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1. Fahrenheit highlights some of gaming's most glaring pitfalls too: obtuse puzzles; extensive sequences of noninteraction; and a bit where glancing at a corpse would send my character insane and have him locked in an asylum, so I had to jump out a window (I hate when games do that).
2. The major updates in Fahrenheit: Indigo Prophecy Remastered come in the form of updated graphics and new control options, but as welcome as both are, they cause new issues on PC and mobile devices.
3. All New Game Play — By returning to its classic 2D fighting plane, mature presentation, and up to 4 player tag-team kombat; Mortal Kombat introduces an all new fighting mechanic that’s both accessible and provides the depth that fighting game players look for. Deep Story Mode — Mortal Kombat offers the deepest story mode of any fighting game.
4. Epilogue is the forty-second and final chapter of Fahrenheit: Indigo Prophecy. 1 Information 1.1 Lucas and The Invisibles win 1.2 The Orange Clan wins 1.3 The Purple Clan wins The events shown in this chapter are the consequences, and the ending of the story, which follow the battle the player faced in Final Countdown chapter. Three endings are possible. Lucas, upon defeating the A.I and the.

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Here is the video game “Fahrenheit 451”! Released in 1984 on DOS, it's still available and playable with some tinkering. It's an adventure game, set in an interactive fiction, sci-fi / futuristic, licensed title and puzzle elements themes and it was released on Mac, Commodore 64, Atari ST and Apple II as well.

So Is It a brave new chapter in the lost art of interactive storytelling? An amalgam of filmmaking and gaming in a single package? Is David Cage the games industry's answer to Quentin Tarantino? Are the annual Oscars going to have to open a new category for Best Virtual Screenplay In A Non-First-Person Shooter? And will it lead to games finally being given proper, gravelly-voiced, 'In a world... trailers, red carpet opening night premieres at prestige branches of Game or HMV, and developers being hounded by paparazzi as they revel in their new-found fame and fortune by snorting huge lines of cocaine from penthouse hotel suites packed to the gills with girls and agents?

Good questions all and we can only guess at the answers. These are, after all, dark times. The suits are on the march, the audiences have been targeted with laser death ray precision, everything has 'attitude' and 'respect' and franchisable characters and it's a genuine miracle that something like Fahrenheit can even get made.

Dark Days

The adventure game market died a horrible death years ago, trampled to a bloody pulp in the mad rush towards FPS nirvana If you weren't carrying an oversized gun and mowing down waves of bad guys like an '80s era Arnie in the throes of a heavy LSD-inspired panic attack, you might as well forget your chances at retail, my friends. LucasArts learnt the lesson and learnt it well, entering a grim, yet profitable era of Star Wars exploitation instead.

But not for Fahrenheit's creator, David Cage. Shrewdly, he realised that the trouble with point-and-click adventures was the 'point-and-click' part. People still wanted the stories, they just didn't want to have to 'Get Sword' and 'Use Sword On Giant Chicken'. So he set about hiding them, dressing them up in different clothes and comedy moustaches and hoping people wouldn't catch on. Nomad Soul, his first toe in the waters at Quantic Dream, was a beautiful piece of misdirection. Take the traditional adventure mechanics and hide them in a GTA-style world. It almost worked too, but for most Nomad Soul is a hidden game, a gem waiting to be discovered, never quite getting its moment in the sun.

Art Attack

Now Fahrenheit, and he's at it again. For all the talk of this being a new dawn in the age of interaction, what we're dealing 'with is an old-school adventure game with a different interface. Well I'm on to you Cage, I know what you're up to. But have no fear, your secret's safe with me. Hell, ffm practically encouraging you to keep at it! Yes sir, let's show these Iiat-f***ers what some goddamn menof vision can do when let loose! Fahrenheit is a work of art dammit! And art needs to be respected, lest it creeps right up on you and bites off your testicles when you're not looking.

Keep It Licht

But is it a game? No. It's a story that you play through. It often suggests that you have the freedom to go where you want and do what you will, but in truth it's cleverly constructed to continually channel you along a particular path, a necessity for the plot to unfold.

