![]() The implementation of the game world is very shallow by modern standards. Just be sure to include a few words about why the protagonist decides to use compass directions. Some games that take place aboard (space-)ships use FORE, AFT, STARBOARD and PORT (F/A/S/P), but that shouldn’t be necessary. Of course, compass directions are a genre convention, but in games where it would seem counter-intuitive to use them, one would expect some kind of diegetic rationale. At the very beginning, we wake up in interstellar space, and the only exit is EAST. In fact, that’s exemplary interactive fiction writing! A technical restriction is given just the right amount of lampshading, and we get a bit of world-building, all in a few, economical words.īut then, in other places, the suspension of disbelief breaks down completely. There’s a really clever in-story rationale for why everything is laid out in squares and right angles: “The 24th century is known for the emergence of crystalline architecture ”. ![]() There’s a nice, memorable passage in the ending cutscene, that I obviously can’t quote for spoiler reasons. I felt a little bit scared going into some places on the alien spacecraft. The setting is evocative, and most locations make functional sense in the context of the story. I hasten to add that there’s good writing too. This happens increasingly in the later parts of the game, and it is probably a deliberate stylistic choice by the author, because it is so common in science fiction in general. In that last quote, the narrator veers into technobabble. Positronic systems, he or she must have an own consciousness. This computer controls the functions of the alien ship. Had a calming effect on the alien builders. At points, it is difficult to know how much of the story reflects the stream-of-consciousness of a protagonist who likes to jump to conclusions, and to what extent an omniscient narrator is supplying additional information that the protagonist couldn’t possibly know: All walls seem to be made of an unknown red metal. These various styles are so different, and the contrast is so jarring, that it becomes difficult for the reader to remain immersed in the story. Ready to mess around with some gene pools? >EXAMINE LOCKERĪs if the Bauhaus style and the thing from another world conceived a Waiting here for you, underneath the surface, lurking in the dark.Īnd some of it is humorous: >EXAMINE COMPUTER Some of it is melodramatic: The more you see, the more you fear that death may be the only thing This weapon supports two modes: paralyze and disintegrate. Most of it is stoic, pragmatic, even bland: >EXAMINE CABINET The biggest problem with the writing, in my opinion, is the irregular tone. There are occasional cutscenes and bits of backstory that are more verbose, and this provides some variety, which is welcome. ![]() Room descriptions are succinct and to the point, as one would expect in a story designed for a 40x25 display. Hibernated 1 tells the story of Olivia Lund, who has been “in hypersleep for more than 200 years” on an “interplanetary exploration mission”, but something has gone terribly wrong and now she is awake, alone in space, and there’s a gigantic alien vessel nearby. That alone is enough reason for me to encourage everybody to try this game! I also understand that this is a labour of love, and I am very happy that people are still making games for the Commodore 64. Of course, there’s a certain charm in using vintage systems, and exploring an oldschool adventure can be enjoyable on its own merits. Interactive fiction is by now a mature art form, both in terms of literary qualities and puzzle design. Much has happened since the Colossal Cave Adventure was written over 40 years ago. In my review, I will apply modern standards and expectations. It can be played using the Vice C64 emulator. The original version of Quill was released commercially in 1983, but the software is still maintained and runs on a variety of 8-bit platforms. It is authored in Quill, a text adventure editing system from Gilsoft. Stefan Vogt has released the first part of a planned trilogy of interactive stories for the Commodore 64. Hibernated 1: This Place is Death (R6) by Stefan Vogt
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