to explore off the beaten path. As mentioned above, the authorial voice even hurries the player past examining things it doesn’t want you to look at, but beyond that, the puzzle design is actively discouraging of experimentation – your introduction to Venice is a chase sequence with not even a single turn to spare, the movie-filming sequences adhere to a rigid set of requirements (you’re not even allowed to scream when someone gets gunned down in the Western you’re filming in the prologue), and in general I just felt like I was somewhat surplus to requirements. This reached a nadir in the ending, where the final text seemed to assume I’d accomplished something I’d spent many turns unsuccessfully wrestling with the parser to attempt (Spoiler - click to show)(shooting either my double or myself – the game kept insisting the gun was unloaded, even though I’d opened it and seen the bullet in the chamber). There are some decision points that seem to determine which of several endings you receive, but these are similarly curated, coming as yes/no decisions that break into the normal flow of parser gameplay, so I found they didn’t add much in the way of engagement.
Admittedly, the game’s thin implementation and occasional bugginess also meant that in the back half of the game I hewed closer to the critical path. When I took an action necessary to solve the first puzzle, for example, the opening sequence where the director of the Western yelled cut and a boy ran up with a telegram inviting me to Venice suddenly replayed, despite already being in the Venice train station. And an action sequence involving falling off the Ponte Rialto was somewhat undermined by the ability to enter a souvenir shop mid-descent, and pick up a passing motorboat along the way.
For all that, once I just gave up and went with the game’s direction, I did have a reasonably fun time. While this isn’t a story for the ages, it hits some fun beats, and gets many points for novelty (is there a second parser giallo?) And it’s occasionally quite skillful in how it mixes artifice with reality, with the protagonist’s real life sometimes seeming to be a movie, and vice versa. Still, I wish I hadn’t had to work so hard to meet the game halfway; this one needed a little more time in pre-production and a director who’s a little less of a control freak, though I could still see it gaining a cult following.