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MAME 0.222

MAME 0.222

MAME 0.222, the product of our May/June development cycle, is ready today, and it’s a very exciting release. There are lots of bug fixes, including some long-standing issues with classics like Bosconian and Gaplus, and missing pan/zoom effects in games on Seta hardware. Two more Nintendo LCD games are supported: the Panorama Screen version of Popeye, and the two-player Donkey Kong 3 Micro Vs. System. New versions of supported games include a review copy of DonPachi that allows the game to be paused for photography, and a version of the adult Qix game Gals Panic for the Taiwanese market.
Other advancements on the arcade side include audio circuitry emulation for 280-ZZZAP, and protection microcontroller emulation for Kick and Run and Captain Silver.
The GRiD Compass series were possibly the first rugged computers in the clamshell form factor, possibly best known for their use on NASA space shuttle missions in the 1980s. The initial model, the Compass 1101, is now usable in MAME. There are lots of improvements to the Tandy Color Computer drivers in this release, with better cartridge support being a theme. Acorn BBC series drivers now support Solidisk file system ROMs. Writing to IMD floppy images (popular for CP/M computers) is now supported, and a critical bug affecting writes to HFE disk images has been fixed. Software list additions include a collection of CDs for the SGI MIPS workstations.
There are several updates to Apple II emulation this month, including support for several accelerators, a new IWM floppy controller core, and support for using two memory cards simultaneously on the CFFA2. As usual, we’ve added the latest original software dumps and clean cracks to the software lists, including lots of educational titles.
Finally, the memory system has been optimised, yielding performance improvements in all emulated systems, you no longer need to avoid non-ASCII characters in paths when using the chdman tool, and jedutil supports more devices.
There were too many HyperScan RFID cards added to the software list to itemise them all here. You can read about all the updates in the whatsnew.txt file, or get the source and 64-bit Windows binary packages from the download page.

MAME Testers Bugs Fixed

New working machines

New working clones

Machines promoted to working

Clones promoted to working

New machines marked as NOT_WORKING

New clones marked as NOT_WORKING

New working software list additions

Software list items promoted to working

New NOT_WORKING software list additions

submitted by cuavas to emulation [link] [comments]

The Disassociate or What I learned about tulpas by unintentionally making one (a work in progress)

