Lego Indiana Jones

I’ve had a lot to say about puzzle books and puzzle boxes this year, but it’s been fully three months since I posted about an actual videogame. What have I been playing? Well, for one thing, during the summer sales, I bought several of the Lego games by Traveler’s Tales, some of which have been sitting on my Steam wishlist for an entire decade. These are all cast from the same mold as Lego Star Wars, but with different IP franchises. As of this writing, the only one I’ve finished (and indeed 100%ed) is the earliest application of the formula to a non-Star Wars franchise, Lego Indiana Jones.

I seem to recall that this game was critically panned on its release, although I don’t understand why. It seems to me a perfectly serviceable instance of its type. Like all of these games, it’s mainly about breaking everything in sight, turning them either into showers of lego studs that you can use to unlock power-ups, or into collectibles of various sorts, or just into piles of bricks that you can assemble into something else (although you have no control over what). Assembled objects are often bridges or mechanisms necessary for proceeding through a level, and there’s basically no way of predicting which random bits scenery have to be torn down to make the things you need, so you really do wind up smashing absolutely everything you can, just in case. There’s also combat and puzzles.

As in the other Lego games, completing a level unlocks it in “Free Play” mode, which means you can replay it with different characters and use their special abilities to access secrets and collectibles that were unavailable on the first pass. Ah, but what kind of special abilities do Indiana Jones characters have? The interesting thing is that (A) characters are mainly distinguished by tools rather than innate qualities, and (B) the same tools can sometimes be found lying around loose. So, for example, the airplane mechanic from the first act of Raiders of the Lost Ark has a wrench, which means he can repair machines, but so can any other character who picks up a wrench. The mechanic is still valuable in Free Play mode, because he has a wrench all the time, and thus can repair machines in places without environmental wrenches. There’s a repeat-the-sequence mini-game that can only be attempted by a character holding a book, and books are built into all the Academic characters: Belloc, Marcus Brody, Henry Jones Senior, Elsa Schneider, but notably not Indy himself, even when he’s dressed as a professor rather than an adventurer. But when Indy picks up a book, he’s as academic as anyone. There’s one case of this that was so contrary to sense that it left me stuck and in need of hints: in the Temple of Doom sequence, there are certain statues of Lego Kali. Approach one, and help text helpfully informs you that the Thugee know how to use these statues to reveal hidden passages. I took this at face value: to access the passage, I’d have to use a Thugee character in free play mode. But it turns out all you need is to be wearing a turban.

Weapons, too, count as tools in this sense. The unsung hero of my playthrough was a nameless German solder (who obviously switched sides in Free Play) whose power was simply a built-in rocket launcher, useful both for ending fights quickly and for demolishing lots of scenery at once — including shiny metallic objects that are only vulnerable to explosives, and which tend to have puzzles built around them that the rocket soldier bypasses.

As to the content, mainly it just strikes me that Indiana Jones is a deeply strange choice of IP for this treatment, and probably wouldn’t have been done were it not for its general proximity to Star Wars. There’s even an entire set of secrets in the game built about finding out-of-place Star Wars characters, which culminates in — what else? — unlocking Han Solo for use in Free Play. In fact, I’ll admit that all the gameplay centered around unlocking secrets fits Indiana Jones plots very well — that’s basically what everyone in the movies is trying to do, right? The Ark of the Covenant, the Sankara Stones, the Holy Grail: all are essentially powerful upgrades that grant special abilities, hidden behind puzzles and/or combat challenges. This game just expands on that, taking fairly short sequences from the films and folding them out into something more substantial.

But it also sillies them up, and that’s where the whole thing becomes strange. This is a kid-friendly E-for-Everyone game based on really disturbingly violent films that were directly responsible for changes in the film rating system. Temple of Doom in particular is a sickenly cruel flick, with a paranoid world-view, where seemingly friendly people are secretly plotting to entrap and enslave you, not even for any personal benefit but simply in the service of pointless evil. Even the well-meaning can be subverted and controlled and made into enemies, and the only way to turn them back is with pain. By hurting them until they’re your friends again. And the game just puts a thick layer of goofy slapstick over all that. The nightmarish human sacrifice scene, where the Thugee lower a caged and struggling man into the bowels of the earth, is recreated here in lego, except the victim is basically fine afterward, the fires below having merely burned is clothes off embarrassingly.

