Diamonds in the Rough Review

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Diamonds in the Rough

Review by Old RoosterApril 2008

“Can You Hear Me? Can You See Me?”

Little did I realize that my first encounter with beta testing would lead me to experience one of the finest, most memorable adventure games I’ve ever played.

You play as Jason Hart, a 20-year-old high-school dropout; a young man with a particular talent, this talent recognized by a powerful and enigmatic organization—Diamonds in the Rough. You’re recruited by a Mr. Hungerton, a well-spoken, calm, reassuring father figure who knows a good deal about you and easily convinces you of the value of moving to and working at his residential complex located in an isolated area somewhere in mid-America. How can you resist? You have your own small house plus all conveniences within walking distance—a well-stocked library, a pub, and more. There are others who have also been recruited, a few of them quite attractive!

And so begins our adventure with Jason, who opens his story asking if we can see and hear him.

“We Were Nothing Before They Found Us, Nothing” —Sydelle

Diamonds in the Rough is a third-person, point-and-click, 2D adventure created using the Adventure Game Studio engine. This engine presents some limitations, particularly related to detailed graphics and movements. Soon, however, one comes to overlook the stiff, arthritic animations of the cast. Story, character development, and sometimes challenging, yet sensible, puzzles make this a game that is hard to walk away from—both during play and afterward!

Technically, DITR installed flawlessly and played beautifully on my Vista system with a 24-inch monitor—filling the screen. Even at its 800×600 resolution, the game is clear, colorful, really quite lovely. Saves are virtually unlimited (100), showing a picture and allowing labeling.

DITR is entirely mouse-controlled, with keyboard shortcuts available. A left-click performs an action; right-clicking cycles through walk, use, examine, and talk. Arrows show paths that can be taken.

Atropos Studios has crafted an unusual approach to inventory accumulation and management—the Thoughts Panel. Since progression through this compelling story is so dependent on character interaction and puzzle-solving, this facet of the game is worthy of comment.

Essentially a second inventory, the Thoughts Panel allows Jason to explore ideas, situations, even motivations of himself and others. In the form of Post-It notes on a bulletin board, these thoughts can be updated, used on other characters, employed with regular inventory objects. A chime and lit bulb occur when a new thought is added. Although this additional inventory adds some degree of complexity, it also is ingenious and very appropriate for this particular game.

Finally, DITR features a goodly number of shortcut keys, ranging from music volume to cursor use and more. Perhaps most used will be the tab key, showing exit availability from one screen to another.

“Curiosity Is Not a Crime” —Hungerton

There is considerable precision and thoughtfulness of design evident in Diamonds in the Rough. I was struck by a lack of clutter, particularly in Jason’s residence. Generally, if an object is clearly visible, it’s likely you can interact with it (examine, pick up). Further, if you can add it to inventory, it’s also likely you’ll be able to use it at some point. Of course, there are exceptions and some “red herrings.”

In this regard, the extremely well-written script offers some humorous touches. “Inanimate objects only talk in Disney movies,” may be a response you read if placing a “talk” cursor on a tree by mistake. Or when looking for something to use in inventory, you may get the message: “Using random objects is a sign of desperation.” As well as humor, the script/program will also tell you if you’ve tapped out an object you’ve previously used. “You’ve no calls to make at this point” may be the message you receive when trying to use your home phone.

Of course, more than half of your time will be spent in conversations with the residents, staff, and administrators of your isolated town. You’ll learn a good deal about personal histories, concerns, and problems. You’ll ask questions and use your Thoughts Panel often. The primary cast of characters is not very large, and you’ll be visiting some of them many times, with new question sequences opening up. There are some NPCs who, along with trees, will rudely ignore you.

How high is your score? When I first saw a point total accumulating, I was afraid it was like one of those action games where you get a score depending on your proficiency. I never do well at that. With DITR, however, the “score” is very significant. In essence, it is a progress bar telling you how far along you have come in the game. You want to get to the end, which is 400. Sometimes, with some puzzle solutions, the bar will jump a dozen or so points; other times, it may only be a few. It’s a neat approach that doesn’t leave you as much in the dark as many games do. You get a sense, for example, that you’re about halfway through when you reach 200 points.