What exactly is this? An attempt to lay out a road map. (Good luck with that, lol.)
Similarly illustrative of the Dual Brain Model of Psychology, developed by Fredric Schiffer, which revolves around the hypothesis that each of our two hemispheres has a unique mind of its own. Each of which, is capable of functioning semi-autonomously, but only one of which is dominant, on account of left hemispheric dominance for speech.
Which is why I embarked upon this admittedly, a little bit crazy journey, to start with. In an effort to investigate, what it might be like, if both of my brain hemispheres (not just one), could speak, like in the movie All of Me with Steve Martin and Lily Tomlin.
If consciousness was in fact binary, not unitary (as it perhaps merely appears to be). What if, indeed, this, our unitary consciousness, is in fact merely an illusion? Our ‘user illusion’ of ourselves, to borrow a term from Torr Norretranders, consciousness researcher and author of the book bearing the same name. What if the Dual Consciousness Theorists are right? Or is plurality, our natural state? And if so, what would that be like?
“There are more things in in heaven and Earth, Horatio, than are dreamt of in your philosophy.” William Shakespeare
Working title: Meet me at the (Magic) Drive-In or
Magic at the Drive-In
“The things we imagine can become the world.” Bernard De Koven, The Infinite Playground
It all started with this one particular cameo ...
https://www.facebook.com/798773163584746/posts/2480331652095547/
Who exactly is it that appeared in the above cited The Good Place episode? The answer being Timothy Olyphant/Raylan Givens. Or Timothy Raylan Olyphant Givens. An amalgam of the two, 50/50, perhaps, a.k.a. an Olyphant, as in, “You made me an Olyphant!” Timothy Olyphant wearing the same clothes, and exhibiting the same mannerisms, as Raylan Givens.
An Olyphant therefore being a fictional character, and a tulpa (in that Janet created him), a tulpa being the Tibetan equivalent of a willed imaginary friend, (observable to others, in this case, because she’s Janet), that is some mixture or blend of Timothy Olyphant and Raylan Givens. NOT Timothy Olyphant AS Raylan Givens, in other words; who would have, no doubt freaked out, to find himself suddenly appearing in a The Good Place episode. “What the fork?” “Where in the hell am I?” “What do you mean I’m fictional.” Nor Timothy Olyphant, straight up, what ever that would look like, I have very little way of knowing, never having met him. Although if his recent March appearance on Conan is any indication, the answer is, quite a bit different.
Thus affording our unwitting subject, in this particular thought experiment, Timothy Olyphant the following 3 options, vis a vis these three conscious individuals, if you will, (a) he can be himself 100%, (b) he can be a character, in this case, Raylan Givens, although never absolutely, as in 100%, because Raylan Givens is not his alter, as in the case of Elliot Anderson/Mr. Robot, but rather a fictional character he has portrayed, even if as a method actor, which I’m not sure is the case or not.
If he (TO) had Dissociative Identity Disorder, whatever that means in terms of the brain’s neuroarchitecture, or if we could temporarily alter his brain in order to mimic that architecture, using drugs, or some other means akin to a WADA test, then Raylan Givens might possibly be able to take over as if he were an alter.
As is also the case in terms of psychogenic or dissociative fugue, but lacking this particular neuroarchitecture, he can’t. Although I suppose it could happen, that an actor could lose himself, to some degree, if he became too engrossed in a role, especially a method actor, like Rami Malek, for example. Which apparently did happen to him once, early on in his career, at least according to an article I read, cited in Wikipedia. But obviously not completely 100%. Post dramatic syndrome, I think, is what this is called.
When hypnotized, according to DBT, the mind of the left hemisphere (our ‘I,’ if you will, of which we are conscious, goes dormant, becoming a ‘hidden observer,’ according to Hilgard. Whereas in the case of an alter, this transfer of power is complete. Again, according to Dual Brain Theory (DBT).
Or, (c) he can be an amalgam, some mixture or blend, of the two. Which is what he obviously chose to do. What he cannot do, even more obviously, having only one body, or perhaps more specifically one head, is be both, at the same time (d). Not in this our physical reality/universe at least. He has to choose. Within his mind space, or ours however, where pretty much anything is possible, the options might in fact be different, in fact affording him this fourth option (d). He could create a tulpa of Raylan Givens and interact with him if he so chose.
The same exact options are afforded the minds of our two hemispheres, presumably. Despite the mind of the left hemisphere’s way of thinking, akin to that of the highlander, that there can be only one, his sword held aloft. Unlike the fictional character He-man, for example, who seems to be of a differing mindset, in that there can be many masters of the universe, he being but one. A perfect example of the mindset of the mind of the right hemisphere, if ever there was one.
Which is not to say, however, that we each have two brains. As each mind, requires the use of the entire brain, various functions having, over time, been lateralized (localized either to one hemisphere or the other, but not both). Which makes sense, and explains why, when lost in thought while driving, for example, it’s so easy to pass one’s exit.
If it were otherwise, meaning that only one of our brain hemispheres contained a mind module, an ‘interpreter,’ being what this is called, and we were to lose the hemisphere with the only mind or ‘interpreter,’ in it, then we would end up with a zombie, which is not the case.
So our choices are, therefore; I (left brain mind or interpreter), me (right brain mind or interpreter), or we (some combination thereof, akin to an Olyphant), at least within the realm and constraints of the physical reality, in which we at present find ourselves.
In one’s mind space, however, the number of consciousness one can conjure up, might very well be infinite. Although in the vast majority of cases, our neuroarchitecture would prevent any one of them from taking over. Except in the case of Dissociative Identity Disorder or Fugue, or even possession by an alleged demon perhaps. Faulty neuroarchitecture allowing for one of these fictional consciousnesses to take over, whether fully or not would be determined by the underlying neuroarchitecture.
https://tvline.com/2020/01/09/the-good-place-timothy-olyphant-season-4-episode-10-justified/
Then I came across this video (Bonnie Tyler’s Holding our for a Hero), which ‘spoke’ to me, for a number of reasons: https://youtu.be/bWcASV2sey0
In which case here I am as Bonnie Tyler in this scenario, a woman who constantly finds herself surrounded by all of these fake Olyphants, when what she/I really want(s) is a real one. A real Olyphant, to be clear. NOT the real Timothy Olyphant, who presumably does not walk around wearing a Stetson, lol. If he did, no one would ever get any work done, lol.
50% Timothy Olyphant and 50% Raylan Givens, being the perfect combination, at least in my opinion, and apparently Judge Gen’s as well, lol. Especially if he were conjurable. Appearing when you wanted, and disappearing good-naturedly on those occasions when you did not. Oh, and also non corporeal, allowing him to easily fit in your Miata, even if he is 6 foot 3. The ideal man, as it were, lol. Apparently, Judge Gen and I are in total agreement on this one, except for his identity, as you wil I’ll soon see.
(Almost there kids.) (I wonder, can anyone else see where this is going?)(I certainly can’t!)(Quiet down!) Just kidding, lol.
The issue is, however, that the real Timothy Olyphant is married (to his childhood sweetheart no less), and regardless of the fact that he only compromises 50% of the character, that just isn’t happening. So what to do in this situation.