There are moments of absolutely sublime design work that hide this: multiple options; scenes that let you explore alternative character usage, and moments that show the plot from cop and killer perspectives at the same time - leading to some brilliantly tense ticking clock moments and 24-style split-screen action, which veers just to the right side of being an over-used gimmick.So the fine details change with each new play through a chapter, but the overall story will keep heading towards the ultimate conclusion. Even here you can find at least five different ways to reach one of the multiple end sequences - end sequences that for once all seem to have had as much sense of resolution put into them as each other (although several of the secondary characters did deserve a better send off I felt). If there is to be a sequel, there's definitely more potential in following on from one of the supposed 'failed' endings than the 'correct' conclusion.

You'll have noticed that I'm deliberately not giving away any of the plot. Let's get that clear right away. Fahrenheit is completely plot-driven and to reveal anything except the basic premise (already revealed in previous issues, or by playing the demo on this month's cover discs) would completely ruin your own experience. Suffice to say, what starts out as an intriguing murder thriller soon spirals outwards to encompass everything from The X-Files to The Matrix to The Terminator. even to Silence Of The Lambs and Hitchcock.

Rhythm Method

Incredibly. Cage has taken an almost unprecedented step in game character development by exploring each of the main characters' personal lives and private flaws. Hence we have playable domestic arguments, phobias about the dark and heights, tender love scenes, exploration of depression and anxiety, all interactive (even the sex!) and all running alongside the main plot In that sense alone, Cage is pulling off his goal of creating a near-film quality emotional experience that genuinely makes you care about the fate of these people as they grow and change. A staggering achievement considering that most Hollywood scriptwriters these days seem incapable of producing anything beyond mere ciphers to tie their over-blown action sequences around. For once it seems as though games are maturing while films are going backwards. Hoorah for us!

Enunciation

Helping this is the acting. It was always going to be asking a lot for the voice actors to get us to see past the Mafia-style dead-eyed mannequins that are used for 3D models (although there has definitely been some improvement in facial expression animation since then), but they've done it. This is top quality work and combined with the realistic dialogue serves to make Fahrenheit's script one of the most absorbing ever written for a game.sucked in like an industrial vacuum almost from the start and as the layers of plot unfold you can't help but play on for just one more scene to see where it leads.

Simple Simon Says

Which just leaves the actual 'gaming' part of things I suppose. As I said earlier, this isn't really a game in the traditional sense. Sure you get to walk around each location (some with more freedom than others), and in some places the interface is spot on. Conversation trees that give you limited time to choose a question add to the tension - during vital interrogations, for instance.

But the action sequences have one slight flaw in them - and by action I'm referring to almost anything from hanging from a helicopter to playing the guitar. Mostly, you have a rhythm action thing to contend with. Follow the flashing lights with your arrow and WASD keys to successfully negotiate a an occasional Track And Field style left-right button bashing for more strenuous ctivities. The only real problem with all this is that your concentration is sofocused on watching the mini-game .f interface that you often miss the on-screen action you're performing as a result, reallyonly seeing it through your peripheral vision In some places though it has been used in an inspired fashion. Question a suspect, for instance, and if you follow the lights correctly while he answers, you'll observe greater details and be given better clues to follow.

What impresses most about all this is how everything ties together, despite the multiple choice routes and the multi character control. This could easily have been a sprawling half-baked mess of Lucasian proportions. Luckily, Cage seems to have had his head screwed on properly for most of the planning stages and there are very few scenes that leave you feeling anything less than satisfied with their construction. Nothing feels superfluous. Everything has a point. Tight. Sculpted. Well-crafted scriptwriting.

Old And New

OK, let's wrap things up. Yes there are faults. Certainly, the graphics engine can at times look somewhat basic compared to the delights of Source et al. Some animation and motion capturing is superb, especially in terms of background atmosphere (an important and often overlooked aspect of creating an absorbing world). But in terms of texturing you'll wonder if this is last ye technology at work. You can blame the prolonged development time due to publisher switching if you like.

And yes, sometimes the old adventure game irritants crop up - like having to stand in exactly the right spot to activate an interaction, or needing redundant player input (getting out of a bed can take three pointless motions of the mouse, for instance).

