@longtonguecat said:@DeadManRollin said:
For the reasons described here, I recommend getting the "GOG" versions of older games. I've bought a few and they work excellently on Windows 7. However, I see that NOLF is only in the wish list for GOG:
It's Warner Bros. Interactive (WBI), most likely.
N.O.L.F. was Monolith's property, so WBI may well be in possession of the rights.
With that said, I don't think WBI will let the game be re-released without DRM.
The thing about videogame violence is that you usually control it and people find that really horrifying. Movies you're a bystander just watching it all take place but in a game you're the cause of it.
That's why games have such a hard time really pushing it, plus you have the dumb arguments of games still being for kids despite age ratings. You also have a lack of tech sometimes to really show the ins and outs of proper violence. Finally you have censor boards to get by for the violence
I don't think games need to be more violent for the sake of it but I do think more games need to push it in a realistic or tasteful way. TLOU was a more mature type of violence where it aided the feeling of grittyness and realism that game was going for and while grotesque at times it never felt over done or out of place.
@psymon100 said:@Cranler said:@psymon100 said:@Cranler said:@psymon100 said:@Cranler said:@psymon100 said:@Cranler said:@psymon100 said:@Cranler said:@psymon100 said:@Cranler said:@clyde46 said:@Cranler said:@lostrib said:@Cranler said:@psymon100 said:@Cranler said:@jhonMalcovich said:@Cranler said:
More people play BF 4 on consoles than pc. Not surprising.
well, if we sum up last gen consoles, too. But PC as a single platform has the biggest number of BF4 gamers.
Consolites are split up between gens and manufacturers. Not fair to compare pc numbers to one specific console. PC gamers have one choice for BF 4 while consolites have 4.
PC is the most popular platform for Battlefield 4.
'Gamers' have 5 platforms to choose from.
What's unfair is combining the sum of gamers across several consoles.
If you want to play on a pc you have one choice, want to play on console you get 4 choices. Simple really.
it's really stupid actually.
Computers have been monopolized by MS, consoles havent. If there was one console version and one pc version then you'd have the perfect comparison.
Wat. That makes no sense.
If MS hadnt monopolized computers then there would be a mac and linux version of Battlefield 4 as well. This would result in a lot less pc version players.
In such a situation wouldn't we keep playing by your rules, which surely would extrapolate out to
(Windows + MAC + Linux) vs (XB1 + XB360 + PS3 + PS4)
and in this situation who do you think would win?
More choices doesnt guarantee more players. You really think a Wiiu version would add anything significant to the player base for consoles for example? I mean how many consolites that own a wiiu dont also have at least one other console that BF 4 is on?
That's interesting. Because just a second ago, you stated that more choices guaranteed less players:
"If MS hadnt monopolized computers then there would be a mac and linux version of Battlefield 4 as well. This would result in a lot less pc version players."
How come the door doesn't swing both ways? I thought you were talking about fairness?
Trolling? In the context of what I was responding to it's easy to understand that I meant more console versions than computer versions doesnt automatically mean more console players.
Less pc players if mac and linux were popular but the same amount of computer version players. Did I spell it out enough for you now?
Trolling? No. Having fun? Yes.
"Less pc players if mac and linux were popular but the same amount of computer version players. Did I spell it out enough for you now?"
Well, in this particular case from the way you've phrased it - nobody has any choice but to agree with you.
But surely this scenario is too severe? I mean .. increasing platforms available by 3x, yet player count changes by 1x (ie no change).
Besides, I would have taken a different angle to respond to me. I would have argued:
"79014 on the PC right now, 140661 on consoles. Is it feasible that adding Mac and Linux platforms would increase 'computer' playerbase by >1.78x?" To argue against my own devil's advocate, I'd suggest that's absurd too.
See. I'm having fun.
You really think theirs a lot of people who only use linux or mac who are wanting to play BF 4 but would only play it if their os of choice was supported?
The vast majority of those who want to play shooters already have a pc or console to play them on.