According to the video, the answer is a white knight upon a fiery steed. Someone who is “strong,” “fast,” and “fresh from the fight.” “He’s gotta be sure,” “it’s got to be soon,” and “he’s got to be larger than life.”
And he’s got to look like Timothy Olyphant/Raylan Givens. And unfortunately for him, there is only one actor who can pull off this particular character. Someone who not only meets these criteria, but is also unmarried, or at least he was at the time (because as I said, fictional or otherwise, that just ain’t happening - me holding even the image of someone else’s husband in my head), and he is a practicing Catholic to boot. (No pun intended.) (As we were just talking before about Stetsons.) I would be a practicing Catholic, if the Catholic hierarchy wasn’t 100% male, which is more than likely, one of, if not the root cause of all, or nearly all of its problems, but I digress. But this would enable him to understand certain references, say to the Agony in the Garden, and the Garden of Gethsemane itself. Which refers not just to a place, but also a situation.
It would also be the fourth time that this actor played this particular role, of personifying wish fulfillment when it comes to romantic relationships with heterosexual women, to date. Second only to Jamie Fraser’s Sam Heugans in that regard. Which is why perhaps he (my tulpa), described himself to me as such. Less movie star and more James Fraser with glasses (an older version of the dueling swordsman who, though still in his prime, sometimes requires glasses to read.) (Less Superman and more Clark Kent.) The last of which I haven’t seen, because I don’t want it to affect a change in my tulpa, which began its life as a fictional character, created with this particular actor in mind, even though he, my tulpa, is currently ‘on hiatus,’ lol. Until I can figure out what to do about him. It being my mind after all.
At this point in real life, however, it was early June. A professional server, I had been on furlough since March, and in the interim, during quarantine, I had quickly caught up with my favorite shows, and thus run out of things to watch on television, so I decided I might try and write something, myself. A screenplay that would allow me to explore what it might be like to be dual brained, the model of psychology outlined above. Dual consciousness theory, in other words. What Julian Jaynes referred to in his book, The Origin of Consciousness in the Breakdown of the Bicameral Mind, as bicameralism.
It got pretty complicated and I decided that the only way to get it all sorted out, was (a) to become/personify/embody the main character myself, and just follow wherever it my lead, which was me anyway, but in a fictional universe (a.k.a. a wonderland), in which there was a magical drive-in theater, that allowed one to communicate/make contact with other consciousnesses both from within this universe and without (these other universes being fictional film and television universes, the only other universes that we now know of at present, to be ‘real’ in a manner of speaking. The Marvel cinematic universe, for example, being ‘real,’ in the sense that we all agree that it exists and know what one is talking about when we do so. Not that the fictional characters or the universe contained therein is extant.
And (b), hopefully convince one of those consciousness, preferably that of an actor, although I suppose it could have been an author, or a script writer, to come and sit beside me, either at the ‘magic’ drive-in, the expansive beach in front of a nearby town’s lighthouse at night, or a particular harbor at sunset, for the sole purpose of helping me sort through my crazy script idea, which involved potential travel between universes like in the series finale of Amazon Prime’s Man in the High Castle. I may not typically require a hero, but in terms of getting a handle on this script I might.
The first to do so was Optimus, a Gort like character like that from the film the Day the Earth Stood Still, which I described in another post. I could communicate with him telepathically (first doing so at the magic drive in), and through this link, I had some idea what he looked like, but I could not envision, feel, or hear him, any where near to the same extent I later could with successive tulpas of which there were two more. Although I didn’t know that they were tulpas at the time. I just thought they were characters that had somehow taken on a life of their own. Never having written fiction before, I assumed that it was a common occurrence. Not until I heard the third one’s voice, did I start to think that perhaps something truly incredible was going on.
When he left, after our spending almost two weeks together, this third and final tulpa, the silence was literally deafening, his absence palpable. My wonderland and all of the characters in it, was like a dream, only I was awake. I’m pretty sure I could bring him back, using a picture of him which I possess, of this fictional character which somehow became (somewhat) real, and arguably, may have even saved my life, but I haven’t done so. I guess, perhaps out of fear, as he so closely resembles someone that is real, who might object. I do however, still, have Optimus/Gort with me, although he isn’t much of a talker, lol, but reassuring as hell, though.
submitted by Distinct_Mark to Tulpas [link] [comments]

MAME 0.222

MAME 0.222

MAME 0.222, the product of our May/June development cycle, is ready today, and it’s a very exciting release. There are lots of bug fixes, including some long-standing issues with classics like Bosconian and Gaplus, and missing pan/zoom effects in games on Seta hardware. Two more Nintendo LCD games are supported: the Panorama Screen version of Popeye, and the two-player Donkey Kong 3 Micro Vs. System. New versions of supported games include a review copy of DonPachi that allows the game to be paused for photography, and a version of the adult Qix game Gals Panic for the Taiwanese market.
Other advancements on the arcade side include audio circuitry emulation for 280-ZZZAP, and protection microcontroller emulation for Kick and Run and Captain Silver.
The GRiD Compass series were possibly the first rugged computers in the clamshell form factor, possibly best known for their use on NASA space shuttle missions in the 1980s. The initial model, the Compass 1101, is now usable in MAME. There are lots of improvements to the Tandy Color Computer drivers in this release, with better cartridge support being a theme. Acorn BBC series drivers now support Solidisk file system ROMs. Writing to IMD floppy images (popular for CP/M computers) is now supported, and a critical bug affecting writes to HFE disk images has been fixed. Software list additions include a collection of CDs for the SGI MIPS workstations.
There are several updates to Apple II emulation this month, including support for several accelerators, a new IWM floppy controller core, and support for using two memory cards simultaneously on the CFFA2. As usual, we’ve added the latest original software dumps and clean cracks to the software lists, including lots of educational titles.
Finally, the memory system has been optimised, yielding performance improvements in all emulated systems, you no longer need to avoid non-ASCII characters in paths when using the chdman tool, and jedutil supports more devices.
There were too many HyperScan RFID cards added to the software list to itemise them all here. You can read about all the updates in the whatsnew.txt file, or get the source and 64-bit Windows binary packages from the download page.

MAME Testers Bugs Fixed

New working machines

New working clones

Machines promoted to working

Clones promoted to working

New machines marked as NOT_WORKING

New clones marked as NOT_WORKING

New working software list additions

Software list items promoted to working

New NOT_WORKING software list additions

submitted by cuavas to MAME [link] [comments]

Ranking the P5R Palaces!