My personal experience is also made peculiar by the way that I’m a lot less familiar with the movies than I am with other games based on them. My first impressions of Temple of Doom came not from the film, but from the 1985 coin-op arcade game. I saw Last Crusade in the theaters before I played the classic LucasArts point-and-click adventure, but I spent many more hours on the adventure. So it’s largely these other games that I was reminded of while playing it. Particularly the music — there’s a ton of incidental background music that’s seared into my memory in its Soundblaster arrangements. Hearing the full film score versions provokes an odd recognition: Whoa, that’s what I was supposed to be pretending I was hearing?

In Lego Star Wars, you could wander around the Mos Eisley cantina between missions, and all the characters you had unlocked would be there too. In Lego Indiana Jones, this role is taken by Barnett College, which makes the juxtapositions more startling: after a while, the campus is crawling with Nazis, Thugee, and Grail Knights. This is supposed to be an institution of learning, not a wretched hive of scum and villainy! It does, however, culminate in using all those characters’ special abilities in a puzzle sequence right there in the hub world. Did Lego Star Wars have anything like this? If it did, I’ve either forgotten about it or just never noticed it. Again, I think the genre helps. The idea that there are secret passages all over the place fits better here, even if the characters that make it possible don’t.

Apparently there’s a second Lego Indiana Jones game that basically just does Crystal Skull. That seems to be the trend now, doing individual movies instead of trilogies; there’s a game just for The Force Awakens as well. I’ll probably give Lego Crystal Skull a miss unless someone recommends it. I just don’t have the same connection to it. But if they ever do Lego Indiana Jones and the Fate of Atlantis, I’m definitely interested. Last Crusade has given us an example of what a classic point-and-click adventure and a Lego game based on the same source look like, and I’m fascinated by the idea of doing the same thing again but without the source.


While we’re on the subject of puzzle books, there’s one other I’d like to describe. Tachyon, by Stephen Boughton and Daniel Sage, is very much in the vein of Journal 29: each two-page spread presents a single puzzle (which, in most cases, doesn’t really need that much space), and solving it gives you a word that feeds into a later puzzle. It’s essentially the same format as Codex Enigmatum and its sequel, Codex Mysterium, except that in those, solving a puzzle gives you the key directly, and in Tachyon, as in Journal 29, it’s indirect: solving a puzzle gives you a password to enter into a web site to get the actual key. Still, all four books are similar enough in format to clearly belong to a distinct mini-genre, and I find myself wondering about its origins. Journal 29 is the oldest of these books that Amazon recommends when I look at any of them — is it in fact the thing that the others are all imitating, or does it go back further in time?

Of all these books, Tachyon is the one with the closest thing to an actual story. It’s still mostly suggestive theming rather than narration, but there is some narrative, at least, spread out over both the pages of the book and, occasionally, the web site that provides the keys. Basically, it’s about the narrator’s attempts to decipher the notes left by his missing father, a physicist. Find the codes to activate his machines and possibly you can turn back time and stop his disappearance. Not that the puzzles that occupy most of your attention are particularly related to this story.

The puzzles, as in all these books, are short, and consist mostly pictures and diagrams presented without explanation, or with instructions consisting of a couple of key words from previous puzzles. The whole challenge in each is figuring out what the author wants from you. In that respect, it more resembles an adventure game than a puzzle hunt. There’s some reliance on technological knowledge: one page expects you to know how to send text messages with a numeric keypad, which was a stage of phone technology that I personally skipped over. And honestly, I found some of the puzzles unsatisfying, either because they were too facile or made what I felt to be unreasonable assumptions, causing me to seek hints even though I had got the central insight right.

But I have to give it kudos for its ending. This book plays with form in a way that none of the other books I’ve mentioned have attempted. Spoilers ahoy.

The web site that provides the keys prompts you for a solution to the final puzzle just like all the others, even though there’s no possible use for a key from there. When you do, it gives you the story’s climax: the narrator’s discovery that he made a mistake in interpreting the key word from the very first puzzle. This produces an entire chain of revisions: change a key word, and you have to redo the puzzle that uses it, yielding another altered key word, until you reach the final puzzle. As in the story’s premise about going back in time, you get a chance to do things over and make them right.

