A Review of ‘Botanicula’

Botanicula, the new point-and-click adventure game by Czech studio Amanita Design, is a charming little thing. Telling the story of a gang of five small creatures defending the tree they call home from giant sap-sucking monsters, it puts you on a journey through a madcap world so infectiously joyful that it should cause any heart of stone to melt within minutes. It does make a few frustrating missteps along the way, especially towards the end, but it more than makes up for them with the sheer imagination on offer.

At the beginning of the game the five creatures you control (which you can move around as a group) set out to explore their tree in order to…well, it’s all quite vague, actually. There’s something about monsters stealing a seed and a seemingly magical power, but it’s not very important since the paper-thin story only ever serves to frame the game’s action. Though perhaps ‘action’ is the wrong choice of word.

Botanicula moves at the most sedate of paces, and it’s far more a game of contented exploration than anything else. There’s hardly anything that you could call ‘action’, and while there are many puzzles they’re generally quite simple affairs. The game, set throughout the tree, is divided into separate scenes, with each contains things that you can interact with. This might be another of the tree’s inhabitants, something to be picked up and used, or an obstacle of some kind.

Clicking on these things can allow you to pick up a useful item, sneak past an enemy, or solve a puzzle in order to progress. But this isn’t always the case. The game’s world is a weird, unpredictable place, and so clicking on a plant bud might simply cause it to unfurl whilst flower, and clicking on a group of frogs might cause them to burst into harmonising song. These interactions often don’t serve any kind of practical purpose, but their presence helps make the game feel like more than just a collection of static screens containing puzzles. You’ll also want to click on pretty much everything you can, since in this game every click of the mouse tends to lead to some beautiful animation, some cryptic gibberish conversation, or some funny little surprise.

Botanicula

As always with an Amanita game, the environment is beautifully realised, with their trademark flourish and a stunning level of detail present throughout. And it’s this that brings about a great deal of the game’s enjoyment. Each scene is packed with detail, fleshed out with a beautiful art-style and animation, and overlaid with music and a soundscape that further adds life to the world.  The world always feels alive and organic, and as you explore you’ll constantly see animals move about, sap pulsing through the tree branch in intricate little veins, and life going on all around you. Creatures are delightfully expressive as they smile at being reunited with their family or burst into tears as you beat them repeatedly in a game of volleyball. Everything just comes together to deliver a near-constant experience of contentedness.

And though everything you do is generally quite simplistic, this is never an issue. Puzzles are almost always fun little experiences, and mostly simplistic enough that if you get stuck it’s relatively easy to figure something out without much trouble. It’s not trying to be a puzzle-game- all Botanicula wants to do is keep you entertained for a few hours with its charming world, and unless you’re the most jaded of person it should succeed at doing so with ease.

Botanicula

In fact, the game actually tends to fall down a little when it does offer up more difficult, complex puzzles. Since the world in Botanicula is so strange that everything seems to work on a hearty dose of dream logic, it can sometimes seem impossible to figure out what you’re supposed to do when you come to the harder puzzles. And since there’s no in-built hint system you’ll either have to walk around clicking on everything available in an attempt to brute-force your way through the puzzle, or you’ll have to alt-tab out of the game to find a walkthrough online. This only happened two to three times throughout the game, but since it happened overwhelmingly towards the end of the game it did serve to leave a sour taste in my mouth once I had finished.

Not only did the puzzles become harder to figure out as the game went on, but towards the end the environment suddenly ballooned out, meaning that instead of having four or five screens to explore with relative ease, there were countless tunnels leading to countless different puzzles, all of which were necessary to progress. And though there are symbols on the walls to help you navigate it was still far too easy to get lost.

 All this is a shame, since Botanicula is otherwise such an enjoyable, fluid experience. While the final parts do become a little too clunky, and the story ends without really coming to make any kind of sense, it’s pretty much impossible to let that sour taste in my mouth remain there. Thinking back on the game, there were so many moments where I laughed, and so many fantastic little surprises. It was an absolute joy to explore the game’s environments, tinkering with them here and there to see what would happen as smile-inducing music played over to top. In fact, despite the few issues I encountered, there was rarely a moment throughout the game where I wasn’t smiling contentedly.