Howdhee-ho everyone!
So the other day I did a ranking of all the Showtime attacks. I’d said that if it got a bit of attention and people seemed interested in this kind of stuff, I’d do rankings for other Persona 5 bits.
So today I thought I’d explore Palaces. Now, this one is going to be a bit lengthy because Palaces have a lot to talk about.
And for the usual disclaimer; Spoilers ahead! And everything from here is just my own take on it. If you feel differently, awesome! I’d love to hear your thoughts as well!
So, here are the main criteria I’m basing this stuff on.
“Story” - Now, this isn’t a plot review, but rather a review of how the Palace feels in relation to the story. Essentially, how well does this Palace fit, and does it make sense for the ruler?
“Creativeness” - How creative does the Palace feel?
“Gimmicks” - Puzzles, areas, things like that. Are they good? Do they fit thematically?
“Atmosphere” - From design, to enemies, to music. How does it feel? Does it match the tone of the current arc?
“Length” - This is not necessarily “how long is the Palace” but rather “How long does it FEEL”. Does it drag on? Does it feel too short?
Also, I will NOT be including major bosses as part of the Palace. I’ll be covering bosses another day!
So without further ado… let’s dive right in with what I feel is the worst Palace. And I don’t think this one will be a very hot take.
#9 - Okumura’s Big Bang Death Star
Yikes
Alright. I’m gonna tackle this one at a time, just going down the criteria list.
So to start with the story, I don’t think that a space station makes sense, because thematically it’s a bit… odd. Realistically, the whole “point” of Okumura’s arc is that he wants to “Ascend to the political world”. And you uh… can’t ascend much further than outer space. I think they could have gotten the same general idea with the Palace being something like a NASA Headquarters. Then you still get the space feeling, and the concept of “escaping to Utopia”. I’ll admit this one is a bit of a nitpick. But it’s always been a nagging issue for me.
Now, this is a pretty creative design for a Palace. A giant space station with faceless, robotic drones sacrificing themselves for their leader. It screams of Star Wars with the Stormtroopers just letting themselves get ripped apart for Palpy and Vader. And honestly I remember feeling this sort of overwhelming sense of wonder as I walked into the Palace for the first time and saw SPACE sprawled out in front of me. It’s cool.
Now, here’s where the problems come in. The gimmicks. Not only are they not good, but GODS ABOVE they are repetitive. First there’s the “robot interrogation” section. Try to find the highest ranking robot. But first you need to go through all the ranks below him. If I wanted to be sent up a chain of command until I talked to someone who is actually useful, I’d call up tech support. And fun fact, calling tech support is awful and nobody does it for fun. Well, except apparently the person who designed this “puzzle”. Then we have the breaking arms and lunchtime puzzles which are just… build a bridge here, hit the button, sprint across to the new bridge, make another bridge, run back to the third bridge. I dunno. It’s very uninspired. And then we have the airlocks. Or as I like to call it, wasted potential. This puzzle COULD HAVE BEEN great. But they made it so overly complex and so long that it gets grating.
Now, for the atmosphere. Honestly, I think this Palace does atmosphere very well (which is ironic since it’s in space). But it really gives the idea of a ruthless, corporate conglomerate. And while I think the music is one of the worst tracks in the game, it really does fit here. It’s tedious, repetitive, and droning. Just like working in fast food (and being in this Palace).
And length. Yeah. It’s long. Probably the longest Palace. It definitely feels like it.
So yeah. This Palace is kind of not great.
#8 - Kaneshiro in the House from Disney/Pixar’s Up
Now, I don’t want people to think I hate this Palace. Because I don’t. But I do find it to be one of the more bland ones. It’s just kind of… uninspired. Eh. I’ll get more into it below.
So as far as the story goes it makes sense but… there isn’t a lot TO Kaneshiro. Like, he’s a guy who likes robbing people. We never get to know him beyond that. So a bank is kind of the only option. So it makes sense because well… nothing else would as far as we know.
And unfortunately, this impacts how creative the Palace is. It’s cool that it’s flying, but the flight part is a little… irrelevant. Once you’re in the bank it’s just kind of… a bank. Like, there’s nothing really unique or cool about it. It’s a bank. All of it. The whole thing is just a normal, run of the mill bank once you’re inside. Well… except the money pit. Which is a full like 5 minutes of the Palace so ya’know.
Now, for the Gimmicks. There is one. One singular gimmick. And I don’t really like it. Kaneshiro’s bank has the “letter math”. Basically he has a bunch of notes with things like D=1, U=2, M=3, and B=4. Then you go to a panel with the word DUMB on it and put in the code 1234 (sounds like something an idiot would put on his luggage). So yeah. It… certainly exists.
Now I will say, I do like the atmosphere. And the BGM is, as the kids say, “A bop”. I’d say it’s the… fourth best Palace track. And the Palace DOES really feel like a bank. It’s heavily guarded, and you really get the feeling of “I don’t belong here” after you pass the main room. This is the only Palace that really made me feel like I was trespassing somewhere I wasn’t welcomed. And if you’ve ever been anywhere in a bank that isn’t the main hall, I’m sure you get the feeling. And the basement level does give me that sort of “bank heist” vibe.
Now, I don’t know how long this Palace is. But it certainly feels long. I think most of this is the basement level. Once you get to the lettenumber puzzle it feels kind of like it starts dragging.
So yeah. This Palace is… it’s okay. It’s not good. It’s not bad. It just kinda exists.
#7 - S.S. Shido
I don’t know how controversial this one will be. But I don’t really enjoy this Palace all that much. It gets REALLY old REALLY quickly. But it does have some merits.
Firstly, the Ship idea makes a lot of sense. Especially after Haru just goes “Here’s the metaphor!” in case the player doesn’t get it. Yeah, it makes sense that Shido has a giant cruise liner filled with only the elite as the country around him collapses. Plus, he does talk about “steering the country” more often than Ryuji says “FOR REAL?!” … okay. Maybe that’s not factual. But you get my point.
Now I will say, this Palace is very creative. The idea of a giant Ship cutting through buildings is cool. And I like how it’s treated as a cruise liner because it allows for a lot of additional areas, like the pool restaurant, and obviously the usual ship bits.
Now for the gimmicks… there is one. It’s the rat puzzle. And it can go fuck itself. Thank you for coming to my TED talk.
Now for the atmosphere. It feels perfect. The Palace itself feels grand, powerful, and intimidating, and the score accompanying it amplifies that feeling by quite a lot. I think it’s a bit of a step down from other Palaces, but it certainly makes sense and really works in regards to Shido.
As for length… holy hell this Palace is long. Both literally and mentally. It has basically 5 mini levels, really annoying and long puzzles, and a whole game’s worth of dialogue. I get that they have a lot of loose ends to wrap up but ye gods this Palace feels like it takes an eternity to beat.
This Palace is the textbook definition of wasted potential. It could have been amazing. It has all the pieces it needed to be. But they squander them by diluting the palace with annoying puzzles and WAY too much tangentially-related plot stuff.
#6 - King Kamoshida’s Crazy Castle
Now, I know that I have this one at 6th. But that isn’t a bad thing. I personally think this is the first “good” palace. It’s nothing amazing or crazy, but for the first Palace it’s nice and fun.
Obviously the Castle aesthetic works with Kamoshida. It makes a lot of sense seeing how he lords his power over everyone in the school. Even Principal Eggman gives in to him. So an idea of him lording over everyone obviously makes a lot of sense. And a bit of a fun fact, the guards in his Palace have the same voices as the other teachers.
And the big Castle is actually pretty creative. For a first Palace it really sets a tone, and standard for other Palaces to follow. It’s grand, absurd, and completely disgusting. Makes sense for something formed from distorted desires. There are also some really cool areas like the chandelier hopping, and the crazy, distorted upper floors.
Now for gimmicks. They’re kind of simple. The two present are the book ones, where you need to place the proper book in the proper section, and the one where you need to kill enemies to get the eyes for the statue. Neither are particularly hard, or particularly inspired. They aren’t bad though. And they aren’t overly-long. They’re standard RPG trope puzzles.
Now the atmosphere is kind of… strange. Honestly, I find it hard to take this Palace seriously. The BGM sounds like something out of a 70’s porno, and the Palace itself honestly feels like 70’s porn meets Dungeons and Dragons. It doesn’t really fit the story content of the outside world. It doesn’t reflect Kamoshida’s abuse or Shiho’s suicide. It feels a little too silly. I still like the aesthetic, but I don’t think it really fits with the plot. It needed to be more serious.
And this Palace, unfortunately, does start to drag. By the time you reach the messed up, hyper distorted floors where the floor tiles are floating around, the Palace is getting a bit old. Though this could be due to the fact that you don’t really get to make any progress during your first like… four visits.
Overall, it’s a solid Palace, and a great starting point.
#5 - Madarame’s Museum (I couldn’t think of a creative name for this one. I’m sorry.)
I really like this one. It’s fantastic. And I realize saying that for the 5th ranked Palace is kind of weird, but honestly I think that’s just a testament to how great the next four are.
Starting off like normal, this Palace makes a lot of sense… but I always found it odd that his distortion is a Museum. Because like… that isn’t exactly unusual. He’s a renowned artist with a ton of very famous works. I feel like he has art in museums. I mean, we’re introduced to him at an exhibit. I dunno. It’s a nitpicky issue that I don’t want to press. Regardless, it obviously makes sense. And I love how all the paintings in here are sort of distorted in their own way to show how Madarame has to change his own cognition to accept his art as his own.
And uh… yeah. This Palace is creative as hell. Sure, at first it feels like a normal museum. But stuff like the weird golden staircase abyss, the awesome courtyard, and the painting puzzles are so cool.
Speaking of the painting puzzles. There are two major puzzles here. The painting ones where you enter paintings Mario 64 style, and the Sayuri puzzle.
The one where you enter the paintings is kind of cool, because ultimately it’s about remembering the path that works, while also unlocking other paths to take and figuring out which path will let you escape. It’s cool, and brief, but a little TOO easy. Then there’s the Sayuri puzzle which I love. Basically you are presented with a few different paintings. All the Sayuri, but with slightly different modifications. And you need to pick the “real” one. I like this because it tests how well you were paying attention. They start off obvious, but the differences get more and more subtle as it goes on. It’s a great gimmick.
