The hunger/thirst and sleep timers seemed a little easier than in the original Planetfall, although many have mentioned the tight time constraints in the game. I really enjoyed the ending sequence, and felt it provided a little more closure than most Infocom endings.
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There is an alien code whose solution reminds me a bit of HitchHikers' Guide to the Galaxy, which is explicitly mentioned several times in the game through footnotes. Meretzky has plenty of references to Planetfall, including leaving bedistors and other computer equipment laying about, as well as similarities in recorded equipment about. But Stationfall's map had more flavor, I feel. This all reminded me a lot of Starcross with its huge cylindrical map and space village. In addition, there are three sub-modules attached to the middle level, two of which are joined together in a big space village. The top and bottom levels are one room each, while the middle level has fifteen or so.
There is a main sphere with 8 or 9 levels. When you arrive, the station is deserted. Stationfall has you flying with Floyd to a space station to pick up some forms. Stationfall was interesting in some ways, I liked it better than Planetfall, although it might just be that there was so much hype about Planetfall that I found it disappointing. This game is enjoyable, but don't stress out about getting hints. I would recommend glancing at a walkthrough after each area to see if you did everything necessary. One finak issue is the prevalence of guews-the-verb issues. And, like the Silmarillion, no characters are especially likable. People say they like hard puzzles, but what they really want are puzzles that make them feel smart for solving them, but can be solved after a reasonable time. It is 2-4 times the length od the massive curses, which Graham Nelson wisely trimmed down in size from his first draft. He then learned to trim his work down and focus on likable characters, a well-developed plotline and beautiful location descriptions. He developed a massive world, and coalesced it into the Silmarillion, which had great, well-written, detailed stories.
What makes this game not click if it has great puzzles and enormous amounts of locations, and a developed plot? The nozzle room was one of the best things I had seen in all of interactive fiction. I decided to at least see the rest of the game. I especially enjoyed the short game "Failsafe", and many people have enjoyed "All Roads". Both games, however, are still fun to play through, but don't expect to get far without a walkthrough.Īs a final note, Jon Ingold writes some great games. I suppose that this game resembles Jigsaw more than anything else, with similar fake difficulty and bottlenecks. This is compounded by my least favorite way of creating fake difficulty, which is giving rooms exits that are not in the description (although you are given hints in other areas about these exits). And the brick can't be found by using "examine"). It is as if ALL puzzles require "two keys" (for instance, another early puzzle requires ( Spoiler - click to show) lighting a match with a brick you had to search for outside, then using the match to light a branch you found in another room. One bottleneck would be fine, but they occur over and over again. The beginnings of other games such as Curses, Ballerina, and Theatre all give you more options or a more gentle beginning, and giving you a pile of smaller puzzles that aren't that hard to work through while digesting the big ones. ( Spoiler - click to show) Door locked? Try the window. And if you do stay to solve the puzzle, putting yourself in the mindset of the character gives you the answer almost immediately. There, if you can't get in the house, you can always explore the forest. There is virtually nothing to do while waiting to solve this puzzle.Ĭompare this to other games with early bottlenecks, like Zork. And the second key requires ( Spoiler - click to show) a seemingly random sequence of button presses on a keypad). As you are immediately told, getting in requires not one, but two keys. I am not the greatest puzzle solver, and I don't mind using walkthroughs when I'm stuck, but the game gets stuck too frequently.Ĭase in point: after the intro (which required some, to me, unintuitive commands), you begin at the museum's steps. I played without a walkthrough for a few days, getting only around 11 points. However, I just couldn't get into the game. I fully expected to deeply enjoy this game, having loved Curses and Not Just an Ordinary Ballerina, and having just come off the similar game Theatre. It has a wide variety of interesting puzzles, with a sci-if/fantasy backstory. Muldoon Legacy is an enormous game, one of the largest I have ever seen.
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