The thing is, none of that matters. The story more than makes up for any minor deficiencies and in an experience like this, the story is everything. Fahrenheit is brave - a combination of storytelling and interaction that hasn't really been seen since around the early Monkey Islands. And it is worth every penny. It deserves your attention and deserves to act as a template for a new genre of interactive fiction. And Cage deserves a BAFTA or a Golden Onion or whatever they give in France.

The future's in all our hands now and it's a terrible responsibility. First, you need to get up and buy this damned thing. Buy it, play it, enjoy it, then demand more. Grab them by the lapels and threaten to gouge out their eyes unless we get more like it. Or at least be vocal in your praise. Write letters to magazines, post opinions on web forums, organise marches in public parks, anything to get the grapevine buzzing.

Second, Atari needs to stump up the cash and give the man and his team a decent engine to play with. Imagine these graphics if Quantic had used Source or Unreal Engine 3? Finally, and here's the rub, Cage needs to get back to work and quick. Sequel, follow-up, whatever. But strike while the iron is sizzling and the stock is on the up. Only, this time, don't be afraid to up the challenge factor. Hell, we don't mind having to think from ti

At the beginning of Fahrenheit 451 the game you learn that the nuclear apocalypse that ended the book turned out to not be so apocalyptic after all. It seems the country just got knocked around a bit. Now you’re in New York City looking to continue your rebellion against the book burners in charge of things and hopefully in the process rescue Clarisse, whom your sources tell you is still alive and being held prisoner somewhere in the city; it seems she’s gone from Manic Pixie Dream Girl to hardened resistance fighter.

Going west or north from the starting location gets you instantly killed by some of the fauna that now inhabits Central Park. Obviously that pile of leaves must be the ticket. Or is it?

>move leaves
Can't understand that.

>look under leaves
This is the southeast corner of Central Park. There is a clearing, with a pond to the west and a path leading north along the shore of the pond.

>push leaves
Can't understand that.

>get leaves
Nothing happens.

After ten more minutes of this sort of thing, you might find the magic verb at last…

>kick leaves
Under the leaves you see an old, rusted grating set into a patch of broken concrete.

To call this beginning of Instadeath combined with Parser Fun inauspicious hardly begins to state the case. What a surprise, then, when the game that follows turns into a worthy design with exactly the spark of passion and innovation that is so conspicuously missing in Rendezvous with Rama. If only the parser didn’t continue to undermine it at every turn…

Byron Preiss and Ray Bradbury first worked together on a book called Dinosaur Tales, which combined a number of old and new Bradbury stories on one of his favorite subjects with Preiss’s signature approach to books as lavishly illustrated objets d’art. When the Telarium project began, Preiss was able not only to convince him to sign a contract for the adaptation of his most famous book but also to involve himself in the project a bit more than Arthur C. Clarke would in Rendezvous with Rama: he wrote a summary of the book to be printed inside the game box, and did some interviews just to promote it. Telarium claimed that he also contributed “ideas” to the project, although that phrase is vague enough to mean almost anything; he did frankly state in one interview that he “wasn’t interested in doing the work himself,” would “trust his longtime friend Preiss to render the work faithfully.”

So, Fahrenheit 451 the game fell to Byron Preiss Video Productions, the shell company he and Spinnaker had set up that also created Rendezvous with Rama and Dragonworld from scratch. Preiss installed another veteran of his Be an Interplanetary Spy book series, Len Neufeld, as designer and writer. Being built with the same technology and employing many of the same programmers, artists, and composers as Rendezvous with Rama, Fahrenheit 451 is inevitably superficially similar in flavor to that game. Certainly the two games have plenty of disadvantages in common, including a stubborn and uninformative parser (the slightly less infuriating “Can’t understand that” replacing “You reconsider your words” as Fahrenheit 451‘s error message of choice) and pictures that sometimes look like little more than a smear of discolored pixels (with an ugly brown replacing an ugly blue as Fahrenheit 451‘s hue of choice). Fahrenheit 451 at least lacks Rendezvous with Rama‘s horrid action games. More importantly, it acquits itself far better by engaging with the themes and ideas of its source material rather than just the window dressing of stage set and plot outline. As blogger Dale Dobson noted in his post on the game, it “takes itself, and its inspiration, seriously, and that is to be commended.”