As far as the atmosphere goes, this place is great. Not only does it match the overall feeling of an art museum, but it honestly has this sort of tenseness to it. I can’t really describe it, but it almost feels ominous. And I think that fits given that Madarame himself is a rather ominous figure. We know he’s bad, but we can’t really prove it for most of the arc.
And I think this Palace has a perfect length. It doesn’t feel rushed or like it’s dragging, and I think that’s more because of the physical length. It isn’t an overly long Palace as far as playtime goes.
So yeah. This one is pretty damn good. I like it.
#4 - Sae’s Controversial Casino
Yeah. This one is going to piss people off. I know that a LOT of people have this as their favorite Palace. And I can understand why. But it has a few issues that sort of drag it down for me. They don’t drag it down MUCH, but they keep it from getting any higher on my list.
Obviously, the Palace makes sense as far as the story is concerned. Sae sees her job as essentially rigged gambling. Anyone outside “the system” thinks they can win, but in reality it’s not possible. As such, everything in her Palace is rigged to make it unwinnable. Or it SHOULD be. But we have a Futaba. So we get to cheat too. “Mwehehe”.
Honestly, the casino and premise is very creative. The concept of a Casino full of rigged games that you need to unrig is awesome, and the layout and mission is great. Also, I love how they have it set up so Sae actively wants you to try to reach her. It’s incredibly unique as far as that goes.
Now for gimmicks. There’s really only one, because most of the time you’re either walking around or killing things. And this gimmick… kind of sucks to be honest. I’m talking about the House of Darkness. It’s the only part that is more than a cutscene, standard area, or standart fight. But all it is is a standard area you can’t see. And it sort of sucks. It’s really… boring. And kind of lengthy. It’s pretty bad.
As far as the atmosphere goes it uh… well, it certainly feels like a Casino. And Sae’s presence throughout makes it feel much like how the plot does outside. Sae and the SIU are closing in, rigging the game and challenging you to take the fight to them. It’s great, and I love the plot elements here.
And now onto my major gripe. The length. This is definitely the shortest Palace. And it feels short half of the time. The problem is that the parts that DON’T feel short are painfully bad, and feel painfully long. I’m talking mostly about the Dice Game, and the House of Darkness. As I just said, the House of Darkness is little more than some dark corridors. And unfortunately, the Dice Game is the same, but without the darkness. There’s no real “Game” to this Casino. It’s just a bunch of drab, grey hallways that feel like a nuisance to traverse. It sucks when what you WANT is to get to the good Casino shenanigans (like the Arena) but instead have… this stuff. It makes the Palace feel like it drags, even though it’s probably the shortest one.
So yeah. I still love this Palace but it has some glaring issues that I can’t overlook.
#3 - Lil Sister’s Big Pyramid
God I love this Palace. Much like with my Showtime list, I honestly think I could lump my top 3 all in as my “Favorite Palace” but for the sake of this I did want to try to dive into this on a deeper level. I’ll admit, too, that from here on a lot of these placements are more on gut feeling.
Anyway, to start off, this one works incredibly well as far as story. Throughout the entire Palace we see Futaba go back and forth between wanting help and rejecting help. Her shadow knows we’re busting in from day one and follows us around just like Sae does. But due to her desire to push people away, we are constantly fighting an uphill battle against her to save her, even though she wants us to save her. And the fact that her Palace is a pyramid out in the middle of the desert is awesome symbolism for how Futaba’s position is. She hates the idea of being near other people, so she locks herself away.
Now, I personally think this Palace is super creative. It has a nice blend of ancient Egypt with the pyramid, but also ultra-modern tech stuff. Random flecks of data appearing all around, mechanical traps, and the room before the boss which is basically a massive data stream with floating hunks of pyramid floor in it. It’s just so cool. It’s a combination of ancient and modern that shouldn’t work, but does.
As for gimmicks, there are three major ones here and I think they’re all great. Firstly are the Anubis puzzles. These are pretty simple, but the gist is you grab an orb from one statue and need to put it in another. However taking them blocks off certain paths. It’s not super hard. But I like it.
Next, there is the binary puzzle. Again, fairly simple. There’s a red column and a blue one, and you need to put in certain binary codes in these columns to unlock certain doors.
Finally, there’re the picture puzzles. And honestly I love these. You come to a mural of something important to Futaba’s life and you need to rearrange them to make the picture “correct”. I love it because the scrambled appearance is symbolic of Futaba’s distorted view of these events. And they get harder as you do more, but never overly hard. It’s just a quick, fun mini-game.
As for atmosphere, I think it does a great job of showing the isolation, desperation, and mistrust Futaba feels. The music score (my 3rd favorite Palace theme) is absolutely amazing and the wailing guitar helps to show the pain in Futaba’s heart.
And while this one is lengthy, it never feels overly long or overly short. It changes up the pace enough to feel fresh, and doesn’t overuse the elements it has.
So as you can see, I have no problems with this Palace. Only things I like. Which is why Placing these top three was so hard for me. But I think the things I like in the other two I happen to like more.
#2 - The Public’s Prison. Memes and Mentos.
Now, Mementos itself is kinda bleh. We all know this. But the Depths of Mementos, the Prison of Regression, is absolutely incredible. And I KNOW this one is going to be controversial as hell. But I can’t help it. I love this Palace. It’s so good.
To start with, obviously this one works with the story outside because… well… it’s the one most linked to the outside plot. This is about every single person in the world being unwilling to commit and plot their own lives. And this place thematically matches. It’s a prison, because every person sees themselves as a prisoner.
And the creativeness levels are off the charts. Sure, they could have gone with a stereotypical “hell” level but they didn’t. It’s a prison of almost alien design. It’s the kind of weird, off the wall evil that I’d expect to see in Mass Effect. Like I could see the Reapers living in the Prison of Regression while they wait for the next cycle. It’s just so damn cool looking. I love this place. It’s so menacingly malevolent without beating you over the head with the horror it holds. Plus the post-fusion part in the second half is so wild and insane looking. It looks like something I’d expect to see in Doom.
The Gimmicks are also great. While there’s only one real Gimmick, it’s a fun one. A puzzle where you need to light up tiles on the floor. The first one is a gimme. But they increase in difficulty to hilariously easy, to you actually needing to complete other puzzles first in order to do the one necessary to progress.
I already sort of touched on this with the creative part, but the atmosphere of just existential dread this place holds is immense. And the BGM, Freedom and Security (my personal favorite Palace theme) really hammers that home. It has an eerie, ominous feeling to it that really works well in tandem with the rest of the level. And as I mentioned above, tt flips from being dreadful and terrifying, to having our heroes triumphantly running up a staircase of bones, destroying Yaldy’s minions as they march on to kick his ass like Doom Guy sprinting through Hell to kill a big boss demon.
Finally, it’s a perfect length. Not overly long, but not short either. And the plot elements halfway through give a nice breather and tone shift before thrusting you into the awesome second half as you climb up to the Grail’s chamber.
If I had to give a reason why this one is in second place, it’s that the second half is a little too focused on being cinematically badass that it foregoes exploration in exchange for a linear path. And while it works well, I still prefer the first half of the Palace.
#1 - Dr. Snack’s Hospital of Happiness
Here it is folks. My Number one. I don’t think this one will be as controversial as some of the others. But even so. Here we are!
So to start, obviously this Palace makes a ton of sense for Maruki. He was intended to get a research lab built in the spot where this Palace forms, and the Palace IS a research lab. So obviously that works. And the whole concept was about using cognition to change people’s lives for the better. We can see this in the Palace during the quiz section where we see how Maruki guides patients to his happiness. Which is thematically nice because it shows that while Maruki claims he wants everyone to be happy with their desires, he actually wants them happy with his. Anyway, I’m rambling. The Palace is great as far as story and makes sense for the character.
And yeah. This place is creative as hell. It’s not just a research lab. It’s a massive spire with rainbow bridges, massive telescopes, and a dome on top meant to represent heaven since Maruki sees himself as God. It’s the most grandiose, over the top thing in this game. And I’ll remind you, in this game you shoot a God in the face with a sword gun.
*ahem* anyway. The gimmicks here are really damn good. The first thing is the awesome Quiz section. I do think it’s a little bogged down by the whole “The team must meet and discuss” part, but I love how this whole thing is just “How well do you know Maruki?”. If you know him well, you get a reward. If you don’t, you get punished. Then there’s the color bridge section which is just “If the Okumura space tunnels didn’t suck”. It’s so good because it requires a lot more strategy and a lot less luck than the Okumura port. And if you make a mistake it’s a much easier fix.
The atmosphere is amazing too. The sterile but obviously corrupted first bit when you’re in the main building feels very clinical. But the strange bits of oddities really gives off an other-worldly vibe. Remember how I said the Prison of Regression felt like it had Mass Effect vibes? This part has like… Resident Evil vibes. It’s like a modern hospital tainted by an otherworldly monstrosity and it’s awesome (and, actually, not far from the truth. Much love, Azathoth.) Oh, and the BGM is my 2nd favorite. I fucking adore Gentle Madman.
As for the length, I do think it’s probably the longest Palace. It definitely comes close with Okumura. The difference is you’re actually forced out about a third of the way through and, if you’re playing “optimally”, you won’t be back for a bit. So it never feels like it gets old or tired. And it changes up often enough, and with drastic enough changes that it never drags on like the bottom three Palaces on this list. So it’s great.
GOD DAMN I LOVE THIS PALACE.
Aaaaanyway. That’s my list. I’m thinking I’ll do bosses next, but I dunno. What would you guys want a massive rank essay on? Bosses? Awakenings? Phantom Thief members? Party Personas? And what are your thoughts on this here list? How would you rank the Palaces?
I hope you all enjoyed this, and I look forward to hearing your opinions in the comments!
submitted by Cirkusleader to Persona5 [link] [comments]