Now, this means less than it probably sounds like. The nature of these puzzles is that there isn’t much to solving them a second time: you’ve already had the crucial insight into interpreting them. Also, the indirectness of the keys means that the puzzles aren’t really related to each other in a way that would be complicated by the altered chain. Still, it’s kind of impressive to realize that each puzzle involved had to be designed around two different solutions, with just a word making the difference. Moreover, I find it encouraging to see this kind of playfulness in what was otherwise seeming like a very rigid format. Maybe there’s some real potential in this mini-genre.

Daedalian Depths: The Final Answer?

In my last post, I hadn’t yet solved the final riddle of Daedalian Depths. I think I have, now. I’ve definitely solved most of it. There’s an overall pattern to the shortest path through the maze, and there are enough hints about that pattern that once you know what you’re looking for, you can find enough minor details confirming the pattern for it to become a certainty. (I took perhaps longer that I should have to discover this pattern: there’s a pretty blatant hint that went over my head until after I figured it out by other means.)

But it really feels like there should be just one more step. The final riddle asks you to find a set of five legendary artifacts “hidden in plain sight” along the shortest path. The picture of the last room has five pillars set up to receive them. This really feels like it’s a setup for a final metapuzzle, building a five-letter word, or perhaps a five-word phrase. That’s how it would work in a puzzle hunt, where answering the last riddle in text is how you confirm that you’ve won. There’s even a really tempting way to extract a word from the treasures: the shortest path is exactly 25 rooms long — 26, if you include the numberless initial illustration. So if you map each room’s position on that path to a letter in the obvious way, and take the letters of the five rooms containing the artifacts, what do you get? Unpronounceable gibberish. Same for a couple of other mappings I’ve tried. I’m starting to really think that I’m carrying things too far, looking for more hidden meanings when I’ve already wrung the thing dry.

This is especially disappointing because it would have been so easy for the author to place the artifacts in rooms where they do decode to something meaningful! With one exception, they’re not particularly bound to the contents of the rooms where they’re found. If I were in the maze for real, I’d totally move them to rooms where they spell something out, so the next guy could have the satisfaction I was denied, if I could find a way to keep the exit gate open while I did so.

Daedalian Depths

Daedalian Depths is a gamebook in the tradition of Chris Manson’s Maze, where “in the tradition of” is a politer way of saying “that blatantly imitates”. Andrew Plotkin has a review of it here; like him, I got a copy when it was released, but I’m in such a puzzle glut that I didn’t get around to going through it until now. It’s by Rami Hansenne, who also created Codex Enigmatum, which is a lot like Journal 29, which is based on web-based riddle chains like notpron. These are all puzzle-hunt-like things where the solutions of puzzles feed into other puzzles. Journal 29 used a web site as an intermediary between its interlinked puzzles; Codex Enigmatum has an online solution checker, but doesn’t absolutely require it; Daedelian Depths doesn’t have an online component at all. It’s meant to be self-confirming, like a cryptic crossword.

But more importantly, it differs from Codex Enigmatum by the Maze format. Everything is placed in illustrations of rooms, with a page of facing text; clues in each room let you know which exit to take, which is to say, which page to turn to next. CE didn’t have any overarching context other than itself as a book. This makes a tremendous difference to the feel of the thing, making it come off as more of a cohesive whole rather than a mishmash of disparate puzzles, even though that’s really what it is. But it still carries a lot of the CE/J29 feel as well, simply due to the cheap paper and fuzzy, indistinct art style. It’s better than Maze in a lot of ways, but production values are not one of them. (CE and J29 at least had the excuse that you were expected to write on them with pencil.)

I’ll reiterate what Zarf said: The most important innovation this book has over Maze is simply that its riddles are reasonably solvable. Maze had a contest associated with it, so it was expected that most people wouldn’t solve it. DD wants you to win, however much it pretends otherwise. Its second most important innovation is redundancy. Every page has multiple clues indicating which door to take. Sometimes I can’t figure them all out — sometimes I don’t even notice them all. But having multiple clues means I don’t need to. Not only that, multiple clues means that individual clues can afford to be sketchy. This is where the self-confirmation factor gets in: multiple sketchy clues that all point at the same thing add up to good certainty. It’s like science that way.