Notice how Ghosts and BF 4 are both on 2 more platforms than their last installments yet sales are down for both. More platforms doesnt mean more players.
"You really think theirs a lot of people who only use linux or mac who are wanting to play BF 4 but would only play it if their os of choice was supported?"
Last post you say more platforms means more players and now you say it doesnt?
""You really think theirs a lot of people who only use linux or mac who are wanting to play BF 4 but would only play it if their os of choice was supported?"
"Last post you say more platforms means more players and now you say it doesnt?"
These things are not the same. Please. Stop with the leading questions.
When did I ever argue more platforms means more players? I suggested such a conclusion was absurd. I can quote myself:
""79014 on the PC right now, 140661 on consoles. Is it feasible that adding Mac and Linux platforms would increase 'computer' playerbase by >1.78x?" To argue against my own devil's advocate,
You left out.
"But surely this scenario is too severe? I mean .. increasing platforms available by 3x, yet player count changes by 1x (ie no change)."
Quite a contradictory post you made there
Hey - you're welcome to think that. I think post 66 looks fantastic the way it is, and I have no need to defend it.
Hope BF4 is going well for you. I quite enjoy Paracel Storm.
Thats a good map. I'm really enjoying the China Rising maps.
The Dark Eye is a pen-and-paper RPG IP of Deutsch origins, aiming to be a slightly darker version of Dungeons & Dragons but not as bitter as Games Workshop’s Warhammer. Typically, The Dark Eye, being a home-made product, became rather popular in Germany. In fact, it is so popular, that Daedelic decided that an adventure game should be made based on the pen-and-paper table-top game, ditching all the rules and RPG gameplay but not The Dark Eye’s lore and themes.
It is not entirely certain whether Ulisses Spiele, the owner of The Dark Eye IP at the time (and still currently so), had granted Daedelic a license or not, especially considering that Chains of Satinav is not even a RPG.
Regardless, The Dark Eye: Chains of Satinav offers a story with splendid artistry and narrative depth.
Furthermore, it may come as a surprise to Daedelic’s fans that it is not Herr Müller-Michaelis that is the project leader. Instead, the director of the game is Franziska Reinhard, while the writing and puzzle designs are from Ole Kamm and others. Consequently, the game has qualities that are leagues apart from the cartoonish titles that Daedelic’s co-founder tends to make, perhaps for the better.
Young man Geron is the apprentice of a bird-catcher in the medieval sovereign town of Andergast. However, far from being a mere plebiscite with an otherwise serene everyday-life, Geron is the victim of a tragedy that struck Andergast more than a decade ago.
This tragedy was caused by a blind old man with otherworldly powers. Known only as “the Seer”, the old man has been brought to justice and condemned to the stake, but before dying, he had proclaimed Geron to be a living bad omen. Furthermore, it does not help Geron that he has some magical talent, namely an ability to break fragile objects from afar with mere thoughts.
On one fateful day, long after that day of reckoning for the Seer, Geron is participating in a royally sponsored challenge amidst signs of calamity looming on the town. Little does he know that winning that challenge would not improve his lot in his life, but rather propel him into an adventure that he would never have seen coming.
REMARKS ON PREMISE:
After having played the game, one could suspect that Chains of Satinav is based on the aftermath of some table-top campaign. Poor Geron could have been responsible for tying up the loose ends that have been left behind by a motley crew of former table-top adventurers who have since been retired by their owners into less-exciting but otherwise safe lives in Andergast.
Perhaps this is Daedelic’s way of attempting to make the game feel familiar to fans of The Dark Eye table-top game, but ultimately, Chains of Satinav is a point-and-click adventure game through and through.
For the sake of players who are not familiar with the (very simple) gameplay of point-and-click adventure games, there is a tutorial that accompanies the prologue of the game. The scenario of the prologue is cleverly written to show to the player the elements of point-and-click gameplay, as well as Geron’s ability to break dainty things like jugs from afar. It is satisfactorily comprehensive, but then, this is a point-and-click adventure game.