“Why Do They Have to Be So Damn Cryptic?” —Jason

DITR is sometimes hard. Even though the puzzles are primarily conversation- and inventory/thought-driven, solutions are often subtle, oblique, not obvious. Although, I must say, that when I finally figured one out, I would usually say, “Well, of course, I should have thought of that!” I recall a particular occasion where my task was to get one of the females drunk—something I had considerable skill with some years ago. For the life of me, I went round and round with many approaches until finally the light dawned, thanks in large measure to help from a sober friend.

That friend, Len Green, has compiled a wonderful guide for the game, linked on several adventure websites. His approach is to hint, not lead you by the hand, so that you can still feel satisfaction at solving the problem by yourself (at least, almost).

As with most games, there are triggers moving you to new sections and challenges. One of the advantages of the scoring approach (0 to 400) is that you have a sense of your progress. You can wander quite freely in the small town and need to be watchful for new items, doors, sections opening for your perusal.

Acting, Music, Graphics, and More

As mentioned, although the AGS graphics engine has its limitations, I found the individual screens well-detailed, clear, attractive. Particular care has been given to faces of the cast, especially expressions and lip movements. Indeed, there are some close-ups toward the end of the game that are extremely well-done and effective, despite the engine used to make them. The several cutscenes are excellent.

Voice-acting of all characters is also excellent. Of course, it helps to have an outstanding and involving script. Jason and Mr. Hungerton are unforgettable. Large and clear subtitles are also shown, a boon to the hearing- or even vision-impaired.

Background musical scores are quite remarkable. Samples of these are available for download on the game’s website. The scores change not only with location but with the mood of the game. At times, when I wanted Jason to reflect a bit (compare Thoughts Panel items), I’d direct him to the library or pub, where relaxing rhythms were on offer. DITR’s score is as good as any I’ve ever heard in an adventure game.

“I Have to Tell You, Sir, I Respect You a Lot” —Jason to Mr. Hungerton; Old Rooster to Alkis

Wow! On at least three occasions during the course of playing Diamonds in the Rough, I uttered this expletive. Really. Seriously. And you will too. That’s a promise.

Atropos Studios has to be enthusiastically commended on its first release. Diamonds in the Rough is one of the finest adventure games of the last few years and clearly the best independently developed adventure I’ve ever had the pleasure of playing.

The underlying story is engrossing, thrilling, daring. Where many games use filler to complete the last portion, DITR saves the best for the last third. Without giving anything away, there is a substantive change in the final “chapters” involving characters, the town, even the musical score! If you reach that point while playing in the evening, plan on an all-nighter. You won’t rest until you see the outcome. Be sure to stay for the final credits as well.

Alkis Polyrakis, president of Atropos Studios and primary author/creator of Diamonds in the Rough, has penned an involving, emotional, thrilling story accompanied by an inventive game and puzzle engine. It’s a brave tale, full of surprises right to the end. You won’t soon forget this experience.

“Can you see me? Can you hear me?” Yes, Jason, we can. And, yes, Atropos Studios, we clearly hear and see the kind of superlative game you can create. What’s next? I can’t wait to find out. Congratulations!

(A final request: We’ve mentioned DITR being full of surprises and an experience you won’t soon forget. A favor, please, for the developer and me. Please don’t reveal the last third of the game (even the walkthrough doesn’t), particularly the ending. Only speak of it with those who have already finished. Thank you!) The End

 

The Verdict

The Lowdown

Developer: Atropos Studios Publisher: Atropos StudiosRelease Date: March 2008

Available for: Windows

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Screenshots

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System Requirements

Windows 95/98/2000/XP/Vista Pentium IV 1 GHz CPU 128 MB RAM DirectX-compatible graphics card with 64 MB of RAM 360 MB free hard disk space

Where to Find It

Atropos Studios

Links provided for informational purposes only.  FFC makes no warranty with regard to any transaction entered into by any party(ies).

      Copyright © Electric Eye Productions.  All rights reserved.  No reproduction in whole or in part without express written permission.

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14 Responses to Fear Factor

  • Fear Factor | Tap-Repeatedly.com | Reality Topics Blog

    […] nobody@flickr.com (graftedno1) wrote a very interesting post today.   Here’s a quick excerpt:My greatest fear is to be trapped alone in a confined space with a blind human, in total darkness. They have a heightened sense of smell and hearing, and. […]

  • Matt "Steerpike" Sakey

    Lewis, you made me think of the scariest moments I’ve experienced in gaming, and we’re very similar people.