Let me give a concrete example of what I’m talking about. In one room, there’s a portrait of Beethoven on the wall, showing him standing in front of a large full moon. It’s not the focus of the room or anything, it’s just a detail in the background. But it’s rendered in enough detail to seem important. The juxtaposition of Beethoven and moon suggests the Moonlight Sonata, aka Piano Sonata #14. And indeed the room contains a door labeled “14”. This connection is tenuous enough that it might not convince you on its own that door 14 is the right one, but it’s a strong confirmation.

At any rate, I’m mainly posting about it here as a way to get eyes on my notes. Here they are! If you have the book, you can use this as a source of hints, but what I really want you to do is comment and add to it. Even though I’ve found the correct path through the maze, there are redundant clues that I do not understand, and I want to understand them. To that end, I tried to find an existing forum or wiki, but the results were disappointing, particularly for rooms off the main path; even the author’s own message board had very few comments. So I’m trying to fill that gap.

Demoniak: Getting Things Together

My last post probably made Demoniak sound easier than it is. Not everything can be accomplished by switching characters. On the default-second planet, Fundamenta, your primary task is to find a hermit named, of all things, Salman Rushdie — presumably not the famous author, given that the game is set a hundred years in the future (which is to say, 2090) — to learn the whereabouts of an artifact you need. I can land my heroes on Fundamenta. I can switch control to Rushdie and exit his hermit-hole. I cannot seem to bring them together. The set of rooms that each has access to have no obvious connection. They may as well be in disjoint worlds.

And that raises an interesting point: that even when you “become” Rushdie, you don’t have access to his knowledge. Same goes for Doctor Cortex, and for the warden on Freezyassov. They all have knowledge of secrets, but the only way for the player to learn those secrets is to bring the characters into contact with the right other characters and observe the resulting automatic conversation.

Meanwhile, I’m starting to regard the anything-goes-ness as more a liability than an opportunity, a way for random combat to interfere with what you’re actually trying to do. Sometimes I’ll switch back to the heroes to discover that one of them got killed while I wasn’t looking. I don’t know who’s picking these fights, but I have suspicions about Sondra Houdini. I’m starting to think I should just get all the supernumerary guards and the like killed in advance by making them fight each other before the heroes enter the scene. But what if one of them knows something?

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Demoniak: Am I Doing This Right?

At the beginning of Demoniak, the player controls one Johnny Sirius, whose half-alien parentage allegedly gives him incredible physical prowess, as he arrives late to a meeting called by Doctor Cortex, an alleged genius with an enormous brain and a stunted body who floats around in a MODOK chair. Cortex has a plan to destroy Demoniak’s poprtal into our world by building “the Ultimate Bomb”, which involves retrieving things from two planets, which you can visit in either order. By default, the first is the planet Freezyassov, the ice-covered site of a special prison for special prisoners, where we seek a decommissioned war robot named B-52. The warden denies he’s still there, but we know for a fact that he’s lying — I can simply switch control to B-52 and observe that he’s in his cell.

What do you do about this? Well, you have options. There are some ingredients for adventure-game puzzles lying around: a laundry bag containing a guard’s uniform, for example, and some documentation for the various pipes leading from the site’s power plant. Or you could just start fighting everyone. The game’s combat system isn’t very detailed, but it clearly wants you to use it; too many characters are defined in terms of their superlative combat skills for you not to mash them together like action figures. And once you’ve beat up the guards sufficiently, you can take their keys.

Or you can just, y’know, switch control to the guy who has the keys to B-52’s cell and let him out. That’s the simplest solution. It’s not quite as easy as I’m making it sound, because you can only control one guard at a time, and the others sometimes object to what you’re doing. But not nearly as often as you’d think!

I have some slight qualms about this approach. The manual tells me that it’s possible to win the game entirely as Johnny Sirius, without ever switching control. By abusing the character-switching system, am I subverting authorial intention, missing out on the story they wanted to tell? But then, if they didn’t want me to take advantage of it, they wouldn’t have put it in. I think of the action-figures metaphor again. This game isn’t a story so much as a playhouse to mess around in.

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The Art of Demoniak

I’ve played Demoniak only a slight amount since yesterday, so I’m just going to take a moment to describe a very slight feature of the game: the graphics. This is fundamentally a text adventure, but it has occasional full-screen interstitial graphics, either character portraits or establishing shots of locations, displayed just long enough for you to press a key. I’m guessing they took a significant time to load on the original hardware. Also, there’s an intro with a certain amount of animation. In the PC version, the intro is actually a completely separate executable from the game proper; the official way to launch the whole thing, documented in the manual, is to run a .bat file that executes the intro and then the game.