VISUAL & AURAL AIDS:
Before starting a game session, the player is prompted to pick one of two “difficulty” settings. An experienced game consumer would be a bit surprised at this, because difficulty settings are usually associated with anything but adventure games.
In the default setting, the player is given some hints on what to do, usually through remarks by some characters (including Geron himself). More importantly, the icon for the mouse cursor is highlighted with a nimbus of light whenever the player is about to perform an action that would lead to progress. For example, combining an item with another right item would trigger this visual indicator. Another handy aid is that objects that Geron has yet to examine or interact with have their text labels tinted blue.
Playing at the other difficulty setting removes these visual aids. Of course, this supposedly more difficult setting is only effective at what it is supposed to do if the player is playing the game for the first time.
For either setting, a pleasant chime with mysterious tones play when the player has made significant progress within a scenario, such as achieving one of the objectives that Geron must achieve. A shorter, alternative chime also plays when the player has completed the necessary steps to trigger progression to the next stage in a scenario.
In either setting, the player can hold down the space-bar (by default) to have objects of interest highlighted in the current screen. This is a tradition of Daedelic Entertainment of course. However, in Chains of Satinav, this is tied into its system of achievements; specifically, not perusing the convenience of highlights gives the player a chance at getting a particular achievement. Unfortunately, this means that the interested player would have to go pixel-hunting.
Being the player character, it is perhaps fortunate that Geron is an easy character to control, more so than the protagonists in other Daedelic titles.
Firstly, Geron can actually run. He will automatically run when the player wants him to go to somewhere or something that is more than half the screen distance, which is convenient.
Like his peers in many other adventure games, Geron can stuff a ridiculous number of things into his pockets. These can include even huge things, such as antler head trophies. On the flip side, this can seem unbelievable and can even be seen to go against The Dark Eye setting.
In terms of personality, Geron did not have a nice childhood, which is to be expected of a person that has to grow up with having been proclaimed by the condemned to be “the doom of us all”. Having had few people that are kind to him aside from his mentor and guardian Gwinnling, Geron has a little angst but takes any chance to improve his standing in the eyes of the other people of Andergast.
Yet poor Geron, unfortunately, has to make things worse for himself as he tried to experiment with his powers, which remain strictly limited to just breaking fragile things, much to his frustration.
Interestingly, the player can make the decisions for other aspects of his personality through interactions with other characters. For example, players can have Geron showing proper deference to people of the upper class when talking to certain nobles, or just have him act as a defiant plebiscite.
Sadly though, any expectation that the decisions would change things down the plotline would be dashed. They are only there for the sake of the system of achievements.
Regardless of his angst, poor childhood and the player’s decisions, Geron is still a pleasantly mild person that is not easily given to outbursts. His refusal to give up or whine a lot about his troubles is also admirable, especially when he is compared with the protagonists of other Daedelic titles, which tend to sound insufferable when they moan about their misfortune.
The other protagonist of the game is Nuri, whose unwieldy full name would be withheld here for practical reasons. Nuri’s character designs may seem stereotypical, i.e. that of a naïve nubile girl, but there are convincing reasons for such decisions on Daedelic’s part, which will not be mentioned here for fear of spoilers.
Nuri acts as Geron’s conscience throughout much of the game. She also provides some comic relief for when Geron has to interact with creatures that come from fairy-tales. Her innocently clueless awkwardness when encountering elements of human civilization is also a source of entertainment.
Most importantly, her eventual (and easily foreseeable) realization of how cruel the human world can be is an important element of the story, though to elaborate this would be to include a spoiler.
In terms of gameplay, Nuri offers a magical spell that is the exact opposite of Geron’s ability. Generally, for much of the game, the player must have Nuri close to Geron for this spell to be available for use. Indeed, many of the puzzles make clever use of their complementary powers.
OTHER CHARACTERS & THE WRITING:
As suggested earlier, the other characters may seem familiar to people that have experience in The Dark Eye IP. As an example, there are superstitious common folk that are distrustful of strangers and who are easy to provoke into forming mobs. Then, there are rulers who try to keep the peace between two warring nations that have long forgotten their reasons for fighting. There are other archetypes of characters with agendas that would not surprise people that are used to dark fantasy tales.
