IFReviewed by Paul OBrian on 2006-07-21 05:17
Color And Number belongs to that genre of IF I've begun to call "pure puzzle games" -- oh sure, it's got a shred of plot, something about investigating a cult that worships colors or something, but that's more or less overwith before the first move, and from that point forward, you're pretty much in a pure puzzle landscape. And yes, those puzzles are keyed to a particular theme -- you guessed it: colors and numbers. True to the precedent established in Comp01 games like Elements
, the game even names itself after its puzzle theme. About twenty minutes into this thing, I knew I didn't have a prayer of finishing it in two hours, so I played until I hit the time limit and then stopped. Thus, in fairness, I don't know whether the story makes a strong resurgence towards the end or anything, but even if it does, this game clearly belongs to the puzzles. Those puzzles are of the sort that prompts lots of note-taking, charting the correspondences between the various pieces the game teasingly doles out. I enjoyed several of these brain-twisters -- they have a mathematical elegance, and some of the best ones suggest their solutions quite organically, which is a pleasure.
Others, though, are a little more imperfect. One puzzle in particular stumped me even though I had looked at all the hints for it, and I think there are several reasons for this. First, the feedback level was too low. The puzzle involved performing a string of actions, but without close investigation, the environment betrayed no particular indication about which actions were successful or useful. It's not that this feedback was entirely absent, but it wasn't prominent enough for me to even notice until long after I had looked at the answers. Secondly, the sequence has a bug in it. It's just a TADS error (one which oddly didn't show up in my game transcripts, so I can't quote it) -- not enough to prevent the solution from working properly, but more than enough to drain my confidence in the puzzle's correct implementation. Between that and the lack of feedback, it's pretty clear how I ended up looking at hints, but even after I had seen them all, and ostensibly solved the puzzle, nothing happened. I found out, through trawling Google for hint requests, that this was because I needed to do some other actions in an entirely unrelated area. This is not good puzzle design -- at the very least, solving that portion should have yielded some noticeable change so that I could understand that my attempt had in fact worked, even if it wasn't producing any useful revelations until its counterpart pieces were in place.
Critics like me talk a lot about how difficult it is to pull off combining an arresting story with interesting puzzles, but what's becoming clearer is that even when IF eschews story altogether and focuses solely on puzzles, it presents considerable challenges to its creator. Little prose errors and formatting issues aren't so noticeable in a work like this (unless they severely cloud meaning), but even tiny feedback or implementation errors can be devastating. Because there's no story to distract us from game bugs, they loom very large indeed, and as soon as one crops up, it drastically affects the dynamic between player and game. Suddenly, a struggling player ceases to believe that he's stuck because of his own inability to solve the puzzle, and starts to suspect that game defects are making the puzzle unsolvable, because after all, if bugs crop up in one place, they can be elsewhere too. Infocom and its contemporaries had a big advantage in this area -- if you bought a game off the shelf, knowing that the resources of a full-fledged company had been used to quality test it and that it had been reviewed by major publications, you could be relatively confident that whatever bugs still might lurk within it wouldn't be enough to prevent you from solving its puzzles. No such assurances exist for an amateur, freeware IF comp game, and consequently pure puzzle games must be fanatically assiduous about debugging and testing. That's not an easy mark to hit.