And the thing is, the pictures mainly serve to make the whole thing seem a little more amateurish. They’re the sort of illustrations that I can imagine thinking were the coolest thing you’d ever seen when your classmate in middle school draws them. Lots of squiggly spikes and lumpy gradients, relatively little thought to composition or readability. The irony is that this is the stuff that they had to use in all their promotional screenshots, even though it’s really not representative of the game’s content, because the alternative was to just show screenfuls of text, which would have turned people off even more.

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Demoniak is a 1991 text adventure that I mainly think of as Suspended taken to an extreme: it has a cast of about 50 characters, acting autonomously in the world, and with only a few exceptions, you can switch control to any of them at any time, including the antagonists. There’s a core team of five heroes with special powers, although only one of them thinks of herself as a superhero. Their mission is to stop a dimensional breach that will allow Demoniak, god of destruction, to enter our world and wreak havoc. The overall feel is one of comically over-the-top and somewhat puerile sci-fi brutality and nihilism, like an old 2000 AD comic — which is no coincidence; the credited writer is regular Judge Dredd writer Alan Grant.

I’ve written about a failed attempt at playing Demoniak before; basically, it uses key-word copy protection, prompting the player for words from specific pages of the manual, and my copy of the game is on an ill-thought-out shovelware disc that includes the manual only as plain text, unpaginated, making the key words impossible to find. At the time, one of my readers mailed me a cracked copy. I still have that email, but gmail now refuses to let me download the attachment, claiming it’s malware. Ah well. Fortunately, there’s another solution now: a PDF of the original manual can easily be found online.

Even with that overcome, it’s a difficult game to get started in. It lacks conveniences like scrollback and undo, and it doesn’t use the familiar Infocom-derived shorthand: I, for example, doesn’t take inventory, X is short for “list exits” rather than “examine”, and issuing commands to other characters is done with quotation marks, like SONDRA “FOLLOW ME”, rather than with a comma, like SONDRA, FOLLOW ME. (In fact, the in-game help leaves out the space, like SONDRA”FOLLOW ME”, making it feel even stranger.) And even ignoring all that, it took me multiple restarts to cope with the mere mechanics of operating in this world. It’s very easy to miss essential exposition just because you’re in the wrong room, or inhabiting the wrong body, or fumbling around with inventory instead of following events as they happen. I feel like this isn’t a game you can simply play through once, that the first sessions have to be all about learning how to play it. The manual explicitly suggests making the hero characters attack each other for no reason, just to try their powers out. I have to remind myself that I’ve been over this hump before, that all adventure games were like this once.

The thing is, the gameworld operates on Melbourne-House-Hobbit-like proceduralism. Those 50-or-so characters are going through their routines all the time, whatever that may mean. It might be a good idea to spend a few sessions just inhabiting various NPCs to figure out what’s going on. Or not actually switching to control them, because if you do that, they stop performing their automatic actions. But there’s a better alternative: Sondra Houdini, the psychic party member, who can read people’s minds even at interplanetary distances. This puts the game into a split-screen mode, letting you see everything a character sees without controlling them. I’ll give that a solid try before my next post.

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Once and Future: Then and Now

It turns out that it’s possible to finish most of the main quests in Avalon before the detour through Fairyland. I just happened to solve the puzzles that led to getting stuck in Fairyland before doing much of anything else, and this skewed my perception of the story. I could have purified the grail first thing, if I’d had more patience. I could have awakened Merlin first, and gotten answers a lot earlier about what was going on, what I was supposed to be doing and why. That might have grounded my adventures more.

Or maybe not. The truth is frankly bizarre: to save the world from the doom you’ve foreseen, you have to accompany Merlin to present-day Stonehenge to tap into its magic, so he can cast a spell to send you back in time to exorcise and slay the demon possessing Lee Harvey Oswald before he assassinates Kennedy. I guess this means real life is still on the bad timeline. There’s some suggestion that Frank is, too: the ending hints that even in the midst of your hard-earned happily-ever-after, your travails aren’t over.

