Sunday, 20 October 2013

The Paper Bag Princess by Adri


(Version reviewed: Either the 2nd or 3rd update, I'm not sure which. Sorry, the updates have been easy to miss and hard to identify.)

The Paper Bag Princess is a short Z-code adventure in which you play a beautiful royal lass whose beloved is snatched up by a dragon during her wedding, and who then sets out to get him back.
I found this to be a curiously toneless game, but it has a few amiable moments. I don't know if some of the strangeness comes from the fact it's based on a book (by Robert Munsch) and perhaps needed to fill in some puzzle blanks to IF-icise the book's content.

Increasing amounts of spoilers below.

The basic idea is of a mild subversion of the prince-rescues-the-princess story, but this idea is never played up all that much in either the dialogue or in the small inventory of actions the princess will take in the course of the rescue. The role reversal idea could be played for laughs, but isn't, really. The before and after scenes of the wedding lean in the direction of black comedy, what with the contrast between the storybook wedding and the charred field of burning furniture the dragon replaces it with, but I thought the writing didn't sell the contrast strongly enough to deliver an effect.

I didn't really get the choice of puzzles for the game, either. Making a torch is a pretty basic adventure game kind of task. I found it strangely difficult to do in The Paper Bag Princess, in spite of the heroine being conspicuously surrounded by scenery and objects which should have made it easy: smoking ground, burning chair legs, a stick, a vial of oil. All the game wanted was for me to type 'make torch', but the wide range of alternative commands I tried as I attempted to make any of these props interact with one another in a fire-producing way were either not understood, or prompted a "You've got the right idea" message. I think the game should have leapt from giving such a nudge to just saying: "Ok, you do such-and-such and go on to successfully make a torch."

Then there were a couple of quotes from classic adventure games; the PLUGH command and a twisty tree maze to navigate. The walkthrough reads apologetically in the case of the latter, just saying: "the maze is entirely random... sorry!" My question is: Why include these in this game? The Paper Bag Princess doesn't seem to derive any particular meaning from recalling the specifics of old games. It's not a pastiche or in the style of, or saying these were good or bad or anything. These features just appear, unremarked upon in any way, and then it's on to the next puzzle.

The final puzzle of outwitting the dragon at least makes sense on the game's own terms. This ostensibly powerful beast is shown to be easily outwitted, a staple gag of much fantasy and classic storytelling. Doing so involves guessing a couple of topics using one of my least favourite IF mechanics - ask (so-and-so) about (topic). If the classic "guess the verb" problem in IF is about knowing what you want to say to the parser but being unable to say it, I would describe the problem of having to come up with the correct topic to ask a character about as a worse problem in which you potentially don't even know what you want to say in the first place. This is a traditional rant for me which I need to deliver about twice a year and have now delivered here. It's not a problem unique to The Paper Bag Princess.

Mostly I just wanted The Paper Bag Princess to start throwing its eggs into some particular baskets. It could have delivered really strongly on the character of the princess, but she doesn't get to say much and the tone of the prose is too often neutral. The role reversal gag isn't played up. The nature of the tasks the princess performs doesn't say much about either her character or the gameworld. The paper bag she dons is not talked up. I don't get why things like PLUGH and a twisty maze were chosen for inclusion, unless the intent was to quote old games while being subversive about the kinds of things you'd often do in them - but this game isn't very subversive.

This review has probably read heavily for a game this light. It's not that I believe people can or have to be able to explain every choice they make as they create something. But considering the smallness of this game, the author doesn't seem to have made choices that aim it in any particular direction. The result is too flavourless for me, and that's why find myself wondering about all those choices so much.

1 comment:

  1. In the original book, a lot of the characterisation work and the comedy is carried by the illustrations.

    I think that there are some pretty explicit pointers to the topic-guessing. The problem is that they are, themselves, situated in a kind of out-of-the-way spot: at some point you're told that you should outwit the dragon rather than using violence, and OUTWIT DRAGON straight-up tells you the two topics to ask about.

    This is obviously not a great pointer: OUTWIT is a general, social kind of action, unlike the specific, physical actions you've been using up to that point. When it suggests outwitting the dragon, the immediate reaction of most players is going to be that this is a very mild hint about the kinds of approach they should be taking, rather than an explicit one about the verb.