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In-artful throwback, December 19, 2023(This is a lightly-edited version of a review I posted to the IntFiction forums during 2023's IFComp).
I keep turning the title over in my head. “Artful Deceit” works on a literal level, sure, for a mystery centering on the death of an art magnate that at first appears to be an accident but ultimately proves to be murder most foul. But zoom out a step and it’s still got some apt resonance, since the game’s a retro artifact, packaged as a Commodore 64 disk image that requires an emulator to access. The two-tone blue startup screen, the noticeable delay when typing commands, the feelies that offload long text-dumps to pdfs to reduce the game’s memory footprint – all of these are integral parts of the experience that wouldn’t be replicable if the game were just another .blorb file. But where once these elements were the inevitable consequences of then-cutting-edge hardware, now they’re limitations affirmatively chosen to evoke a specific response: an artful deceit, you might say.
I don’t mean that to be a slam on retro gaming as a category, or this game in particular; heck, you could safely argue that “artful deceit” is redundant inasmuch as all art involves an artist creating an illusion that may make gestures towards realism but is nothing of the sort. But if the medium is the message, I always wonder why an author chooses to introduce the level of friction that comes with a game that’s an intentional throwback to a 40-year-old experience of playing a game: is it just nostalgia, or is it something more that explains why the player’s expected to wait over a minute for the game to load, or put up with typing LOOK INTERIOR GARAGE DOOR instead of X INTERIOR?
Artful Deceit isn’t an exercise in throwback annoyance for its own sake, I should admit. There are some notable player-friendly touches, like a means/motive/opportunity system that signposts to the player when they’ve gathered enough evidence to solve (and prove) an aspect of the case, and unlike many self-consciously old-school puzzlers, there are robust hints and a complete walkthrough. Meanwhile, if the lack of implemented scenery grates on someone used to more modern IF, and the NPCs aren’t especially interactive, that’s both authentic to the 80s experience and also helps keep the player focused on the core gameplay needed to solve the puzzles and reach the ending.
At the same time, elements of the design did start to grate, over and above the lack of the conveniences offered by a modern parser. Progress requires knowing that at some point you’ll need to leave the scene of the crime to drive to the victim’s workplace, despite the absence of any specific clueing that this is possible, for example; and a bug meant that I wasn’t able to complete the game despite having all the necessary evidence in hand (Spoiler - click to show)(I happened to search the corner of the sculpture that had the magenta button first, and when I pushed it, the hidden compartment popped open even though I hadn’t realized there were other buttons – much less that the correct combination was hidden in several paintings in an overly-literal interpretation of art having a message – which meant the game didn’t recognize that I’d fully solved this puzzle chain). Modern games have issues like this, too, but what feels like a forgivable oversight there can sometimes come off as deliberate obtuseness in a retro context, through no fault of the author.
The details of the plot also sometimes made me happy to have left the 80s far back in the past. The resolution of the mystery hinges on some fairly retrograde thriller tropes that struck me as insufficiently motivated, and left me with a bit of a bad taste in my mouth – it’s the kind of plot that could be palatable if viewed through a revisionist lens, but in my opinion isn’t much fun anymore when played straight.
All these pros and cons might just add up to the same thing, which is that Artful Deceit is successful at its aesthetic endeavor of recreating a long-gone moment in time. When writing these reviews, I generally try to be sympathetic to authorial aims and judge a game according to how well it meets its brief, so I suppose I should end things there. But – cards on the table – I was one in 1982, and didn’t really get into IF until I was almost 20, so in this instance the nostalgia of imagined time travel is lost on me, and I’m left going back to the question with which I opened the review: what’s the point of all this effort, really? If Artful Deceit is content to be a view back to the early 80s, but as far as I could tell it doesn’t use the perspective granted by age to say anything distinctive about the era, either in terms of the culture depicted, the experience created by then-current gameplay aesthetics, or the ludonarrative implications of contemporary hardware. Let me repeat: that’s not necessarily a failing, but in this case I was left wanting something more.