However, being a fan of adventure games, Daedelic Entertainment has not forgotten to include more humorous elements in the writing of Chains of Satinav.
These include references to other adventure games, such as Monkey Island, as well as to its own games (for example, there is a reference to pantaloons, which were useful objects in The Whispered World, an earlier Daedelic title). Nuri also makes a remark that would amuse players who are aware of the tropes of looping dialogues in games.
Most of the puzzles in Chains of Satinav have logical progression and convincing reasoning in their designs - when the lore of The Dark Eye does not inject fantastical notions into them of course. When it does, there is usually someone or something that will inform the player of what needs to be done when magic is a factor.
Some of the best puzzle designs in the game have the player making use of Geron’s and Nuri’s respective abilities, breaking and repairing items in different locations.
A few puzzles actually have more than one solution, perhaps in a pleasing break from the usual linearity of puzzle solutions within the adventure game genre. Finding alternative solutions happen to account for the system of achievements within the game (which is something that is rare in Daedelic’s games). Otherwise, they do not appear to alter the main plotline, though the more jaded veterans of adventure games may appreciate that Chains of Satinav does something different for once.
There are also puzzles that are notable for including illusory tricks, which actually translate in-game into tangible consequences. Figuring these out can take a while, but it may seem rewarding to those who have the knack to notice and observe such tricks.
To help the player keep track of what to do next, the player can bring up Geron’s journal, or more precisely, his memories of the adventure. This is the main way that players use to remind themselves of what needs doing next.
Not all of the puzzles are designed in a way that would please all players though. There are a few puzzles that require the player to backtrack to see what has been updated in earlier locales. This can seem tedious.
Moreover, the player may discover that certain actions can only be performed at specific spots. For example, there is one scenario where there are a couple of locales that overlook the same object. The puzzle that is associated with the object can be solved by performing a specific action on the object. Theoretically, it could be performed in either locale, but this action can only be enacted in strictly one of the two with no reasoning behind this other than scripting limitations.
Chains of Satinav has problems that concern the less-than-stellar translation efforts for the game, which was originally made in Deutsch.
In particular, there is one puzzle where Geron makes a remark about the reaction of a certain living thing against fire. His voice-over mentions that the thing is not afraid of fire, when it actually is.
The phrase “mischief” is often used interchangeably with “misfortune” and “evil”, even though the latter may seem more appropriate for a game with Chains of Satinav’s themes.
Occasionally, the voice-overs and subtitles mismatch. This is usually not an issue when it happens, but there is one particular moment halfway into the game where it causes problems in the puzzle-solving gameplay.
In this scenario, one of the lines in the English voice-overs and subtitles is missing, and in its place is the Deutsch version. This can be irksome to English-centric players, considering that this line is actually important for one of the puzzles. Fortunately, the player does have the convenience of certain visual indicators for this puzzle, but there is no fix for the issue of the spoken line and its subtitle.
Firstly, it has to be said that Chains of Satinav does not have many technical issues, unlike its cousins in Daedelic’s portfolio. It appears to be far better optimized for more computers than other Daedelic titles. The usual issues that plague the other Daedelic titles, such as the mouse cursor becoming randomly unresponsive, rarely if not never occur in Chains of Satinav.
However, there are a few recurring problems, despite the developers’ splendid playtesting. One of them is that interactive hotspots can become randomly disabled when Geron enters a locale. The player must have Geron moving about a bit after this in order to have the icons restored.
Concept artwork for Geron suggests that the game was originally intended to have cartoonish visuals, not unlike many of Müller-Michaelis’ works. However, the finalized visual designs of Chains of Satinav are far from cartoonish. Rather, they can seem very stylish and stunningly beautiful to most players. Players may even forget that the game is designed with Visionaire, the same software that was used to make many other Daedelic titles.
