Platform: PC

Costume Quest feels like an off-hand idea thrown out there at a pitch meeting. I’m sure the designers had just taken their kids out trick-or-treating for the first time and thought to themselves, “Geesh, wouldn’t it be cool if there was a game where you were trick-or-treating and your costumes gave you superpowers!” Well, it might have been cool except for the fact that knocking on doors only to have repetitive battles is not fun at all. If there is one thing Doublefine Studios is good at is creative art direction and silly dialogue. Much like the critically lauded Psychonauts, this game is dripping with style and creativity. But, also like Psychonauts, the actual game play is just ho-hum. The game is just a lot of walking around, picking up candy and then having the occasional timing-based (ala Mario RPG) and strategy-free battles. This game was entertaining for about a half hour but got old really fast.

Syberia II picks up right where the first game left off with you racing by train into northern Russia in search of the mysterious island of Syberia. Of course there are plenty of obstacles along the way and lots of new and fantastical places to explore. The writing here is top-notch (with the exception of the completely redundant side story of Kate’s employers attempting to track her down) and I genuinely cared about the characters and their fates. My usual complaints about point-and-click adventures still apply here, but I never felt the game was (too) unfair with its puzzles.

Oblivion is a huge, open-world RPG made by the same folks who made Fallout 3. In fact, it plays very much like Fallout 3 in terms of quest structure and interaction with the world. The main storyline is not terribly interesting, but I found myself getting sidetracked by the optional quests and dungeons that litter the entire world map. I must have spent the first ten hours of the game trying to recover from a vampire’s bite. I also wasted a lot of time in the colorful expansion world of the Shivering Isles. When I finally got around to completing the main quest it took about 5 hours. The fun of this game is more in the exploration of the world map and character building by honing your various skills. Combat is fun but can be hectic and confusing if you are fighting alongside an ally. In the end it’s just a click-fest in which you are just trying to time your health potions and spells when there is a moment between the attacks.

I’ve been playing a lot of adventure games these days. In Syberia you play Kate Walker, a lawyer working for a high-powered corporate client who is looking to close the deal on the purchase of a Wonka-esque toy factory. As you journey farther in the story and get closer to your goal, the world becomes more and more fantastic. The graphics showing all this wonderous worlds and characters are certainly a step up from The Longest Journey. The pace may be slow, but I liked most of the puzzles. The voice acting is very good and I really enjoyed the story. The game ends a bit abruptly so be sure to have Syberia II installed and ready to go so you can continue on your quest.

Fresh off of completing Broken Sword, I decided to continue my point-and-click adventure gaming with The Longest Journey. Like Nico from Broken Sword, April Ryan of TLJ has one of those early nineties reverse mullet hairdos, short in back and long in front, but that’s about where the similarities between these two games ends. TLJ is far more epic in scope with your standard video game “you must save the world from certain doom” plot. The game is massive, but it is broken up into smaller digestible chapters that could generally be completed in one sitting. Early on in the game I got stuck a few times and had to turn to the ‘net for hints, but once I got a feel for the type of puzzles to expect I was able to get through most of the puzzles on my own. The biggest help came when I realized that by hitting the ‘A’ and ‘S’ keys, I could cycle through my inventory without having to navigate through menus and icons. There were still a few times when trial and error were all I had to go on. In hindsight, I’ve really come to appreciate the subtle built in hinting system in Telltale Games’ titles like Sam & Max.

During game play, April and the other on-screen characters are low-polygon 3-D models set against pre-rendered backdrops. They must have only slightly upped the poly-count for the cut scene animation because April still looks and moves like a textured balloon animal. Grim Fandango predates this game by a year or two, but, because of its character stylization, looks leaps and bounds better.

Graphical shortcomings aside, The Longest Journey managed to engage me the whole time with its fantastical story telling and likable characters. I didn’t quite understand the need to insert F-bombs and other adult language into what should have been a safe PG-rated game. I thought it didn’t quite fit in with the dragons and whimsical tree people, but I guess that supposedly makes the game more serious and mature?