By making the game a sequel to the novel rather than a recreation, Neufeld is freed to create a design that plays in Bradbury’s world with many of Bradbury’s themes but that also works as an adventure game. You have the run of about twenty blocks of Fifth Avenue in Manhattan, an area the team knew well; New York City was the home of Neufeld, Preiss, and most of Preiss’s people. By setting the game in his home town and including famous landmarks like the Plaza Hotel and Tiffany’s, Neufeld manages to make the setting of Fahrenheit 451 feel like a real place, an impression aided by just enough elements of simulation: time passes and day cycles to night, Mechanical Hounds patrol up and down the street on a regular schedule, stores open and close and people come and go from their apartments. You must also eat occasionally and manage your money (which you’ll also need to find more of to complete the game).

The writing is more than solid; it’s sometimes downright lyrical. It’s not afraid to stretch to several paragraphs when the situation calls for it and never feels written down to a computer-game audience. Exploring the world, always one of if not the core pleasure of adventure gaming, is especially pleasurable here, as is solving a collection of interesting puzzles that are always logical and fair. Your ultimate goal is to penetrate the New York Public Library. Your immediate reason for doing so is to rescue Clarisse, who is being held prisoner there, but the goal also has symbolic significance in a game all about the pleasures and importance of books. No, there’s not much of a real story to speak of beyond that goal. And yes, there are a hundred problems I could poke at if we insist on judging the game as a coherent work of fiction, like the way that just about everyone in the whole city seems to be in the Underground, or how Clarisse now seems to be an entirely different person from the one we knew in the book. But this isn’t a book. It’s an adventure game, whose pleasures are anchored in exploring a landscape both physical and mental rather than plot. And the mood of the book is always very present. At the end, you must choose between abandoning the cause and enjoying life with Clarisse or sacrificing yourself on the altar of Literature, a perfect echo of the book’s contrasting of the comfort and superficial happiness of (Bradbury’s perception of) television with the dangerous ideas of the great books.

Many of the puzzles are of the conventional object-oriented stripe — you need this to do that, but to get it you need to find a way to do this, etc. — but the central spine of the design once again finds a way to connect with the themes of the book. You need the assistance of the various members of the Underground who are scattered around the city, but talking with them usually requires a password in the form of a literary quotation. So you spend a lot of your time hunting down and deploying these quotations, which run the gamut from the Song of Solomon to Moby Dick to the inevitable four from Shakespeare. In purely mechanical terms, it’s just another system of magic words, no more complicated or interesting than Adventure‘s PLUGH and XYZZY. Thematically, however, it’s brilliant, especially because the quotes always have something to connect them to the situation or person on which they must be used — even if that something is sometimes only obvious in retrospect. Many were supposedly chosen by Bradbury himself. Indeed, whatever his actual involvement with the development of Fahrenheit 451 the game, Bradbury the author is thoroughly present in it.

I actually mean that literally as well as metaphorically. Amidst lots to do and discover, you can find “Ray’s” phone number and call him up. He helps with a puzzle or two directly, but also shares his thoughts on any of the literary quotes you care to ask him about, and will shoot the breeze in the form of a random anecdote if you just TALK TO him. I generally don’t have a lot of patience with the man-child persona Bradbury had by this time well established for his many interviewers. I find it affected and, well, childish, and his art, also long since established by 1984, of sounding profound without actually saying anything drives me nuts. There’s some of that here, but Neufeld and company curate him pretty well; he’s actually fun and interesting to listen to. Most of his responses are phrased as if he’s answering a question you just posed — a neat, verisimilitudinous trick that requires a mere modicum of suspension of disbelief.

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We’re all terminally ill. Sickness is merely a factor, like money.

Japanese, Italian, French, Chinese, and other East Asian (Thai, Korean, Philippine, etc.), Middle Eastern — when you`re hungry, everything`s good.

Favorite films? King Kong, Fantasia, Citizen Kane.

I told you — my favorite play is St. Joan.