    Bioshock had two moments – the dentist and the flooded room filled with mannequins.

    Thief had Return to the Cathedral, which was terrifying to me. Thief 3 had Shalebridge Cradle, which is so scary it ought to be fined.

    System Shock 2 kept me on the edge of my seat, but it was more lonely panic than true fear.

    Korsakovia was so scary that I uninstalled it.

    And STALKER. Oh, god, the haunted labs in STALKER. The latter two games don’t have scares like that. Few games do.

    It’s especially rare for a game to have more than mere “moments” – for a game to be scary from beginning to end, that’s a triumph.

    Wonderful article. As if Gregg’s review wasn’t enough to convince me that Penumbra is not something I have the courage to play!

  • DPenn

    I’m with you Lewis … I’m a bit of a puss. I just have a hard time wrapping my head around the idea of dread as entertainment.

    Still, I’m drawn to dark stories when they have something interesting to say, whether it’s a game like Thief or a film like, say, Gaspar Noe’s Irreversible. So I’ll push through, sometimes peering through my fingers.

    The trouble with games, though, is that if you look through your fingers, you’re probably just going to have to play through the scenario again. :~)

  • Mike "Scout" Gust

    I wanted to play this game. I downloaded the demo but the controls were just too wonky for me to get my head around. I liked the atmospheric vibe a lot. I think I’m a bit desensitized from an overdose of horror movies in my youth so I don’t so much get the dread thing from these games as a nice creepy vibration. If only the controls were better…

  • Lewis B

    @ Mike, what’s wrong with the controls bud? As someone who despises poor control schemes, Penumbra’s is just like any other FPS, except to examine things you right click on them.  To use things you left click.  I’m not sure that can be considered difficult 🙂

  • Gregg B

    @Steerpike: Yeah my greatest shit-scared moments were with those games too. A few spoilers below people, so beware.

    Bioshock – Haha, I remember the dentist. I didn’t really find the game that scary overall but the bit where you go into the wine cellar and notice a mannequin facing the wall and after upgrading your weapon it’s stood directly behind you motionless and quiet just for a moment before attacking you. I shat a brick. I also missed that bit originally until Lew told me about it.

    System Shock 2 – same as you really, more unremitting tension all the way through rather than specific terrifying moments. Oh actually, theres a bit where you call a lift and it breaks then you realise a service droid is coming to fix it… I do remember having sleep issues after my first encounter with the cyborg ninjas though.

    Thief: The Dark Project – The Sword and Return to the Cathedral and Down in the Bonehoard and well, loads of them. The Sword made me break out into goosebumps though because there was a bit where you could hear this creepy giggling which seemed like it was following me about then it suddenly changed to this horrible throaty noise. What made matters worse was that the EAX (bless you Creative) made my foot steps sound like somebody else was there with me. That level was incredible, a bit too incredible as it seems I missed great chunks of it because I was so eager to leave.

    Thief II: The Metal Age – Trail of Blood where you end up in that opening with those damn tree beasts. God the first time I saw one of those hurtling towards me I actually died shortly afterward. Do you remember that Mechanist child walking around on one of the levels? That was a little creepy.

    Then there’s Penumbra: Overture – quite a few bits but I’m not mentioning them here.

    Oh and S.T.A.L.K.E.R. – The brain scorcher lab just because it was so damn quiet. My imagination seriously got the better of me there. Those stuffed animals and heads I’d seen in various buildings led me to believe that those creatures were lurking somewhere in the Zone, specifically that lab.

    @Mike: My control setup was perfect after some tweaking (as well as the simple weapon swing fix). If you ever fancy giving it another go, give me a shout and I’ll let you know my setup.

  • Lewis B

    I’m not sure why guys, but one of my starting paragraphs had gone missing, even though I copied it straight from the original source, and It was fine earlier. 

    Incase you missed it due to some technical issue you might want to re-read just after “Well no she wouldn’t in truth, but in Penumbra: Overture you don’t want to move anyway.” at the very start for those who’ve already read the article. Apologies 🙂

  • Mike "Scout" Gust

    Lewis, it was the weapon swing. It had this terrible, unresponsive feel to it, like trying to hit through molasses. I couldn’t stand using it. I tried the .ini fix as mentioned in the review but it didn’t seem to help. Of course this was the demo…but that shouldn’t have made any difference. I might try the second game instead as I guess they did away with the weapons thing.