20 Point and Click Games You Should Play Right Now!

1. Monkey Island 2: LeChuck's Revenge
Monkey Island 2 follows Guybrush's continuing adventures some time after defeating the Ghost Pirate LeChuck. His arrival on Scabb Island was in pursuit of the legendary treasure of Big Whoop. LeChuck's Revenge plays like most SCUMM-based point-and-click adventure games. Actions and dialogues are depicted on an Animation Window which covers the top of the screen; verbal commands are listed in the lower left-hand corner of the screen, while Inventory items are shown as icons on the lower right-hand corner. A Sentence Line is located below the Animation Window and serves in describing the actions of the player.The game was one of the few adventure games that offered the player a choice in levels of puzzle difficulty. In some versions, before starting the game, the player is prompted to choose between regular version and "Monkey 2 Lite", a relatively stripped-down experience that bypasses many puzzles entirely. On the back of the game's packaging it is (jokingly) stated that this mode is intended for video-game reviewers.
2. Day of the Tentacle
The game, a loose sequel to Maniac Mansion, is focused on Bernard Bernoulli — the only one of the three playable characters that was featured in the first game — and his friends Laverne and Hoagie, as they help Dr. Fred Edison using a time machine to prevent Purple Tentacle from taking over the world. The game utilizes time travel and the effects of changing history as part of the many puzzles to be solved in the game. Day of the Tentacle follows the point-and-click two-dimensional adventure game formula, first established by the original Maniac Mansion. Players direct the controllable characters around the game world by clicking with the computer mouse. To interact with the game world, players choose from a set of nine commands arrayed on the screen (such as "pick up", "use", or "talk to") and then on an object in the world. This was the last SCUMM game to use the original interface of having the bottom of the screen being taken up by a verb selection and inventory; starting with the next game to use the SCUMM engine, Sam & Max Hit the Road, the engine was modified to scroll through a more concise list of verbs with the right mouse button and having the inventory on a separate screen.Day of the Tentacle uses time travel extensively; early in the game, the three main protagonists are separated across time by the effects of a faulty time machine. The player, after completing certain puzzles, can then freely switch between these characters, interacting with the game's world in the separate time periods. Certain small inventory items can be shared by placing the item into the "Chron-o-Johns", modified portable toilets that instantly transport objects to one of the other time periods, while other items are shared by simply leaving the item in a past time period to be picked up by a character in a future period. Changes made to a past time period will affect a future one, and many of the game's puzzles are based on the effect of time travel, aging of certain items, and alterations of the time stream. For example, one puzzle requires the player, while in the future era where Purple Tentacle has succeeded, to send a medical chart of a Tentacle back to the past, having it used as the design of the American flag, then collecting one such flag in the future to be used as a Tentacle disguise to allow that character to roam freely.The whole original Maniac Mansion game can be played on a computer resembling a Commodore 64 inside the Day of the Tentacle game; this practice has since been repeated by other game developers, but at the time of Day of the Tentacle's release, it was unprecedented.
3. The Secret of Monkey Island
It takes place in a fantastical version of the Caribbean during the age of piracy. The player assumes the role of Guybrush Threepwood, a young man who dreams of becoming a pirate and explores fictional islands while solving puzzles. The Secret of Monkey Island is a 2D adventure game played from a third-person perspective. Via a point-and-click interface, the player guides protagonist Guybrush Threepwood through the game's world and interacts with the environment by selecting from twelve verb commands (nine in newer versions) such as "talk to" for communicating with characters and "pick up" for collecting items between commands and the world's objects in order to successfully solve puzzles and thus progress in the game. While conversing with other characters, the player may choose between topics for discussion that are listed in a dialog tree; the game is one of the first to incorporate such a system. The in-game action is frequently interrupted by cutscenes. Like other LucasArts adventure games, The Secret of Monkey Island features a design philosophy that makes the player character's death nearly impossible (Guybrush does drown if he stays underwater for more than ten minutes).
4. Loom
Loom is based on a serious and complex fantasy story. With its experimental interface, it eschewed the traditional paradigm of graphical adventures, where puzzles usually involve interactions between the game character, the environment, and items the character has in their possession. Loom's gameplay centers instead around magical four-note tunes known as "drafts" that the protagonist, Bobbin Threadbare, can play on his distaff. Each draft is a spell that has an effect of a certain type, such as "Opening" or "Night Vision." Some drafts can be reversed by playing their notes backwards, so the "Dye" draft played backwards becomes "Bleach," while others, such as the "Terror" draft, are palindromes (e.g. C–E–E–C) and so cannot be reversed in this manner. Bobbin can learn drafts by observing an object that possesses the qualities of the desired draft; for example, by examining a blade while it is being sharpened, Bobbin can learn the "Sharpening" draft. When the game begins, Bobbin is only able to play drafts using the notes C, D and E, limiting his ability to reproduce more powerful drafts. As the game progresses and additional notes become available, so his ability to play new drafts increases. The game can be played at three difficulty levels, each differing in how clearly the notes being played are labeled. For example, the "Standard" level indicates the notes on a scale below the distaff, while the "Expert" level shows no notes and must be played by ear. In the original release, expert players are rewarded with a cutscene that does not appear for the other two difficulties. The later CD-ROM release, however, shows an abridged version of this scene to all players.
5. Beneath a Steel Sky
Beneath a Steel Sky is a 2D adventure game played from a third-person perspective. The player uses a point-and-click interface to interact with the environment and to guide protagonist Robert Foster through the game's world. To solve puzzles and progress in the game, the player collects items that may be combined with one another, used on the environment, or given to non-player characters (NPCs).The protagonist converses with NPCs via dialogue trees to learn about the game's puzzles and plot.Clues and other information are obtained by clicking on items in the inventory and on objects in the environment.Unlike in most adventure games at the time, the protagonist's death is possible, after which the player starts from the last save point.The player controls a character called Rob Foster. Rob was rescued by a tribe of bandits as a child after he was found as the only surviving member of a helicopter crash, on which his mother was also a passenger. He is raised by the tribe and comes to look upon them as his family, learning skills such as hunting and building himself a robot from discarded scraps found in local garbage dumps. They inhabit a barren wasteland known as "The Gap", a deserted area that was once part of the Australian outback, a harsh place where daily survival is a struggle.
6. Indiana Jones and the Last Crusade: The Graphic Adventure
Last Crusade was one of the most innovative of the LucasArts adventures. It expanded on LucasArts' traditional adventure game structure by including a flexible point system—the IQ score, or "Indy Quotient"—and by allowing the game to be completed in several different ways.The point system was similar to that of Sierra's adventure games, however when the game was restarted or restored, the total IQ of the previous game was retained. The only way to reach the maximum IQ of 800 was by finding alternative solutions to puzzles, such as fighting a guard instead of avoiding him.This countered one common criticism of adventures games, whereby since there is only one way to finish the game, they have no replay value.Also, the point system helped the game to appeal to a variety of player types. Some of the alternative fights, such as the one with the Zeppelin attendant, were very difficult to pass, so the maximum IQ was very difficult to achieve.
7. Indiana Jones and the Fate of Atlantis
The plot is set in the fictional Indiana Jones universe and revolves around the eponymous protagonist's global search for the legendary sunken city of Atlantis. Sophia Hapgood, an old co-worker of Indiana Jones who gave up her archaeological career to become a psychic, supports him along the journey. The two partners are pursued by the Nazis who seek to use the power of Atlantis for warfare, and serve as the adventure's antagonists.Fate of Atlantis is based on the SCUMM story system by Ron Gilbert, Aric Wilmunder, Brad P. Taylor, and Vince Lee, thus employing similar gameplay to other point-and-click adventures developed by LucasArts in the 1980s and 1990s.The player explores the game's static environments while interacting with sprite-based characters and objects; they may use the pointer to construct and give commands with a number of predetermined verbs such as "Pick up", "Use" and "Talk to".Conversations with non-playable characters unfold in a series of selectable questions and answers.Early on, the player is given the choice between three different game modes, each with unique cutscenes, puzzles to solve and locations to visit: the Team Path, the Wits Path, and the Fists Path.In the Team Path, protagonist Indiana Jones is joined by his partner Sophia Hapgood who will provide support throughout the game.The Wits Path features an abundance of complex puzzles, while the Fists Path focuses heavily on action sequences and fist fighting, the latter of which is completely optional in the other two modes.Atypical for LucasArts titles, it is possible for the player character to die at certain points in the game, though dangerous situations were designed to be easily recognizable.A score system, the Indy Quotient Points, keeps track of the puzzles solved, the obstacles overcome and the important objects found.
8. Gabriel Knight: Sins of the Fathers
