>X MYOSOTIS
Little blue and white mouse-ear petals seem to be actively drawing your attention. Small as they are, their golden heart vibrates strongly, with star-radiused miniature rays shooting off to five sides.
>SNUGGLE CLOSER TO FORGET-ME-NOT
A sudden impulse demands that you draw closer to these little flowers, there is something you must remember. As you lie down beside this humble plant, your cheek softly caresses one of the stem’s leaves…
What a happy reunion! But not so much for Rosalinda. The player may be happy for Rosie to have all her bones and joints together (and separable at will, of course), she herself still feels a skeleton needs to know about her life.
Where else to start searching for your personal history than at the local boneyard…
Unfortunately for Rosie, and fortunately for the player, she is taken prisoner. Because, well, an ambulating bone-frame of what used to be a person stumbling around between the gravestones is not particularly in line with a wholesome city, wouldn’t you say?
It’s probably because I already played the previous installment, but I found the first few rooms quite tedious. The Trials of Rosalinda is a hybrid [----cough----Russovian----cough----] click-based parser-feeling puzzle-narrative game. I think the prologue is intended as a gentle introduction to the mechanics, patiently feeding the player low-level key&lock puzzles, all the while providing ample holding of hands. Personally, I would have preferred a text dump through the Graveyard-scene.
However…
Once those puzzly-clickety phalanges are shaken loose (and contrarily the skeleton itself locked up…), the game does open up and speed up.
A lot.
The puzzles are inventive, based on switching active characters (or parts thereof…). A lot of them happen (contrary to “are presented”) in the midst of action-sequences. I was particularly impressed with how the author manages to keep the tempo going, impregnating each click with importance and urgency. Either in parser or choice, player input is a gap in time, a pause in the story. To incorporate these pauses into the narrative believably, without ostensibly breaking up a tense scene, is good writing. Good writing around the limitations of the medium, even bringing those limitations into the excitement of the situation.
Freezing a fight-scene to let an outside-player issue a command is swampifying. Having the protagonist be the only one able to act because everyone else is being strangled, wrangled to the groung, or holding a gleaming blade inches off their neck enhances the tension, quickens the tempo.
The game waits for the command, sure, so there is no time to gain, no matter how many minutes between commands…
But the circumstances in the story convince the player that there is no time to lose!
And the story is delightful. Or rather, the characters make the story delightful. Every bit of over-tropeyness is supported by the protagonist’s or her sidekick’s personalities. They pull the player along into the world where these things are natural. Which doesn’t mean all the events are expected, there are a number of twists and turns to put the players expectations on their heads.
I really hope this is not the last in the series. I love Rosie, and I’d love to swing her rattling bones to this tune:
And I’d love to taste Tekla’s chili.