And when a game keeps you near-constantly smiling for around three hours straight, with art that will serve as your desktop wallpaper for months, and a soundtrack that is still playing endlessly on you ipod, it’s hard to let a few minor problems trouble you. Botanicula is available on PC, Mac, and Linux for around £7. I’d thoroughly recommend it to pretty much anyone, and you should buy the soundtrack while you’re at it.

Botanicula

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The Last ‘DayZ’ – Day Two

I came to on the beach again. I was an idiot for coming back to the game at night, but here I was. There was the sound of the sea, and to my left a bright light illuminating cranes, docks, and a few industrial buildings. There was likely supplies in those buildings – water, food, weapons, and other necessary equipment – but it would be dangerous work, what with the zombies and the murderous bandits likely waiting there for me. Only some kind of devil-may-care hero would risk it.

So naturally I decided to get as far away from that place as humanly possible. I wanted to head inland, away from the dangers of the coast. I lit a flare and carried it in my off-hand as I walked, and while I knew this was likely to telegraph my position to anyone nearby I hoped that I was on my own out there. Then I heard a rustling of grass, and without a moment’s thought I sprinted blindly into the undergrowth. I kept that pace up until I was well away from the shore, and then, still carrying the burning flare, I slowed to a walk.

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A sound reached me from the darkness – a person moaning – and I turned to see a figure stumbling past. Its back was to me, and luckily it seemed completely oblivious to my presence. I backed away slowly, making sure to avoid letting it out of my sight.

In a sub-Chaplin moment of slapstick comedy, I stumbled back into and collided with another zombie. We both made confused noises and span around wildly. Then I heard its loud, piercing cry as it leapt at me with everything it had. Eventually, after much confused bumbling, I span round and fired. I was blinded a little by the light of the flare, and so missed twice before readjusting and hitting it three times in the chest. Dropping the flare, I retreated back a few steps, crouched down, and tried to be as precise as possible as more zombies ran towards the sound. Four of them came in all, and while I managed to kill them I took a couple more hits, and was now bleeding quite badly.

I waited to see if anything else was coming, and when nothing did I bandaged myself up. I had lost over three litres of blood and my vision was starting to go blurry, and to make matters worse I had gone through nearly all of my ammunition. The message was clear: I would not survive another poor showing like that again. But I picked up the flare and trudged on, unwilling to give up. Eventually I stumbled upon a cabin in the wilderness. But it had been picked clean, and so I set off into the darkness again in search of supplies.

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Then I heard it. A bullet ripped past over my head, and I started running. It took a second burst of gunfire before I came to my senses and dropped the goddamn flare. A bullet winged me and I started to bleed once more, but I managed to hold it together long enough to run into the darkness and fling myself to the ground. As I lay there I saw a figure, and then a second, emerge from the darkness and move towards me.

Words appeared on my screen, but this time it wasn’t just the background talk of other players – it was aimed directly at me. “Stay still”, it said, “you’re not getting away”. I considered firing my last few rounds off in a last-ditch defence, but it was clear they didn’t know exactly where I was any more. I waited in the darkness and watched as they started to light up flares and fling them around the field in an attempt to find my hiding spot. Their net widened, then contracted again as they searched me out patiently.

They scoured the area for a good five minutes before they started widening their net enough for my panic to die down. I was lucky – they had missed me for now. But they told me that they’d still find me.

I chose my opening and ran, not looking back for a moment.

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The Games of 2011 – ‘To The Moon’

We here at Haruspex Games are more than in touch with our emotions. While many people have been tirelessly asking ‘when will someone make a game that makes you cry?’ for years now, we’ve have been getting down to business and welling up over videogames since the first moments we held a controller. In fact, we’d be prepared to argue that here’s nothing more enjoyable than a good cry at the right set of circumstances, and it seems those behind To The Moon understand this sentiment completely.

