Opinion: Thimbleweed Park relies too heavily on nostalgia

[This is a spoiler free article on Thimbleweed Park. This is not a review.]

Upon its Kickstarter announcement, Thimbleweed Park is a game that I’ve been looking forward to since late 2014. At its heart, it’s a nostalgia project. Like so many other Kickstarters for point-and-click adventure games, it used the nostalgia of the genre’s heyday to sell itself: a self-proclaimed “LucasArts adventure game you’ve never played before.” But what separates this adventure game Kickstarter from all the others are its developers: Ron Gilbert—arguably the godfather of the graphic point-and-click adventure game—and Gary Winnick. The duo that brought us the 1987 classic Maniac Mansion.

To say it simply, adventure games are my favorite genre, and I’d be lying if I didn’t admit just how excited I was to get this game. But after putting 6.5 hours into Thimbleweed Park, I’m left with a conflicting judgment: Where should the line be drawn between trying to develop a good game, and simultaneously make something that embraces the nostalgic roots that influenced a game’s existence in the first place? Even more importantly, where do I stand with judging the developers who’ve practically created the genre?

Within moments of starting the game, you are immediately reminded that you’re playing a pixelated point-and-click adventure game. Ron Gilbert wastes no time breaking the fourth wall, and has his characters cracking jokes about the tropes of classic adventure games. At first, this got a chuckle out of me. But it didn’t take long until I realized this would be a common theme in most of the conversations I would have in the game. So much to the point that I was being taken out of the experience, and felt completely removed from the narrative of the story: solving a murder in the small town of Thimbleweed Park.

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Being taken out of the game is a frustrating contradiction to what has made this genre so important to me. I love adventure games for their immersion. Because they’re a “play-at-your-own-pace” style of gaming, and rely almost solely on story and atmosphere to drive the player forward, it forces the player to step into the world, rather than speed through it. It influences the player to relax when other games heighten them. I’ve always preferred adventure games over other genres for this reason.

Gilbert’s constant wink at the players almost feels like he has to remind you that he was one of the creators of the genre. Like he’s giving you a proud shoulder nudge, met with an exaggerated smirk, and saying “yeah, that was me. I created that.”  It feels like he’s trying to prove his worth to the audience, as if they forgot about him, which clearly isn’t the case, given that the Kickstarter’s success could be directly owed to his name being attached to it.

It’s strange—the constant reminder of the basic mechanics of the genre feels like it could be intended to tell a new audience the rules of the genre, like saying “this game was expertly designed to have no dead-ends or deaths.” It’s something longtime fans already know, but it equally feels like it could be patronizing to a new audience of the genre. It doesn’t allow them to figure out how the game works on their own. Whether or not that was the developer’s intention? I don’t know. I’m speaking not only as a player, but also a long-time fan of the genre, and I’m annoyed on both ends. It alienates newcomers.

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Give yourself a nice pat on the back, Gilbert.

Contrary to what I’ve said, I’m enjoying the game quite a bit. Actually, it’s really good. Its pacing is like none other I’ve played in its genre. It moves fast, while still giving the player time to experience their environment and discover at their own pace. Its soundtrack sets the mood immediately; the settings are wonderfully varied and well crafted; and the characters are unforgettable. And as the game progresses, the references become much less frequent.

But despite all that I like about it, the experience has left me asking: how much nostalgia is too much? Where is that line drawn between trying to please fans, and making a good game? In this case, Thimbleweed Park is good, but I can’t help wonder if I’d be enjoying it more if it just took a step back from itself.

I also think it’s safe to assume Ron Gilbert and Gary Winnick made this purely to satisfy their own need to make a game in the genre that they helped create. And with that respect, I totally get it: artists and creators should make what they want to play. At the end of the day, Gilbert is the artist, and artists can do whatever the they damn want. He did, after all, create the engine Script Creation Utility for Maniac Mansion (SCUMM) that all Lucasarts point-and-click games were made with in the 90’s. So more power to him.

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Get it?

