The_cranky_hermitPrivate Detective
Posts : 547
Joined: 14 MAR 2004
Status : Online | #1: Gabriel Knight: Sins of the Fathers
Gabriel Knight is considered by many to be the pinnacle of adventure games made by Sierra, a company that frequently innovated, took chances, and pushed the adventure genre into realms where others wouldn’t dare. Gabriel Knight, with solid writing, convincing artwork and graphics, professional acting, nearly insane attention to detail, and one of the most intense and fascinating storylines ever written, is a prime example of an experiment done right.
At the start, we’re introduced to Gabriel and his miserable life. After a cut-scene showing a re-occuring nightmare, we see his mundane and gloomy world. He lives in a cluttered, one room studio, runs a doomed bookstore, and is up to his neck in debt. We’ve all experienced failure before, and because of this, we can relate to Gabriel far better than we can relate to the heroic and resourceful Sir Graham, the cartoonish Guybrush Threepwood, or even the ever-popular AFGNCAAP hero.
Before being thrown headfirst into the complex and gripping plot, the player must explore various parts of New Orleans. Here, the amazing amount of detail becomes obvious. Every object in the game can be “looked” at, and nearly all of them are described with great detail. Because the game takes place in New Orleans, there are many characters who know about Voodoo. They all have much to say on the subject if questioned. The dialogue system is one of the most incredible systems seen in an adventure game; when you speak to another character, you can select and discuss various subjects. As Gabriel learns more information, the range of topics widens. Discussions about Voodoo in particular show the results of months of intense research on the subject. All this detail makes the setting feel realistic, and makes the plot far more believable (and disturbing), than if it had depicted Voodoo with all the authenticity of Monkey Island 2.
Then the plot is hurled at you, a fog of direness envelops, and it doesn’t clear up until the game’s finale. You stumble on a grisly post-murder scene at a grimy lake shore, one in a series of gruesome ritualistic underworld killings. Etched into the sand around the victim are mostly illegible Voodoo markings, which the police write off as a red herring. Gabriel, dabbling in hack writing, is mostly interested in researching the murders as a source for his novel, but quickly becomes deeply involved in the mystery, and must confront not only the murderous circles of the present, but also the demons of his past.
With the exception of a few technical bugs inherent in Sierra’s SCI system, this is a game that does everything right. It has a moody, atmospheric soundtrack, excellent voice acting, diverse and identifiable characters, detailed, realistic graphics, and a remarkable and thought-provoking storyline.
|
