Documents also play a key role in Pope’s latest game, “Return of the Obra Dinn,” where players are cast in the role of a 19th-century insurance inspector. Reflecting on his penchant for constructing games around humble workers, Pope, in an interview with Gamasutra, said, “You know, there are people around the world who do all kinds of jobs all the time and many of those jobs are boring and mundane but those people have interesting lives to me.”
As an insurance inspector for the East India Company it falls to you to figure out what happened to a merchant sea vessel thought to have perished at sea. This vessel recently turned up — without any living souls aboard — near the English coastal town of Falmouth. Wandering the decks of the Obra Dinn will bring you into contact with traces of the mortal remains of many of the ship’s crew and passengers. Standing in the vicinity of such forensic evidence causes your avatar to brandish a pocket watch. Clicking a button then allows you to witness the final moments of a person’s life. An audio clip is played before you are presented with a static scene that shows the instant of the person’s death. Around such a scene you can wander and try to draw inferences on who was speaking, who was present, and who died by what circumstance. These scenes are jotted down in a book.
Your workbook also carries with it a few sketches of the Obra Dinn’s passengers by the ship’s artist, as well as maps, and a list of the passengers and crew. At the start of the game, it tells you to consult these materials then warns that “decisive information will be rare.”
At first, I found the game a bit overwhelming. The prospect of trying to uncover the fates of the sixty people seemed like it would entail a lot of work. The story is told out of order, and people in the audio clips rarely address each other by name. Sadly, I let panic get the best of me. I spent too much time early on revisiting scenes, trying to wring out every last drop of detail rather than attempt to uncover as much information as possible and then try to piece it together.
Here are but a few of the things that happened on the Obra Dinn: one man was killed indecorously on a toilet; another because he let the anticipation of a fine meal get the best of him. A woman shot a man from a lifeboat. A man shot another who was plotting mutiny. A woman was strangled by a siren. A man was ripped apart by a tentacled beast, etc. When you work out the fates of three different people, by matching their name to the artist’s sketch in the workbook and identifying their ultimate fate, the game acknowledges your correct deductions.
Not infrequently did such moments give me reason to clap my hands. Noticing little details and listening to how people relate to each other, like who calls whom boss, are of the utmost importance to puzzling out what’s going on. Eventually, when I came to know many of the passengers by sight and by name, I felt sort of accomplished. (Ha.)
“Return of the Obra Dinn” is a stunning work of craftsmanship. Pope, who handled every aspect of its production himself, has created a work that celebrates scrutinizing details. “Return of the Obra Dinn” is the best game with one-bit graphics to come along since . . . uh, you got me.
Christopher Byrd is a Brooklyn-based writer. His work has appeared in the New York Times Book Review, the New Yorker and elsewhere. Follow him on Twitter @Chris_Byrd.
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