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7 Stars IFReview Rating Sylenius Mysterium

IFReviewed by Paul OBrian on 2006-07-17 06:16 

Game Profile

Author
C. E. Forman

Idiom
English

Authoring System
Inform6

Release Year
1997

IFR Overall Rating
5 Stars IFR Overall Rating
Separator
[Because of the nature of Sylenius Mysterium, any or all of this review could be considered a spoiler. In addition, spoilers are present for Freefall and Robots. You have been warned.]

There seems to be this strange impulse in the text adventure community to recreate the experience of graphical arcade games using the Z-machine. The first evidence I ever saw of this trend was Andrew Plotkin's "Freefall", a z-machine Tetris implementation using realtime opcodes to reproduce the geometrical game with ASCII graphics. Others have followed, including Torjborn Andersson's "Robots", which recreates one of the earliest video games, and a DOOM implementation which I haven't played. I have to say that this notion baffles me. When I first saw "Freefall", I thought it was good fun. It struck me as a typically amazing Plotkin programming exercise which showcased the versatility of the z-machine. But it didn't become an arcade staple on my machine. As a text adventure, it was pretty wild. As Tetris, it was pretty average. I played it once or twice to see what it could do, then deleted it. "Robots" I kept, but I don't play it.

Now here's Sylenius Mysterium (hereafter called SM), the bulk of which is a textual emulation of a horizontally scrolling run-and-jump game, a la Pitfall or Mario Brothers. This kind of thing used to come up as a joke on the IF newsgroups from time to time, and now here it is, a real game. Unfortunately, SM demonstrates the reason that those games were implemented graphically in the first place. Namely, it's silly to implement an arcade game in descriptive mode. ("You begin walking right." "You execute a running jump." "Beneath you is a low wall.") These types of structures are what graphics are best at doing, and they were being done 15 years ago. It's both more fun and less confusing to see an arcade environment in graphics, and if even ancient computers are capable of doing so, what's the point of making a text adventure which simply produces an inferior copy of the original? Playing SM just made me wish that the author had sacrificed portability and implemented the arcade section in graphics. Hell, even cheesy ASCII graphics would have made for a more fun experience than one long room description reading "A panoramic landscape, parallax layers of empty, ruined buildings, scrolling by with your movements." It seems to me that text is good at certain things and so is graphics, and to make a text version of Pitfall makes about as much sense as a joystick-and-fire-button version of A Mind Forever Voyaging. It's great to know that the z-machine has realtime capabilities to produce a text arcade game, but surely those capabilities can be put to better use.

SM does have a prologue which operates in a traditional text adventure mode, and this section of the game is quite well-done, with the exception of a number of problematic bugs. The game does a very nice job of defining an engaging and convincing setting and characters, as well as creating a sense of nostalgia for the old gaming consoles. The Atari system was my first introduction to videogames that could be played at home, and I have many fond memories of days spent at friends' houses playing Missile Command or Donkey Kong or Pitfall. In fact, the game evoked nostalgia so well that my disappointment was all the sharper when I realized that its "arcade" section was nothing more than realtime text.

Prose: The prose in the IF section of the game was really quite accomplished, so much so in fact that it sent me to the dictionary a couple of times to confirm the meaning of unfamiliar words. All the game's elements, from the sterile quiet of a mall after-hours, to the almost exaggerated "skate punk" main character, to the loving descriptions of the old-time game consoles, were written in a style that I found quite rich and absorbing.

Plot: The plot in SM is mainly a device to whisk the player to the arcade section. The plot of that section is (intentionally, I think) extremely pure and simple: find the bad guy and undo his evil deeds.

Puzzles: Again, the puzzles outside the arcade section were few, and those inside the arcade section can't really be called "puzzles" in the traditional sense, though I would argue that the game does propose an interesting juxtaposition between the challenges of a Mario Brothers-style arcade game and IF puzzles -- the two are closer than they are sometimes thought to be. Those puzzles within the IF section were usually quite simple, though from time to time bugs arose that made the simplest actions seem unintentionally like puzzles themselves.

Technical:
    writing -- The writing was technically excellent.
    coding -- Here there were a number of problems. I was keeping a text file of all the major bugs I found until I realized that the author had provided no email address (not even an anonymous remailer for comp97) to which bug reports could be sent. Suffice it to say that there were a number of situations, both inside and outside the arcade section, that needed much improvement. That being said, however, I'm willing to forgive quite a bit from someone who takes on a project as ambitious (even though I personally don't find it to be very interesting) as the arcade section of SM. That section suffers from game-killing bugs of the "FATAL: No such property" variety (or at least it does under WinFrotz), but the working sections of it seemed to work quite well, and I salute the serious effort it must have taken to create them.

Paul OBrian Profile

Name Paul OBrian
Gender Male

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