Thimbleweed Park does, however, represent some of its nostalgic references right. X-Files and Twin Peaks are deliberate influences, but take a back seat in developing mood, atmosphere, and story, opposed to telling the player that they were influences within the game. Also, there’s good references to past adventure games, specifically when a character refers to his cousin Bernard (a lead character in both previous Gilbert projects Maniac Mansion and Day of the Tentacle) is a quick nod to previous installments in Gilbert’s works, but done right.

Gilbert and Winnick set out to make a game that would reward longtime fans, and by doing so, risked alienating a new audience. And whether or not that was their intention, or should have even taken that risk, is debatable. I just didn’t expect that I would be one of those feeling alienated.

I also have to admit that I have an ongoing dilemma with nostalgia, and our reliance on it to make something interesting, like we’re not capable of accepting new ideas unless it refers to something we already know and love. Someday down the road if I have the time, I’d like to elaborate more on our obsession with nostalgia.

So how about you? Do you utterly disagree with me and love a good fan pleaser? Or is there another game of recent times that has made you feel same way?

A list of adventure games of recent years that I love:
The Dream Machine
The Journey Down
Kentucky Route Zero
Machinarium

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-Kurt

Sylvio 2 is coming this fall, and I couldn’t be happier

One-man-developer Niklas Swanberg of Stroboskop announced that the sequel of the open-world, puzzle, horror game, Sylvio, will be arriving fall of 2017 for PC, Mac, and Xbox One.

Following the success of the first Sylvio Kickstarter, Swanberg took to the crowd-sourced website again in December 2016 to fund Sylvio 2 for SEK 130,000 (roughly $14,400), but was unsuccessful ending at SEK 83,919.

Fast forward a year, Swanberg took a few steps back from the failed Kickstarter, and put work into a “remastered” version of the first Sylvio, followed with a console release in Jan. 2017 for Xbox One and PS4. It’s assumable that the console release must have given him the leverage he needed to pave way for a much needed second installment. 

Like the prior game, Sylvio 2 follows Juliette Waters, ghost recorder and EVP-specialist. In the first one, set in 1971, Waters gets her hands on a reel recorder and stereo microphone. Eager to test out her new gadgets, she heads into an abandoned park called Saginaw in hopes to capture some EVP recordings. She eventually becomes trapped in the park, and must use her equipment to not only solve a long lingering mystery about the park’s closing and abandonment, but also find a way out. This time around in Sylvio 2, Waters returns to Saginaw park, but now armed with video equipment.

The player uses the equipment to capture audio and visual of the afterlife. The recordings come out distorted and fragmented, requiring the player to review the audio and visuals using the rewinding, fast forwarding, and slowing down features of her equipment to decipher and put the messages together. It’s a mechanic that allows the story to be told in a marvelously creepy unconventional way.

Sylvio was one of my favorite game experiences of 2015.

Sylvio can be best compared to a dream: it feels familiar, but equally has an unknown—almost unfinished—feeling. The world is sprawling and empty, all of which adds to its eerie atmosphere. Like trying to remember a dream, you can grasp onto fragments, but things in between seem to be missing. There’s logic to its world, yet doesn’t make any sense at the same time.

It’s been criticized for its graphics, controls, and lack of fleshed out mechanics. But similar to how I feel about Deadly Premonition, its lack of detail, its design flaws, and quirks—whether intentional or not—adds to a distinct aesthetic of the game. Its the bigger picture of both these titles that have made an impact on me. Sylvio offers things that I simply have never seen in a game of its genre before, especially in a story telling and world building sense.

The horror in Sylvio is entirely owed to its pacing and atmosphere. It never had a jump scare; its uninviting environment made me equally curious, making me want to explore every corner, but with a lingering sense of caution. I loved this game, and it’s stuck with me long past initially playing it. I can’t wait for the second one. 

I didn’t want to use this blog to have news pieces, but I saw this as an opportunity to gush over a game I’ve been wanting to write about and share for a long time.

Also, Sylvio went on sale today on Steam.

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