Sins of the Fathers follows the eponymous Gabriel Knight, owner of a rare book store, and fledgling writer, as he investigates a series of local murders he plans to use as the basis for his new novel.Its story unfolds, mostly linearly, over a sequence of "days", each of which has a required set of actions which must be performed before proceeding to the next day. However, within each day, play may be nonlinear. Throughout the game, a running score is kept as new challenges, both required and optional, are completed.Unlike newer graphical adventure games using context-sensitive cursors that change based on what the cursor is hovering over, Sins of the Fathers uses "dumb icons" or "dumb cursors" so that the correct cursor must be chosen for a specific interaction with an on- screen object. The various cursors are accessed by either selecting the respective icon from the "icon bar" or by cycling through the cursors in a predefined order. The available cursors are: "WALK", "LOOK", "ASK", "TALK", "PICKUP", "OPEN/CLOSE", "OPERATE", and "MOVE". Inventory items can also be used as cursors with the active inventory item also available in the cursor cycle.Also located on the "icon bar" are the "INVENTORY" and "RECORDER" buttons, the active inventory item window, score, and the "CONTROLS" and "HELP" buttons. Clicking on the "INVENTORY" button will open the inventory window, where items can be selected and combined as well as cursor icons that allow the player to use "READ", "OPEN", and "LOOK" commands with any inventory item.The "ASK" and "TALK" cursors differ in their functions. The "TALK" cursor functions as a short, general, interaction with most characters. The "ASK" cursor is available in "interrogation mode" and is only available with main characters. Interrogation mode allows the player to ask the main characters questions by clicking on a topic from the displayed list. Global Topics may be asked of any character and are always present in the lists, while specific topics are unique to each character and are subject to change. Past conversations are accessible through the "RECORDER" button which opens a recorder tapes window that displays tapes for each of the main characters.At certain points during the game, the player is required to translate and send Drum Codes and Voodoo Codes. This is done by either selecting the correct character for the Voodoo code or by selecting the correct sequence for the drum code.
9. Full Throttle
Set in the near future, the game's story follows Ben, the leader of a biker gang, who is framed for the murder of a beloved motorcycle manufacturing mogul and seeks to clear his and his gang's names. Players can move the player character to any place on the scene, interact with objects that are highlighted by the cursor, or leave scenes via exits - either on foot for most scenes, or via the character's motorbike, both types denoted by their own icon. As with other LucasArts graphic adventure games of the era, dialogue plays a large part in the game, presenting story elements and information necessary to advance, as well as fleshing out the characters. During conversations with other characters, several choices of dialogue are presented. The currently selected choice is highlighted, and once clicked, the player character responds with the selected choice. Choosing the correct response allows the player to advance the conversation and ultimately advance the scene.Following on from LucasArts' previous graphic adventure, Sam & Max Hit the Road (1993), which introduced a new inventory and interaction system to replace those of their prior games,Full Throttle continued to refine on the changes introduced in Sam & Max Hit the Road: Objects or characters with which Ben can interact are indicated by a red square appearing around the cursor's crosshairs when it is placed over the object. When this occurs, holding down the control on this causes a contextual pie menu to appear - designed upon the emblem of Ben's biker gang: a flaming circle topped by a skull and flanked by a boot and a gloved hand. The player hovers the cursor over elements of the emblem and then releases the mouse button to attempt various interactions with the object; for example, selecting the skull's mouth to speak to a character, its eyes to examine an object, or the hand to pick up, use, or pull the object. Right-clicking anywhere on the screen brings up the player's inventory of collected objects, which can be examined or dragged and dropped in order to use them with other items in the inventory, or with objects or characters in the scene.
10. Sam & Max Hit the Road
Based on the 1989 Sam & Max comic On the Road, the duo take the case of a missing bigfoot from a nearby carnival, traveling to many Americana tourist sites to solve the mystery. The player uses Sam to explore the pre-rendered cartoon environments of the game and solve a series of puzzles using a simple point-and-click interface.The game's puzzles have logical solutions, although a number of them have far-fetched solutions due to the game's cartoon setting. Players can set the game's cursor in a particular mode to designate how Sam interacts with the environment: Sam can walk around an area, talk to other characters, look at objects, pick them up or otherwise try to use them.The cursor's graphic changes when it is hovered over an in-game entity that Sam can interact with. When talking to another character, the player is given a choice of subject areas to discuss, depicted in a conversation tree as icons at the base of the screen. In addition to specific topics involving the game's plot, Sam can inject unconnected exclamations, questions and non sequiturs into a conversation.The game incorporates an inventory system for items that Sam picks up during the course of the game. Items can be used on other entities in the game world, or can often be combined with other inventory items to provide a new object necessary for solving a puzzle. Although Max's character will walk around the game's areas by his own will, Sam can also use Max at various points by using an inventory icon of Max's head on game objects—usually on characters where the solution to a problem involves violence.Sam and Max travel to different locations in the game using their black and white 1960 DeSoto Adventurer, which when clicked on in-game will present a map of the United States with all the available locations the pair can travel to shown. As the game progresses, the number of locations on the map increases.In addition to the main game, Sam & Max Hit the Road includes several minigames. Some of these, such as a carnival game based on Whac-A-Mole but involving live rats, must be completed in order to receive new items and further the game's plot, while others, such as a car-themed version of Battleship, are entirely optional as to whether the player uses them.As with the majority of LucasArts adventure games, Sam & Max Hit the Road is designed so that the player characters cannot die or reach a complete dead-end.
11. Simon the Sorcerer
The game follows a boy named Simon, who is transported to a parallel universe to embark on a mission to rescue a wizard called Calypso from an evil sorcerer named Sordid. As a point-and-click adventure game, the player controls Simon using the mouse.Gameplay involves moving Simon around and interacting with objects and other characters. The player can make Simon perform actions such as giving an item to another character, talk to another character, and pick up (add to inventory), examine, use, move, consume, wear, or open or close an item. Some actions are binary: they involve two objects and the player sometimes, after telling Simon to use an item, needs to specify what to use it with.A map that enables Simon to instantly transport to a major landmark (if it has been discovered) is provided.The postcard is used to load, save, or quit the game.The game includes parodies of various popular books and fairy tales, including Rapunzel, The Lord of the Rings, Discworld, The Chronicles of Narnia, Jack and the Beanstalk, and the Three Billy Goats Gruff.
12. Simon the Sorcerer II: The Lion, the Wizard and the Wardrobe
The Evil wizard Sordid is brought back to life when a magic-book of his is set ablaze and thrown into the middle of a chalkboard pentagram by the father of Runt, a young boy wanting to become a mighty sorcerer. Sordid promises him that he can become his apprentice if he helps him exact his vengeance on Simon.Several months later, Sordid's Fortress of Doom is reconstructed and Sordid has a new robotic body. He sends a magical wardrobe to fetch Simon but it accidentally ends up on the doorstep of Calypso, the wizard Simon had to save in the last game. Simon then starts to look for a fuel called mucusade which he needs to power the wardrobe in order to get home.
13. Flight of the Amazon Queen
Flight of the Amazon Queen is a point and click graphic adventure game. It follows a pilot for hire named Joe King who is hired to fly a famous actress to her next job, but ends up in a lightning storm and crashes deep in the Amazon Jungle. In the jungle, Joe uncovers a plot by a mad scientist to take over the world by creating an army of dinosaur women created from Amazon women.
14. Dark Seed
Unlike most point-and-click adventure games, which give the player time to explore, many actions in Dark Seed must occur within precise time limits, or the game will end up in an unwinnable state. As a result of this, one must start over repeatedly to win without resorting to a walkthrough. Amiga Format, in its review, stated with regards to Darkseed's gameplay: "Too many things in the game need to be done within a specific time, or in a certain order, and you don't necessarily know when you've passed that 'critical point' after which you're fighting a lost cause. As a result, you often have to play the game several times over, going through scenes you've seen countless times before." Certain events/puzzles rely on the player dying and then learning from there what to do: for instance, on day two, police wait outside Dawson's house in the afternoon to arrest him if he steps outside the front door, with no clue as to their presence until it's too late, resulting in a game over. Similarly, the player must take a painkiller each morning in the bathroom or the protagonist continually complains about a headache after every line of dialogue; there is no hint or indication to do this.The player has three real time hours within which they must complete the game, which is the equivalent of three in-game days. Time can also be passed by using the in-game wait function, and the time can be checked by looking at Dawson's watch, or by inspecting the grandfather clock in the house. At the end of each day, Dawson goes to sleep and upon going to bed, each night he has a nightmare of the Dark World. Dawson automatically goes to sleep at ten P.M. each night, regardless of where the player is. If it becomes night while Dawson is in the Dark World, he will fall asleep and die, resulting in a game over. Dawson is able to access the Dark World on day two upon receiving a piece of a mirror in the mail and re-assembling it with the rest of the mirror, creating a portal to the Dark World. Every room, person and object in the normal world has a Dark World equivalent and this is often necessary for puzzle solving.When interacting with objects, the options available to the player include look/inquire, touch/manipulate, and move, denoted by a "?", a hand, and four arrows pointing inwards respectively. Looking at an object and manipulating an object are context-sensitive: the "?" becomes a "!" when the cursor is over items or areas of interest and the hand icon points upwards when the cursor is over items that can be picked up or manipulated.
15. The Dig
