The slow march of my video series on detective games continues with this, its fifth entry. For awhile I was afraid there was no reason to do this one, as I wouldn’t be able to top my students’postsandvideos on this game after I taught it last spring. In the end, I went with sheer length as my own particular angle.
Return of the Obra Dinn was the most fun I’ve had doing a “required reading” throughout my entire career as a student, and I’m not ashamed to say I’ve returned to complete it since playing the portion I was able to complete before class. The game was released by independent game developer Lucas Pope in 2018, and went on to win Best Indie Game at the 2018 Titanium Awards. The game also received a well-deserved accolade for Best Art Direction at the 2018 game awards. In Return of the Obra Dinn, players are tasked with uncovering the mystery of a ship which came into port with all 60 people who set sail on it either dead or missing. Using a “Memento Mortem” which allows to view still scenes which preceded each crew member’s murder, your task is to explore the dense crime scenes past and discover exactly what became of every single person on the vessel.
Group project video essay, created by leader Haoru Wang
I used walkthroughs and Let’s Play footage in this video essay, because I haven’t upgrade my Laptop, and it won’t allow me to use iMovie to edit the video. I had to use iPad for editing, and here’s my reference list:
Group project video essay and summary blog post, created/written by co-leader Kellie Lu
Warning: contains spoilers.
Return of the Obra Dinn is a distillation of the mystery genre that manages to make a player a true detective while adding its own intimate flair. Unlike many detective games that give the player god-like powers or modes to highlight clues and select the correct choice from a pre-written plot, the player must investigate environments without hand-holding. And it does this well. Many players comment on the way that the game makes them feel empowered, and this is the key to which Obra Dinn revolutionizes the mystery game genre.
How does the game do this? Roger Caillois states that the pleasure of reading a mystery novel is “not that of listening to a story, but rather that of watching a “magic” trick which the magician immediately explains. The author has set everything up in advance. The story opens on a rigged set; we do not even see the main event, but only its disturbing consequences” (4).
Co-group leader and resident anxiety machine Albert Aboaf
“The contradiction? Elementary.” I say, before submitting every possible piece of evidence from the court record in a pathetic attempt to convince Ace Attorney I’ve been paying attention.
The difference between the puzzle of a traditional detective story, and the puzzle of a game floating loosely in that genre, is fundamentally set around the question of the audience’s relationship to the method of solution; the clue. In the traditional form of the puzzling story, the primary work expected of the audience is in interpretation. This is of course, because the story medium doesn’t allow the reader to discover things on their own. You can never truly see the scene of the crime as Holmes does.
I fell behind on 2018 games thanks to my “Let’s Study Horror Games” series. Things kind of worked out in the end, though, because 2018 ended up being not quite as supersaturated with games as 2017. To be sure, it was a year of big releases, both on the mainstream AAA front and on the indie front. But it didn’t have the sheer firehose volume of 2017.
Since my mid-year post handled January through June, I was originally intending this post to mostly cover games that came out from July 1st onward. It turned out there were plenty of stragglers I missed in the previous post, so that organizational scheme ended up going out the window. A jumble of things below the jump.