To The Moon has storytelling at its very heart. In fact, it’s not much more than storytelling, all things considered. The game follows two doctors, Neil and Eva, as they try to fulfil the final wish of a dying man. They work for a company that deals exclusively in this field – granting the dying one last wish. And this is done not by acting in the real world, but by altering the memories of the client so that they die believing their last wish was granted. in the case of Johnny, their latest assignment, he wants to go to the moon, even if he’s not sure exactly why.

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You control both Neil and Eva, switching between the two throughout the game, as they try to fulfil their end of the contract. In order to do so they connect a computer up to Johnny’s brain and enter his memories, going back far into his past so that they can make his desire to visit the moon take root. From there the machine will do its work and alter his memories of his entire life, making him believe that at some point, for whatever reason, he really did go to the moon.

For the player, this consists in directing the two doctors around each scene, trying to find important mementos that link the current memory to the previous one. Once all these have been found you can travel back to the previous available memory, and so on and so forth back into the past. There honestly isn’t a great deal more you do throughout the game – Neil and Eva are nearly always passive observers to Johnny’s memories, and as a result you’re similarly passive. The game has a story to tell and it’s your job as the player to observe this story – not change it.

But this is never a problem, because my god what a story it tells. In all my talk of crying above I may have made it seem like it’s just a tearjerker, but it’s not just that at all. It’s a smart, mature,and often very funny study of a man’s life. It’s essentially a character piece – over the four or so hours of the game’s duration you slowly come to learn a great deal about both Johnny and his recently-deceased wife River, who plays a pivotal role in the drama. So if and when you do cry it’ll be because you’re invested in the story and its characters, not because you’ve been manipulated you into doing so.

And all through you’re accompanied by Neil and Eva, who are wonderfully painted characters. So much so that it’d be a massive disservice to the game to try to sum them up in an archetype or two. They act like real people, and they argue and crack jokes because they’re used to this line of work, and used to each other’s company. They grow and change throughout, and it becomes clear that their thoughts and motives are both conflicted and a sometimes contradictory.

But though a great deal of your time will be spent with the two doctors, the game always revolves around Johnny’s life story. We see the difficulties in Johnny and River’s marriage, their often crippling inability to communicate, and as we move back through Johnny’s life questions are slowly answered. I don’t want to go into detail because I don’t want to ruin even a small part of what happens. I’ll just say this: it’s extremely special. It deals with everything from love to selfishness, death, mental illness, childhood trauma, and powerful moments of happiness, all with a deft touch and an honesty that’s frankly all too rare in this medium.

It’s a little difficult to keep up with at times, since the story is being told in reverse and things that are referenced early on are only given meaning much later. That is, much earlier. And while its opening hour is fascinating the rest of the first act made me wonder if the game was going to hold together after all. But after this short blip the game picks up once again, grips hold of you, and doesn’t falter a second time. And as the game draws to a close everything starts to come together. You start to come to understand things that were never explained, or that seemed insignificant. The discovery of the reason behind Johnny’s desire to go to the moon was incredibly poignant, for example, and there are other points late in the story where everything – a lifetime of memories, actions, and powerful regrets – come together to wonderful effect.

And I love how all this is left for the player to work out. There were things, rather important things, that I missed for quite a while, sometimes until after the game had reached an end, because I hadn’t remembered something, or because I hadn’t put two and two together. It would have been all to easy for the writer to panic and have the characters constantly explaining the significance of events to one another in an attempt to keep the player on board, but the game has the confidence to let you work things out on your own.

I want to write a great deal more – about how the game deals with its themes, the initially opaque but increasingly tragic story of Johnny and River, and how it deals with the whole ‘changing people’s memories’ idea that drives the narrative. But again, I don’t want to get too in-depth in case anyone is thinking of actually playing the damn game. Maybe I’ll write something about these things in a separate piece somewhere down the line, but for now all you really need to take away is this: To The Moon is a powerful, clever game, and its story and characters are superbly written. This isn’t just great writing for a videogame – it’s great writing with no need for qualification, and I would recommend it to anyone, whether they play videogames all the time or whether they never play them at all.

To The Moon is out now on PC  for about ten pounds. You can get it directly from the developers here: http://freebirdgames.com/to_the_moon/

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