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About the StoryBeing an account of the wedding at Cana, by the servant Micah; in which further details, doubtlessly apocryphal, are given of the event, including his contention with a surly Baptist, an interfering orphan, and a proliferation of women named Mary.
Nominee, Best NPCs - 2011 XYZZY Awards
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Number of Reviews: 3
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Related reviews: ethics, theology, polemic, miracles, jesus, christianity, religion, textuality
The game is presented (very loosely) as a late-Victorian translation of an apocryphal account of the Jugs of Cana, better-known as the water-into-wine miracle. As an obscure servant in the house of the bridegroom, you're tasked with finding more wine for the party and, eventually, in setting up the miracle.
The main thing the game depicts is not setting or plot or puzzle or individual characters, but a community: a community composed of individuals, many of them basically dissatisfied, most with diverging interests, full of conflicts great and small. Fundamentally an attractive community, full of kind, generous, intelligent people, but one which you are not quite a core member of. This goes a long way towards making it feel alive, rather than a tidy little parable.
Gameplay-wise, it's old-schoolish and not immensely intuitive. There are multiple solutions to certain puzzles, which have an impact on the general story, but interaction is not the central interest of the game. Some lines of inquiry rely on quite specific knowledge of the original text, and others are counterintuitive. There's a substantial hint system. Use it.
The game's core moral dilemma is, intentionally, trivial. (Spoiler - click to show)Joshua (Jesus) asks you to fetch some water; it's emphasized by other characters that you must do exactly as he says. But shortly thereafter, you have a choice: in order to save a child's life you have to disobey the literal commands of Jesus. The triviality is the point: anybody with the most rudimentary ethical sense can see the right answer, that literalism can't be allowed to trump straightforward ethics.
The approach to the rest of the story takes a similar attitude: it can't really be construed as an attempt at a strict historical retelling. Instead, it treats the text, story and history as juicy story elements rather than hard facts, and indeed in many places it's conspicuously ahistorical. Characters appear who are unlikely to have been around before the start of Jesus' ministry -- but then, so is the freaking Ancient Mariner, a guy who seems carefully chosen for maximum historical inconsistency.
(In the interests of full disclosure, I should point out that I've played an RPG campaign with Chris as the GM, and he took a highly similar approach there: a joyful, loving appropriation and blending of every story in sight, to the point where navigating the game became as much about interpreting, recognising and playing with the references as about in-character decisions. This led to one of the most fun and sustained RPG experiences I've ever had, which inescapably colours my experience of Cana.)
There's a certain kind of literary Christian who seems more invested in the aesthetic potency of Christianity than in its truth or goodness. Borges loved Christianity mostly because it led to Dante, Chaucer and a thousand strange and beautiful theologies. Cana does not quite fit into this model, though it can certainly be read in that mode: miracles and their significance are not really its central interest. (Indeed, Jesus doesn't quite seem to see the point of the miracle, which is fair enough: setting a party up with booze isn't quite the same order of things as healing the sick.)
Of course, all this presupposes that you actually get a decent proportion of the references. Your actual religious beliefs aren't directly pertinent to whether you enjoy Cana or not: more important is a textual interest in the Gospels, and a sense of humour about them.
In search of the last jug of wine that has gone missing, you encounter several characters from Jesus' time and entourage, trying to get their help in understanding where the wine has gone. The puzzles almost all consist of talking to the right people at the right time.
I found the fact that there is no real theological depth to the conversations refreshing. After all, you're a servant trying to solve a practical problem. Discussions about the deeper meaning of the dis- and re-appearance of the wine are for scolars in later centuries.
I really liked the setting. In spite of a really small map, I got the impression of a spacious house with a large number of wedding guests. There were some hints to the Jewish wedding customs at the time, but as you play a character from that time, most are only mentioned in passing.
After accomplishing one important task, a quote from the poet Coleridge pops up. Not only did this take me out of the time of the story, it also hid the game-text right after my last command. Annoying.
There are a few decision points where the story can branch. I did not replay to look at them as I was content with the one playthrough and the ending I got.
Nice historical/religious vignette.
The author has made a good slice-of-life game here that is enjoyable. The focus is on what people are really like.
The game has numerous NPCs, tight implementation, and a good progressiev hint menu.
Basically, the wine is gone and you have to find it. You encounter a variety of characters, including Jesus, multiple Marys, Martha, Lazarus, John, Zechariah, etc. The story also incorporates the parable of the ten virgins, as well as an epilogue from another part of the scriptures.
The author has done a great job here. Recommended for everyone.
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