Broken Sword is a point and click adventure game from the ninties. You will spend most of the game playing as George, the bumbling American tourist who unwillingly gets entangled with murder mystery involving clowns, dirty handkerchiefs, The Knights Templar and a photo journalist named Nico. Nico has a mysterious back story that is gradually revealed in the opening sequences of the game. These early scenes in which you control Nico are the “Director’s Cut” sections of the game. I found it to be a little bit of a let down when the game switched to George as the main character. Nico was so much more interesting to play and learn about. With George, however, there is a lighthearted sense of humor that makes it worthwhile to listen through all the spoken dialogue.

As far as adventure games go, this one is very easy. The puzzles don’t require much thought, and in most cases you simply need to click through all your options and make sure you’ve hit every highlighted hotspot on the screen. But I was okay with the simplicity. There were a few puzzle-puzzles (ala Professor Layton) and the standard adventure game combine-this-with-that puzzles usually made logical sense. In the end Broken Sword is a well told story with a nice art style and lots of humorous characters.

Mass Effect 3 is the satisfying conclusion to the Mass Effect trilogy (ME1 & ME2). The Reapers have finally come to reap and it’s Shepard’s job to unite the galaxy against them. Along the way you meet up with old allies (the ones you didn’t kill last time around), fight with all sorts enemies and hide behind a lot of cover.

The game plays more or less the same as the last one with the linear levels and cover-based combat. The graphics are about the same but they no longer have a film grain effect on top of everything. The place where all the Mass Effect games excel is in the storytelling. A lot of gamers complained about the ending, but I thought it was good (I did play the “extended cut”… a benefit of waiting until after launch to buy a game). There’s not much more to say other than this is an excellent game and well worth the 90+ hours of play time it will take to complete the entire trilogy. It’s the best sci-fi I’ve seen since Firefly and Serenity.

Alan Wake was developed by the same people who made one of my favorite games, Max Payne. Unfortunately, there is no equivalent to the awesomely addictive bullet-time shooting mechanics of Max Payne. Instead, the main gameplay hook is that you shine a light on the bad guys to wear them down before you can hurt them with your gun. It’s not a horrible system but it gets old really fast. Unlike Resident Evil, which mixes up gameplay on just about every level, in Alan Wake the thing you do in the tutorial to kill that first enemy if the same thing you do to defeat the foes in the last level.

What Alan Wake does have going for it is a lovely Twin Peaks vibe (all the way down to a clone of the Log Lady) and well thought out story. There are a bunch of collection achievements, but that sort of thing doesn’t really interest me as much as plowing through the main storyline.

I’ve had this game for quite a while now and have been waiting until I complete it before writing about it. Man, I suck at Jamestown. I don’t know if I will ever finish it, so I guess I will say a few things about it now. Despite my inability to finish the game, Jamestown is great. It’s a rare PC exclusive bullet-hell shooter with pixel perfect art and wonderful music. On top of all this is a goofy 17th century colonial America on Mars theme. There is a good risk/reward balance and, even though I keep dying, it always feels like I almost could get past that last enemy. I think it will even support my massive X-Arcade joystick controller. So good.

Dear Esther is a noble little experiment that pushes the notion of video games as art. The problem is, it isn’t much of a game. You walk around a beautifully rendered desolate island in first-person view. As you move along you are fed bits and pieces of a narrative involving a car accident and a woman named Esther. The story slowly comes together as you approach your goal but remains vague and feels unfinished even near at the very end. Again, this is not a game. Unlike the very similar (yet excellent) text adventure, Photopia (similar both thematically and game-aticly [yes, I made that up]), in Dear Esther there are no choices to be made and any exploration is limited to a couple of structures off to the side of the main path. You pretty much stick to that path and keep pushing forward. In Photopia the story becomes coherent, complete and satisfying at the end. Dear Esther – not so much.

Now all this isn’t to say that it isn’t a worthwhile hour or so of holding down the walk-forward key. The game is beautiful, and, even though at first I didn’t really get what was going on, the narration is very, how shall we say, “fancy” sounding and arty. Whenever someone tries to push the position that video games can be art they always seem to compare games with movies. I think this is a bad comparison. Video games have much, much more in common with site-specific and installation art. It isn’t so much about the scene-to-scene plot as it is about the immersion and exploration. In that context, Dear Esther is an admirable work of art that I’d recommend despite its non-gamey-ness.