In the game, the player takes the role of Commander Boston Low, part of a five-man team planting explosives on an asteroid in order to avert its collision course with Earth. Discovering the asteroid is hollow, Low and two of his team are transported to a long-abandoned complex, filled with advanced technology, on a strange alien world. Low and his companions must utilize xenoarchaeology to learn how the technology works, discover the fate of the alien race that built it, and solve other mysteries to find a way to return home. The Dig is a point-and-click adventure game, where the player, as Commander Boston Low, uses the mouse cursor to point to people, objects, and other parts of the environment to look at or interact with them, collect and use items in their inventory, and talk to non-player characters. The game runs on the SCUMM game engine, and was the eleventh LucasArts game to do so. A minigame can be found on the communicator menu, consisting of "Asteroid Lander", a Lunar Lander like game. During development, there were plans to include role-playing game elements, but these were scrapped before the game's release.
16. Maniac Mansion
It follows teenage protagonist Dave Miller as he attempts to rescue his girlfriend Sandy Pantz from a mad scientist, whose mind has been enslaved by a sentient meteor. Maniac Mansion is a graphic adventure game in which the player uses a point-and-click interface to guide characters through a two-dimensional game world and to solve puzzles. Fifteen action commands, such as "Walk To" and "Unlock", may be selected by the player from a menu on the screen's lower half. The player starts the game by choosing two out of six characters to accompany protagonist Dave Miller: Bernard, Jeff, Michael, Razor, Syd, and Wendy. Each character possesses unique abilities: for example, Syd and Razor can play musical instruments, while Bernard can repair appliances. The game may be completed with any combination of characters; but, since many puzzles are solvable only by certain characters, different paths must be taken based on the group's composition. Maniac Mansion features cutscenes, a word coined by Ron Gilbert, that interrupt gameplay to advance the story and inform the player about offscreen events.The game takes place in the mansion of the fictional Edison family: Dr. Fred, a mad scientist; Nurse Edna, his wife; and their son Weird Ed. Living with the Edisons are two large, disembodied tentacles, one purple and the other green. The intro sequence shows that a sentient meteor crashed near the mansion twenty years earlier; it brainwashed the Edisons and directed Dr. Fred to obtain human brains for use in experiments. The game begins as Dave Miller prepares to enter the mansion to rescue his girlfriend, Sandy Pantz, who had been kidnapped by Dr. Fred. With the exception of the green tentacle, the mansion's inhabitants are hostile, and will throw the player characters into the dungeon—or, in some situations, kill them—if they see them. When a character dies, the player must choose a replacement from the unselected characters; and the game ends if all characters are killed. Maniac Mansion has five possible endings, based on which characters are chosen, which survive, and what the characters accomplish.
17. The Lost Files of Sherlock Holmes: The Case of the Serrated Scalpel
In November 1888, Sherlock Holmes is engaged by Inspector Lestrade of Scotland Yard to help with the murder investigation of a young actress, Sarah Carroway. She was killed outside a theatre in the Mayfair area of London. Lestrade thinks the manner of her death shows that this is another strike by Jack the Ripper, but Holmes believes someone else committed the crime. It appears that the victim was killed with an unusual knife, one shaped like a scalpel but with a serrated blade.The investigation takes Holmes and Dr. Watson to many parts of late 19th Century London, including a perfume shop, the zoological gardens, the morgue, a pub, several dwellings, Surrey Commercial Dock, Savoy Street Pier, St Pancras Station, and of course 221B Baker Street. They encounter a number of characters connected to the case and also get assistance from Inspector Gregson, the leader of the Baker Street Irregulars named Wiggins, and the invaluable tracking dog Toby. The player moves around London via an elaborate overview map. Additional locations become available when Holmes finds additional leads. In each location, the player can select nine different verbal options to interact with objects or people. When accessing the inventory menu, the player has three different verbal actions to manipulate any items Holmes has picked up. When talking to people, Holmes has different dialogue options to gain information or try to get their cooperation. Dr. Watson can give his views, which may serve as puzzle hints. He may even help Holmes to perform an action he cannot do alone. Dr. Watson's journal also references the events in the gameplay.The graphics are VGA, with MIDI music and a few scenes with digitalized speech (in the intro and end sequence, and the cutscene at St Pancras Station. In the other scenes there are sound effects, but no speech). The player interacts with the characters through a command menu with verb icons that is intuitive for anyone who had played other adventure games of the period. The 3DO version consists of full voiced dialogue and the portraits of the talkers were replaced by clips with filmed actors, but also drops Dr. Watson's journal feature.In the video clips in the 3DO version, Sherlock Holmes was played by David Ian Davies, and Dr. Watson was played by Laurie Main.
18. Zak McKracken and the Alien Mindbenders
The story is set in 1997, 9 years after the game's production. The plot follows Zak (full name Francis Zachary McKracken), a writer for the National Inquisitor, a tabloid newspaper (the name is a thinly veiled allusion to the National Enquirer); Annie Larris, a freelance scientist; along with Melissa China and Leslie Bennett, two Yale University coed students, in their attempt to prevent the nefarious alien Caponians (who have taken over "The Phone Company", an amalgamation of various telecommunication companies around the world) from slowly reducing the intelligence of everybody on Earth by emitting a 60 Hz "hum" from their "Mind Bending Machine". The Skolarians, another ancient alien race, have left a defense mechanism hanging around to repulse the Caponians (the "Skolarian Device"), which needs reassembly and start-up. Unfortunately, the parts are spread all over Earth and Mars.
19. The Curse of Monkey Island
The game's story centers on Guybrush Threepwood, a wannabe pirate who must lift a curse from his love Elaine Marley. As the story progresses, he must deal with a band of mysterious pirates, a rival stereotypical French buccaneer, a band of cutthroat smugglers, as well as his old nemesis Captain LeChuck. The Curse of Monkey Island is a point-and-click adventure game. The SCUMM engine was also used in this Monkey Island installment but it was upgraded to a "verb coin" (modelled after Full Throttle), an interface that consisted in a coin-shaped menu with three icons: a hand, a skull, and a parrot, basically representing actions related to hands, eyes and mouth, respectively. These icons implied the actions Guybrush would perform with an object. The hand icon would usually mean actions such as picking something up, operating a mechanism or hitting someone, the skull icon was most used for examining or looking at objects and the parrot icon was used to issue Guybrush commands such as talking to someone or opening a bottle with his teeth. The inventory and actions were thus visible on click, rather than on the bottom of the screen as previous point-and-click games by Lucasarts.The player controlled a white 'X' cursor with the mouse, that turned red whenever landing onto an object (or person) with which Guybrush could interact. Holding left click over an object, whether in or outside the inventory, would bring up the coin menu, while right clicking it would perform the most obvious action with this particular object. Right clicking a door, for example, made Guybrush attempt to open it, while right clicking a person meant talking to him or her.
20. Grim Fandango
Grim Fandango takes place in the Land of the Dead (the Eighth Underworld), where recently departed souls aim to make their way to the Land of Eternal Rest (the Ninth Underworld) on the Four Year Journey of the Soul. Good deeds in life are rewarded by access to better travel packages to assist in making the journey (such as sports cars and luxury ocean cruises), the best of which is the Number Nine, an express train that takes four minutes to reach the gate to the Ninth Underworld. However, souls who did not lead a kind life are left to travel through the Land of the Dead on foot, which would take around four years. Such souls often lose faith in the existence of the Ninth Underworld and instead find jobs in the Land of the Dead. The travel agents of the Department of Death act as the Grim Reaper to escort the souls from the Land of the Living to the Land of the Dead, and then determine which mode of transport the soul has merited. Each year on the Day of the Dead, these souls are allowed to visit their families in the Land of the Living.The souls in the Land of the Dead appear as skeletal calaca figures. Alongside them are demons that have been summoned to help with the more mundane tasks of day-to-day life, such as vehicle maintenance and even drink service. The souls themselves can suffer death-within-death by being "sprouted", the result of being shot with "sproutella"-filled darts that cause flowers to grow out through the bones. Many of the characters are Mexican and occasional Spanish words are interspersed into the English dialogue, resulting in Spanglish. Many of the characters smoke, following a film noir tradition; the manual asks players to consider that every smoker in the game is dead. Grim Fandango is an adventure game, in which the player controls Manuel "Manny" Calavera (calavera being Spanish for 'skull') as he follows Mercedes "Meche" Colomar in the Underworld. The game uses the GrimE engine, pre-rendering static backgrounds from 3D models, while the main objects and characters are animated in 3D. Additionally, cutscenes in the game have also been pre-rendered in 3D. The player controls Manny's movements and actions with a keyboard, a joystick, or a gamepad. The remastered edition allows control via a mouse as well. Manny must collect objects that can be used with either other collectible objects, parts of the scenery, or with other people in the Land of the Dead in order to solve puzzles and progress in the game. The game lacks any type of HUD. Unlike the earlier 2D LucasArts games, the player is informed of objects or persons of interest not by text floating on the screen when the player passes a cursor over them, but instead by the fact that Manny will turn his head towards that object or person as he walks by.[2] The player reviews the inventory of items that Manny has collected by watching him pull each item in and out of his coat jacket. Manny can engage in dialogue with other characters through conversation trees to gain hints of what needs to be done to solve the puzzles or to progress the plot. As in most LucasArts adventure games, the player can never die or otherwise get into a no-win situation (that prevents completion of the game).
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