Tobias Trebeljahr is mainly responsible for the background artwork of Chains of Satinav. Most of the locales in the game are splendidly detailed and laden with water-colour brush-strokes. That they were done with plenty of heart and soul is a statement that would be difficult to refute.
The character designs are provided by teams led by Simone Kesterton and Stefanie Kick. Their artstyle is certainly different from that of the artists who worked on Müller-Michaelis’s games.
Perhaps to this reviewer, each of the characters that are seen in Chains of Satinav has one-of-a-kind hairdos, ranging from the subtly unkempt to the fabulous. The two main characters are particular examples; Geron has short but thick hair that he seemingly tries to keep tidy as possible without access to better medieval hair-care, whereas Nuri has unruly hair that are adorned with many decorations that give her a wild look that is yet not too harsh on the eyes.
With that said, every person in the game has apparently unique faces too, which make them more believable (and despite the settings of the game). Again, Geron and Nuri are particularly noteworthy.
Moreover, the sprites for the characters have visual qualities that make them fit near-seamlessly with their surroundings. This differs with many previous Daedelic titles, which often have stark and sometimes even awkward visual contrast between characters and their surroundings.
However, Chains of Satinav does have limitations in its visual designs. These can be seen in the animations of characters and other objects in motion.
Although the animations for Geron’s and Nuri’s bodily motions are smoothly animated and transitioned, the other animations in the game are stilted and staggered. The splendid artwork also makes the stilted animations stand out even more.
The most apparent of these are the animations of characters’ lips. Although these do prevent any attempt at assessing lip-synching efforts, the lip animations also happen to be all over the place.
Though rarely, the lips of the wrong character move when another character is delivering lines. One of the most notable examples happens to occur in a dialogue between Nuri and Geron when they are looking for a certain person. This can result in some unintended hilarity.
Another notable design of Geron as a character is that his monologue is mostly done in his mind, not through his lips. This is in contrast with the protagonists of other Daedelic titles, who are often practically talking to themselves out loud. However, this design policy does not seem to be consistently enforced; occasionally, he makes a monologue without moving his lips, but a nearby character actually hears his words and makes remarks.
Most of the animations are done in-game, but sometimes it resorts to what appear to be pre-rendered cutscenes. There is no discernible reason for this, though perhaps it may have to do with Visionaire’s limitations.
The music is the first of the game’s sound designs to be heard. The music has been contracted out to “Knights of Soundtrack”, a none-too-subtly-named audio production company that is currently working closely with Daedelic on its more serious titles.
Dominic Morgenroth and Daniel Pharos are the composers of the music. As befitting the mature and slightly sad themes of the story, they have composed music that is melancholic and haunting, and perhaps a bit depressing too.
The Knights are also responsible for the sound effects that are heard in the game. They perhaps falter a bit in this regard.
Although most of the non-musical sound effects that are heard in the game are appropriate for their associated occurrences, the Knights do resort to clichéd albeit amusing aural tropes for certain sound effects. Chief of these is the “Wilhelm Scream”, which is used no less than twice in the game. Perhaps this was intended with humour, but it may seem ill-fitting with the game’s themes to some players.
The voice-overs are perhaps the best of the game’s sound designs. As of this time of writing, there are only Deutsch and English voice-overs. Both are delivered splendidly.
Geron may have some angst, but fortunately his voice-actors do not portray this too often. Geron’s English voice-actor in particular has a dreamy baritone that seems especially fitting with the young man. Both of Nuri’s voice-actresses portray her innocent naïveté very well, and after a certain pivotal point in the story, the heart-wrenching change in her character too.
Other characters have far shorter screen-times, but there are a couple that are notable. A certain character that appears early on appears again later as a much-changed person. His voice-actor happens to deliver this drastic change very well.
If there is any character that is not voiced pleasantly, it is one of the animals that can talk like humans do. To elaborate more on this character would be a spoiler, but it should suffice to say here that most players would find its cawing to be rather grating and forced.
