The Blackwell Legacy Review

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            The Blackwell Legacy

Review by Old RoosterJune 2007

“Mom’s Been Acting Odd Lately”

One of the unexpected highlights of my spring gaming has been an introduction to the outstanding work of Dave Gilbert, the multi-talented head of Wadjet Eye Games. At a time when questions are being raised about the relative value of next-generation graphics—the old “style vs. substance” controversy—Gilbert’s contributions are timely and bring a breath of fresh air. Let’s chat a bit about his major work to this point, The Blackwell Legacy, the first in a possible series of detective-adventure games.

Meet Rosangela Blackwell, a nerdy loner who is self-absorbed, troubled, not well-known to even her immediate apartment complex neighbors, a young woman without a sense of direction, socially uncomfortable and awkward. As her doorman comments: “You really don’t get out much, do you?” Her neighbor sympathizes that “the city can be a lonely place.” She is an anti-heroine who reluctantly, even painfully, finds she has a unique “talent” for detecting, leading her to become the center of our story (and ones to follow!).  Miss Marple and Jessica Fletcher, move over. There’s a new sleuth in town!

As is revealed early in the story (and on the website), the Blackwells have a most peculiar family legacy—the ability to see and converse with a flip, film-noir type ghost named Joey. Giving in to his presence leads to often humorous, sometimes tense conversations and even unique assignments and detecting challenges. Not giving in to Joey’s badgering causes headaches and a risk of hereditary dementia. Our Rosa succumbs to Joey’s entreaties, leading us on a highly entertaining and quite unique journey investigating several area college deaths.

“Do I Love You? Do I Miss You?” —Rosa

The Blackwell Legacy, an adventure game if you haven’t already guessed, is played from a third-person perspective, point-and-click, complete mouse control style. The game engine defaults to a 640×480 resolution, leading initially to a rather shocking blockiness and pixelation. However, the backgrounds are colorful and as detailed as they can be given the resolution. One soon becomes accustomed to the early 90s graphics and concentrates, instead, on the story.

Rosa keeps a notebook, accessible from the top of the screen, where highlights of conversations are kept. Indeed, this notebook becomes the primary puzzle-solving tool, with earlier conversations sometimes needing to be revisited given new information you’ve acquired. There are several object-type puzzles, uncomplicated and logical, readily completed. For the most part, you won’t be scouring rooms for things to collect. Saving anywhere is allowed, except during conversations or cutscenes.

You direct Rosa, mostly through conversations with some very interesting characters—paramount among them being her sidekick Joey Malone.  When these occur, popups of Rosa and her interviewee bring the cast to life in a surprising fashion given the limitations of the game engine. There are a number of locations Rosa must visit, most more than once, and this can be done in an instant “teleporting” fashion. Within conversations, there often appear to be response choices that differ—ranging from accepting to argumentative.  However, given the essential linearity of the story and steps that must be accomplished before being able to move on, I found that I really ended up in the same place regardless.

Clearly, the narrative is the key to this game. In that regard, the excellent script is accompanied by some equally fine voice acting, particularly from the cast voicing Rosa and Joey. Rosa ranges from timid and frightened to strong and assertive. Joey is sarcastic, annoying, sexist. Underlying both of them is a puzzlement as to why they’ve been picked to be in this situation.

Background music is satisfactory. A director’s commentary, in the style of a DVD movie, is available, although it’s suggested one not turn this on during the first playthrough. It took me about six hours to complete the game, not including note-taking for the review. However, with the commentary and fine script, The Blackwell Legacy is a good candidate for replay.

“You’re a Ghost. Fine. I’m a Medium. Fine.” —Rosa

The Blackwell Legacy is an outstandingly written and acted adventure game, only held back by limitations of the fairly primitive game engine and, perhaps, some design decisions. It readily gets a “Thumb Up” from this reviewer. As one who particularly enjoys story and narrative, I found The Blackwell Legacy to be compelling, involving, memorable. Next-generation graphics were of little concern to me. There are, though, some adventure game players who especially enjoy puzzles, even of the obscure variety.  For them, this game may not be as entertaining, given the emphasis on language versus objects.

Mr. Gilbert is a writer and developer to be reckoned with. I was delighted that, on June 1, he announced Blackwell Unbound, a sequel to The Blackwell Legacy, to be released in August.  Although it doesn’t feature Rosa, it does go to an earlier time period, taking us back to her aunt Lauren and, of course, Joey.  We’ll be sure to take a look.

The Blackwell Legacy can be purchased directly from the Wadjet Eye website, either as a 178 MB download or, for a bit higher cost, a CD to be mailed.

What I Like Most About the Game

  • A strong and interesting story;
  • Outstanding writing, pacing, overall narrative;
  • Excellent voice acting;
  • Version 1.2 runs glitch-free.

Relative Weaknesses

  • A dated, quite pixelated graphic engine;
  • Not much in the way of object puzzles. The End

The Verdict

The Lowdown

Developer: Wadjet Eye Games Publisher: Wadjet Eye Games Release Date: December 2006

Available for: Windows

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Screenshots

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Where to Find It

Wadjet Eye Games $14.99

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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