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10 Stars IFReview Rating Babel

IFReviewed by Paul OBrian on 2006-07-17 05:55 

Game Profile

Author
Ian Finley

Idiom
English

Authoring System
Tads2

Release Year
1997

IFR Overall Rating
10 Stars IFR Overall Rating
Separator
Babel is not only one of the best competition games I've ever played, it's one of the best pieces of interactive fiction I've ever seen, period. The game starts from a well-worn IF trope: you awaken alone, with no memory of your identity. Then, Babel unfolds into a breathtaking, emotional story. The work of exposition and plot development is performed through the protagonist's enhanced powers of tellurgy, which the game defines as "the ability to experience past events by touching objects present when the event occurred." The clarity of these visions varies according to the emotional intensity of the event being witnessed. This device, reminiscent of that in Stephen King's The Dead Zone, is the central convention of the game, and it allows a degree of character development very rare in interactive fiction. Certainly other games (most notably Zork:Nemesis) have used this device in the past, but none have brought it about so convincingly and so effectively as does Babel. The tellurgic episodes gradually bring an awareness of the character's identity, and how he came to be in his amnesiac state, as well as tell a chilling story of scientific arrogance and attendant disasters.

Another interesting aspect of Babel is the moral ambiguity of its main character. Typical IF heroes (or heroines) have few ethical shades: they are either unambiguously on the side of good, working to save the universe or some version thereof, or basically self-interested seekers of wealth or fame. The hero of Babel falls into neither of these convenient categories. Instead, he appears first as a victim, then eludes that simple assignation as well, becoming a character of depth and complexity very rarely realized in IF. The experience of playing such a character was a powerful one, especially as the story gradually revealed just how willing a participant he was in his own undoing.

Finally, I think it's worth noting that after playing only three games from the '97 competition, I've already seen two that deal with a metallic research station where the player discovers the frightening results of unbridled scientific inquiry run amok. The meaning of this thematic fascination in a community devoted to the supposedly "archaic" text form is a speculation for another essay, but I feel safe enough asserting this: Babel is an outstanding treatment of the theme, the best I have ever seen in IF, and one of the best I've ever seen in any medium anywhere.

Prose: Babel's prose was nothing short of outstanding. It unerringly conveyed the experience of being stranded in a deserted Arctic outpost, addressing all the senses and the emotions as well. Powerful turns of phrase abounded, and extreme experiences (such as being out in the Arctic winter wearing only a hospital gown) were very vividly rendered. The characterization and dialogue in the cut-scenes of the tellurgic visions were sharp and effective, outlining strongly defined and complex characters. Small touches like tiptoeing across the cold floor in bare feet, or the equation of the cold-hearted scientist's eyes with the Arctic ice (notice the pun), combined with broader strokes for an astonishingly realistic and well-written whole.

Plot: The game's plot unfolds masterfully, revealed in dribs and drabs by the tellurgic episodes. The author provides a chronology for all these events with the (rather forced) device of giving the character a calendar on which he "instinctively" jots down the date of each occurrence. As the story develops, the tension becomes greater and greater: the unfolding mystery of the character's origin serves to heighten the power of the story's eventual climax. Some of the Biblical imagery is just a tiny bit heavy-handed, but the whole is strong enough to overpower any objection of didacticism or triteness.

Puzzles: The puzzles almost effortlessly achieved the ideal of blending seamlessly into the narrative. There were no arbitrary puzzles, and the artfully gradual revelation of the plot was served elegantly by simple but logical obstacles. There were no puzzles that were particularly ingenious or unique, but that wasn't the point of this game. The puzzles were there to provide some control over the narrative flow, and in this they served their purpose just right.

Technical:
    writing -- The prose mechanics were excellent. I only noticed a couple of proofing errors in this very word-heavy game.
    coding -- Coding was equally strong. I found a couple of very minor bugs, but there were many, many touches that made it clear that a great deal of thought, foresight, and effort went into the coding of this game.

Paul OBrian Profile

Name Paul OBrian
Gender Male

Also IFReviewed by

Andrew Plotkin

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