Chains of Satinav has a beautifully bittersweet story to offer, in addition to puzzles that are mostly believable and not too obfuscated to figure out, despite its fantasical settings.
Perhaps its association with The Dark Eye was not needed at all for Chains of Satinav to be as brilliant as it is. Daedelic Entertainment may have intended to use this association to market the game with, but it could have just been confident that the game could have done as well without it.
That Daedelic Entertainment is slanted towards adventure games is perhaps known to those who still keep an eye on this once-vibrant genre. However, instead of watching the genre fade into oblivion, Daedelic seeks to revive it.
It might have a rough start in its endeavour though. In the past, it merely published games by others and where it did produce in-house products, they were ridden with issues such as poor translation from their original German versions.
However, Daedelic Entertainment has since learned from the feedback to its past games. The result of these lessons was Deponia, the first of a series that would place Daedelic among the likes of TellTale and other game-makers that still see worth in the adventure game genre and more importantly, making considerable revenue from them.
Continuing a practice that it has learned from past criticisms that its games are not sufficiently friendly to newcomers to the genre, Deponia starts itself off with a witty tutorial that happens outside of the actual story and breaks plenty of fourth walls.
Other than the silliness of the set-up of the tutorial and the banter between the two characters that are presenting the tutorial, the lines with the actual instructions are delivered with sufficient clarity and seriousness.
The lessons that are imparted would be standard-fare to long-time veterans of adventure games, but with the addition of the tutorial, the game would seem a lot more accessible to players who have yet to know the genre at all.
After the tutorial, Deponia reintroduces itself with a short song, sung by a person that people who liked Harvey’s New Eyes may well recognize. (Each chapter would then end and the next one start with a short song too, amusingly.)
Rufus lives in Kuvaq, a town in a seemingly vast trash heap as far as the eye can see on the planet known as Deponia. Kuvaq is populated by people who make the most of their lives by salvaging scrap and other stuff from the garbage that the city of Elysium above Kuvaq drops onto the surface of Deponia.
Tired of having such a life on the surface, Rufus yearns to leave and go to Elysium, his drive being the delusion that he deserves a life as one of the privileged blue-bloods that reside in the city.
Unfortunately, Rufus’ callous and egotistical demeanour earns him no friends at all. Moreover, it is a self-defeating behaviour that sees him unwittingly scuttle escape plan after escape plan, among other messes.
One day though, yet another ruined plan would have him looking for means other than to physically bring himself to Elysium. However, this would get him into trouble that even he is not used to.
By default, Deponia utilizes a mouse-centric system that conveniently uses both mouse buttons for immediate manipulation and examination of objects, instead of the cumbersome palette of icons that was used in earlier Daedelic games such as The Whispered World. The mouse wheel is also used for bringing up the inventory screen, which can require some getting used to, though once the player has learned this, he/she can play the game almost entirely with the mouse.
The inventory display can also be conveniently put away by simply moving the cursor into space that it does not obscure.
Despite the pervasiveness of mouse controls, the keyboard is still useful for other purposes.
Pressing the spacebar brings up handy highlights of objects, continuing a wise trend in Daedelic’s games. However, the highlight icons consist of screws with coronas of bright lights, which can obscure what they are supposed to highlight.
There are also hotkeys for bringing up the saving and loading screen, though perhaps Daedelic may not be aware of the usual (albeit not unanimously agreed-upon) meaning for the terms “quick-save” and “quick-load”.
Double-clicking on doorways, corners and such brings the player instantly to another locale, without having to watch Rufus saunter over to the other place. This is a long-time tradition of Daedelic’s games. However, by Deponia’s time, the lack of any means to have the player character run or move any faster may be all too apparent already.
Nevertheless, the consequences of the lack of running are not too severely felt, because the locales are not too expansively big.
Being the player character, the appeal of Rufus as a character is critical to the reception of the game. At first glance, Rufus’s appearance suggests that he is of the archetype of adventure game protagonists that go about seeking adventure and causing trouble. Indeed, he is one – in a sense.