Moby Dick, Tarzan, and Grapes of Wrath are my favorite books. I also love the stories of Hemingway and Poe.

Many of my early stories were published in the magazine Weird Tales in the early thirties and forties.

My love affair with dinosaurs has lasted as long as my affair with Mars.

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Such little extras abound. You can REMEMBER snippets of prose from the original novel; in addition to Ray, you can also call many other people from the handy phone booths, most of whom aren’t strictly needed but all of whom add a touch of atmosphere or something to think about; there are alternate solutions to puzzles and many paths to victory.

I wish I could wrap up this article right here, with the final note that, while I find Fahrenheit 451 the novel rather overrated, this game is not only great fun to play but also left me feeling a bit more kindly disposed toward its inspiration and even its inspiration’s author. Alas, I can’t do that, for reasons I first broached at the beginning of this article.

The parser, you see, ruins everything. Telarium wants and claims it to be a full-sentence jobber to rival Infocom’s, but it barely seems to parse at all, just to match arbitrary sequences of words. (Yes, I have to take back what I said in an earlier article about Telarium’s parser being “adequate.”) The fact that it will accept more than two words just compounds the problem, adding a nice dose of combinatorial explosion when you’re trying to figure out what to type at the thing. Worst of all, it’s not consistent in its whims. Sometimes you must TALK <character>; sometimes you must TALK TO <character>; sometimes you must ASK <character>. Synonyms are virtually nonexistent. There’s a character named Emile Ungar whom you can only refer to as “Ungar” — not “Emile,” not “Emile Ungar.” Similar situations are absolutely everywhere. I was having a great experience with the game until I got stuck and turned to the walkthrough, whereupon I found that I had actually solved every single puzzle I’d found so far. I just hadn’t typed the exact phrasing that the parser wanted.

I can hardly express how disheartening this is to me. At one point I was ready to call Fahrenheit 451 the best non-Infocom adventure game I’d yet played for this blog. Now I can’t even really recommend it at all. What’s doubly frustrating is that the game doesn’t absolutely need a better parser per se; none of these puzzles require complicated parser interactions. Telarium just needed to put the game before testers for a week or so, to note what they tried to type and add those phrasings to the pattern matcher. As it is, it feels like a game that only its creators, who had the magic phrases wired into their subconscious, actually played. For a clue to how that could have happened, we might turn to a Harvard Business School study that describes the frantic push at Spinnaker to get the new line out in time for Christmas 1984. In the words of their chairman Bill Bowman:

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We had people working 24 hours a day for a month. We converted the board room into a dormitory, with sleeping bags and pillows. People would work until they couldn’t go on anymore, and then they would go upstairs, sleep for a few hours, come down and start working again. We had a caterer bringing in meals for a month, weekdays, Saturdays and Sundays. It was… ridiculous, that’s what it was. But, we had to have the product in a month. We did meet the deadline, but we won’t do it again. It was extremely painful, although when it was finished, the camaraderie that existed in the team was fantastic. This involved some 30% of the people in the company. I think this is going to be our biggest line next year.

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It’s hard to imagine this situation allowing for much testing. This leads to an important point: Infocom is justly celebrated for their ambitious, imaginative writers and designers. Yet it’s also true that they were far from the only such talented folks working in text in the 1980s. Infocom’s triumph was, as much as anything else, a triumph of process, of a commitment to quality and doing things right even if that meant taking the slow, plodding route of releasing a game every few months rather than vomiting out half a dozen on the eve of Christmas. Infocom’s games didn’t suffer from the problems of Fahrenheit 451 because Infocom never allowed themselves to get into a situation like the one described above — a situation which, whatever its value in adrenaline and company camaraderie, doesn’t often lead to the best games.

Still, Fahrenheit 451 does do enough things right, and has enough interesting innovations, that you may want to spend some time on Fifth Street. As an expression of the joys of literature it works for me better than the book. By all means feel free to download the Commodore 64 version and give it a shot if it looks tempting.

(The same references I used for my introduction to Telarium and bookware mostly apply here. The photo of Bradbury was part of an interview to promote Fahrenheit 451 the game in the June 18, 1984, issue of InfoWorld.)