Or at least, the ending I got does so. Apparently there are multiple endings, depending on what decisions you made and which optional puzzles you solved along the way. I don’t think there’s a great deal of variability in Fairyland, but in Avalon, there was an entire puzzle sequence about slaying a dragon that I simply never solved. Consulting a walkthrough afterward, I find it has to do with Excalibur’s ability to summon spirits the dead. Not a power I recall seeing elsewhere in Arthurian literature, but I did see it mentioned in this game by multiple sources, so I knew it was possible. Nonetheless, no matter who I tried to summon, it simply failed. It turns out that the only summonable spirits are Launcelot and Galahad, and Merlin would have told me this if I had asked him about the right topic. I can’t be too upset about this, though, because you can win the game perfectly well without them.

But I’m not inclined to pursue the other endings and see if they’re better, because that would require redoing the entire Stonehenge sequence, which is the single most tedious part of the game. Stonehenge is represented as a grid of rooms, with individual stones and trilithons implemented as objects, and you’re expected to examine them individually to find the marks Merlin needs for his spell. There’s a modicum of interesting commentary in the rock descriptions, but I suspect that the gameplay here was invented to justify the effort that went into the implementation, rather than to serve the player experience. I suppose it wouldn’t be so bad the second time around, though, when you know where everything is. That’s one of the nice things about text adventures: the ease with which you can breeze through the familiar parts. I just gripe because I’m playing from the perspective of the year 2021, where wasting the player’s time and attention is less easily forgiven than it was in 1998.

Meanwhile, the Dallas section uses the division of space into more rooms than necessary in a way that I thought fit the story quite neatly. You’re on a race against time to reach the book depository before it’s too late, so of course this requires more steps than you want it to. That’s exactly what it would feel like.

Anyway, even from a 2021 perspective, I did enjoy this game overall. I just enjoyed it more in the Fairyland section, where the puzzles are stronger and the story is more stylized. The whole story is built around an incongruous juxtaposition, but the end notes indicate that the author was more interested in using Frank Leandro to talk about King Arthur than in using King Arthur to talk about Frank Leandro, and it shows.

Once and Future: True Names

With the hard-bought help of the fairy queen, I’ve only just made it back to Avalon, and can now travel freely between the two realms. So, back to the main quest. But first, let’s reflect briefly on what I’ve come through.

This game was written at a time when Infocom was still the dominant paradigm for IF, which means there are some gratuitous mechanical puzzles, including at one point a Lights Out. Over the years, I’ve come to dislike Lights Out as a pointless waste of time almost as much as Towers of Hanoi, but at least it’s used in a somewhat clever variation here. And anyway, at least the clarity of intent in such puzzles makes it difficult to get truly stuck. I did spend a good few hours stuck on a couple of puzzles in fairyland, but it was always the environmental ones, where it wasn’t obvious what my options were.

The game is full of folkloric and fairy-tale stuff, with a notable repeated motif of Frank being turned into various animals against his will. It seems to be related to the dehumanizing effects of war, particularly in the climax of the Fairyland chapter. There, a masked and antlered being called the Hunter, who had made attempts on your life earlier, decides to keep you as an attack dog instead. And this is notable for a number of reasons. First, it’s the one transformation that you’re capable of actively resisting. Second, it’s one of the few times that the random misadventures tie together, referring back to earlier events — and not just to the earlier murder attack: unmasked, the Hunter turns out to be an elf woman you’d also encountered in a different context. Pieces suddenly come together to form a story, one of someone who can’t bear to be ignored, who will satisfied with being your killer, lover, or master, as long as she’s your something. And the solution, the way to save yourself from her domination? You first have to witness her. To view her life, her story from childhood onward, rather than relating to her purely as an obstacle. It’s only in these flashbacks that you learn her name.

And that makes me think of what I said in my last post about the little girl who Joe killed. Joe is referenced again in this sequence, as one of many whose mortal remains decorate the Hunter’s lair. I’m starting to suspect that sequence may have been subtler than I gave it credit for.

There’s at least one other young girl who needs rescuing: the Oracle back in Avalon, a seven-year-old manacled to a throne, breathing volcanic fumes and giving cryptic hints on a number of topics. I actually broke sequence on this a little inadvertently: in conversations with True Thomas (the fairy queen’s human lover/advisor, who can only speak the truth), Frank references a dialogue with the Oracle on how to free her that I hadn’t actually had yet. When you do free her, there’s a moment when Frank calls her by name, despite him never having learned it — and for once, the game calls him out on it, makes it clear that this slip-up is deliberate. What is going on?

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