Unfortunately, almost from the get-go, Rufus reveals that he has a personality that others would find unpleasant. He is self-conceited and quite pompous – but of course, players that are more experienced at story-writing tropes would know that this may well be a set-up to have events turn Rufus into a better person.
There may be some amusement to be had from the deflated sarcasm that Rufus’s acquaintances have for his antics. The only exception is Toni, who is Rufus’ ex-girlfriend who sternly reminds Rufus (and the player) that he is really good for nothing, and Gizmo, a character that would reveal that Rufus has long been a menace to Kuvaq.
This goes on for much of the game, until a certain scenario far into the game slaps him with a rude awakening. Then, finally, he has some character development away from the insufferably egotistical Rufus at the beginning.
During the time in-between though, the player has to be very patient with him, especially if he/she had known protagonists with far humbler demeanours. His massive ego can be easily grating on the nerves, especially when it leads him to make terrible mistakes.
(It is worth noting here that in this aspect, Rufus is the exact opposite of Sadwick, who is the protagonist of The Whispered World, an earlier Daedelic title.)
(Also, interestingly, despite Rufus's callousness, he still closes doors behind him.)
The puzzle designs in Deponia have surprisingly convincing logic progression, considering that earlier titles by Daedelic have issues when it comes to this.
This is mainly possible due to the settings of Deponia, which mostly has Rufus dealing with machines that have mostly believable engineering. There are also people who describe to Rufus how things work, albeit in a manner that is not too overtly clear. Their deficient explanation also hints at how much of Deponia’s past history has been lost, though the game does not provide many answers to questions about this – at least not in the first Deponia title.
Most of the puzzles have Rufus damaging and sabotaging things with selfish mischief in his mind. There are a few puzzles where he actually fixes things, which may have symbolic meanings. Either way, Rufus would say out loud what needs to be done, and appropriately so because he does have some technical skill, despite his boasts.
Some puzzles and solutions may not have all corners covered though. For example, there is one scenario where the player needs to becalm another person so that Rufus can nick said person’s things, but Rufus can only nick one certain object that is needed to solve another puzzle. If the player attempts to have Rufus steal anything else, the other person’s warnings which were used before said person was becalmed would play out.
A few puzzles also resort to cheap puns to indicate to the player the solution that is needed. For example, Rufus makes a pun on the word “catastrophe” when describing a certain object to suggest that the associated solution requires certain animals.
Despite most of the puzzles being quite logical and believable, there are puzzles that can be considered rather outrageous. Granted, there is no telling whether Deponia is a world that is far removed from the real one or not, but it is hard to suspend one’s disbelief when Rufus uses a certain candy on a light source to obtain the means to solve a puzzle.
With an egotistical protagonist, Deponia’s writers (the main one being Jan Müller-Michaelis, who is the brains behind the story of many previous titles) have their work cut out for them. Fortunately, they managed to provide an entertaining story that is not too damaged by the narcissism of the main character.
For one, other characters’ sarcasm towards Rufus’s self-conceited personality has already been mentioned. This helps balance against Rufus’s possibly insufferable monologues, at least early on in the story.
The writing also has many references to earlier adventure games by Daedelic. For example, a certain green sock appears early in the game, suggesting that it may be a reference to a certain other green sock that appeared in The Whispered World. There are also subtle references to other adventure games, including well-known ones like the Monkey Island titles.
Most of the lines are tightly written enough to prevent the player from knowing about solutions to puzzles in advance, but there are still holes that can be discovered by having Rufus examine things; an example about word-puns has already been mentioned earlier.
VOICE-OVERS & SUBTITLES:
The game comes packed with voice-overs and text in English, Deutsch, Português and Español. It so happens that the latest build of Deponia has a handy button in the user interface that allows the player to switch language packs easily. On the other hand, the multiple language packs do increase the installation size of the game.
If one is willing to replay the game several times with a different language pack each time, he/she would know that the lines are delivered with satisfactory enthusiasm. However, there are a few blemishes.