    I’m see your first paragraph just fine. It’s the dialogue, right?

  • jdeuel

    I like the argument that weapons can remove fear, but even loaded to the teeth with ammo in AVP’99 the Marine missions were frightful because the enemy was anywhere at any time.

    As for Penumbra Overture, if the controls are anything like the original Penumbra they need to hack in some Wii-Remote 3d controls. I did not like using my mouse for 3d movements.

  • Gregg B

    @Mike: I’ve read that many people avoided conflict altogether in Overture which incidentally is something forced upon you in Black Plague. As somebody who has been renovating a house over the last 6 months with no DIY experience I can safely say that swinging a hammer is significantly easier in real life than it is in Overture without the fix. The fix balanced that for me.

    I’d highly recommend completing the first Penumbra because it’s one big build up to Black Plague which spoils the ending to Overture in the intro. And it’s a great ending too. Just so you know!

  • Lewis B

    @ Steerpike, those moments you mention are all my worst too!!  Do you remember the Robot labs in SS2? Absolutely terrifying, waiting for robots to burst out on you! 🙁 oh and have you ever player Condemned?

    @ Mike, The use of weapons in Penumbra is different to say HL2, where the player is physically holding the weapon, as in Penumbra it floats slightly infront of you.  However, if you change the control method to normal weapon swing, it’s no different!  Speak to Greggi and he’ll tell you what to do 🙂

    @ jdeuel, AVP the original and its sequal were scary however what type of fear do you think it is? I don’t think it’s anything more than sheer tension.  Having a Smart Gun makes you feel incredibly powerful.  I can honestly say in Penumbra the fear is sheer unrivalled terror, where you actually have to force yourself to play on.  It genuinly is that scary! 🙂

  • Jason Dobry

    It’s so true, an arsenal of weapons and ammo rapidly deflates any sense of horror or uneasiness in any game for reasons you already mentioned. Sakey, I thought Bioshock was more “lonely panic,” while I was pretty much always terrified in System Shock 2. I really, really, REALLY did not want to enter The Many’s nursery, and my weapons were so unreliable and ammo so scarce that I never felt safe.

    Silent Hill was terrifying for the same reasons. Ammo was rare and I frequently had to rely on my pipe for self-defense.  Even when I had ammo, the game mechanics prevented my character from being anything other than marginal with any firearm.

    Fear had one moment for me: I was climbing up a ladder, and as I reached the upper platform, my guy briefly looked down as he climbed off. As my perspective looked up again, that Ring-esque little girl was RIGHT THERE, reaching for me. I screamed and she was gone.

    What else…the original Aliens vs. Predator sent me into a locker room and I could only hear the facehuggers scurrying about somewhere within. I had to go in there. I advanced about three steps before the damn thing screamed and filled up my screen with its repulsive underside as it implanted me with its spawn. My roommate made fun of me for weeks for screaming like a girl child.

    Korsakovia–meh.  I was too annoyed and frustrated by the box rearrangement/jumping puzzles to be scared. I uninstalled it after an hour of play, I think. Maybe the scary parts were later, but I doubt it.

    As for Penumbra, I did play through about half of it before other games distracted me. I remember unease and creepiness, but no sweaty fear. I think I’m to blame here, or, more precisely, my daughter, who was still an infant at the time and generally allowed me only to play during the day for 45 minutes at a time. I was denied total immersion and the fear effect suffered. Maybe I should give it another go after I finish Call of Pripyat since she sleeps through the night now. With any luck, Penumbra will keep me from doing the same.

  • Gregg B

    I played the demo of F.E.A.R. but that ladder scare is the only bit I remember. Christ, that made me jump. I’m not too good with cat scares.

    Also I felt exactly the same about Korsakovia. It was creepy at first but then it began to irritate me far too much and it just soured the experience. I stopped playing as a result. Not to mention, when I realised I could bash those smoke-things with my crowbar they didn’t bother me nearly as much.

  • Online Up

    Great article. I look forward to reading more in the future.

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