Significant pauses are used as a tool of humor in the monologues and dialogues. Although these seem suitable with the comparatively slower German and English dubs, they make the voice-overs in other languages seem awkward.
The subtitles sometimes do not match what the characters are saying. Occasionally, the game may even call up the wrong text. These may be random glitches, of course, but it should be worth noting here that this problem occurred in earlier Daedelic titles.
This brings the review to more acute problems about Deponia.
Unfortunately, even though Deponia was the most refined product by Daedelic Entertainment by its time, it can still have technical issues. This is despite the game having more than a dozen playtesters for quality control.
These might stem from its use of Visionaire and Microsoft’s .NET Framework 4. Although some machines are able to run the game without a fuss, yet some others do not take kindly to the game’s need to install .NET Framework 4 redistributables on them.
This is not proven to be the root cause, of course. Yet there are issues that Deponia shares with its older compatriots in Daedelic’s roster, which also use Visionaire and .NET Framework 4.
Although rarely, transition icons can fail to function, causing the player to be stranded to a locale. Saving and reloading does not work because the saved game is corrupted with the glitch. Occasionally, the mouse cursor may stop moving, and the only way to fix this is to disconnect and reconnect the mouse. Some voice-over lines are also randomly skipped, which can be irksome.
These problems occurred in earlier Daedelic titles, such as Harvey’s New Eyes and The Whispered World. However, perhaps to Daedelic’s credit, they appear to occur with much less frequency in Deponia.
Deponia was, perhaps by its time, Daedelic’s most visually catching in-house-developed game. Its artstyle is cartoonish and vibrant. The influence of anime/manga can be apparent to more experienced players, but it is not too significant as to detract from the otherwise convincingly original style of Deponia.
Deponia is a junk-covered world. This much is apparent when the player gets to see Kuvaq in all its ramshackle glory for the first time. The scenery also reflects on the resourcefulness of Deponia’s inhabitants, most of whom have technical knowledge to certain degrees, including even Rufus.
On the other hand, most of the scenery that the player would see is nothing but junkyards. Elysium is mentioned plenty of times in the game, but it would only be seen in the sequels.
In previous Daedelic titles, the characters have visual designs that contrast severely with the background. This is not so in Deponia. Like their environments, the characters are crafted with the same cartoonish but detailed style. Each character looks vibrant and quite unique from one another.
If there is any common visual trait to the characters, it is the lack of visible noses on the female characters. This is of course a deliberate visual design that is intended to make them look more peculiar. (It is worth noting here that such a visual design is in a significant number of anime/manga works.)
Furthermore, the animations of characters in Deponia are far better done than those for characters in earlier Daedelic titles. There are more frames of animations, as well as more illusory tricks to suggest motion on the part of the characters. Most puzzles and solutions also have their own unique animations of Rufus manipulating them.
SOUND EFFECTS & MUSIC:
As to be expected from a game that is set in a junkyard of a world, the sound effects are going to be mostly noises of metal clanking and machinery hissing and chugging, among other noises that are associated with the mechanical. They do not make for good aural variety, but they are otherwise appropriate for the settings.
As for the music, the best soundtracks are of course the short songs that play before the start of each chapter. They are actually part of a whole song, “Huzzah!”, but have been cleverly edited by their composer, Finn Seliger, to sound like they are separate.
The admirably multi-talented Jan Müller-Michaelis (who is also the writer for the game and one of Daedelic’s co-founders) provides the lyrics for “Huzzah”, just as he had for “Needle & Stitch” in Harvey’s New Eyes and perhaps other in-house Daedelic games in the past. Considering his Deutsch upbringing, that he could force a convincing American accent for the song is commendable.
The other soundtracks are less memorable in comparison, but they are otherwise quite pleasant to listen to and are usually appropriate for the scenarios that they are played in.
In perhaps an unabashed overstatement, Deponia is the culmination of Daedelic’s past experiences in designing adventure games to keep a once-dying genre alive. Deponia may not have addressed all of the issues that occurred in Daedelic’s earlier titles, but it was arguably the best game that Daedelic offered during its time.