Sorry folks, it’s going to be a boring piece, but I kept that for too long and this mistake gives me the envy to shout out.
I’m following Telltale since the first Bone. I remember how happy I was when they announced they were going to bring back Sam&Max to life. It came out, and it felt like a draft, a fangame (with budget) spin off, but scribbled from the heart. Episode after episode, listening to the customers on this very board, they tried their best to improve what they could. Episodic game was a new genre, Telltale was a new company. We could forgive them almost everything. They had already some major points right : voice acting was great, music was stunning, price was set right.
It was in 2006.
Then what happened ? I don’t know.
The games became different. S&M Season 2 was okay, with some very funny moments, but the writing seemed stuck at the draft level, and the meal started to taste a little bit… reheated. But it’s okay, we’re adventure gamers, we’ve waited for so long, we can bear with it. Popularity growing, I don’t know how it affected the development, but it seemed like Telltale was still not ready for a more challenging project. But they launched Monkey Island anyway. All the fans were crazy ; so was I. I don’t know if they (the fans) really liked it though, because that’s where I’ve started to fade away. Direct control was a mistake for me, a move to please console gamers, affecting the narration in an epic way that doesn’t suit the genre at all (and from Grim Fandango to Escape from Monkey Island, we’ve had the evidences, but let’s skip to another topic). Episodic structure was not good enough, writing was… not that good (doesn’t mean everything was bad though, and Armato&Boen were perfect in their roles), puzzle were still poorly designed, and too many reused elements everywhere. It was like the constraints that we thought in the beginning were due to a lack of employees/budget because Telltale was a small company were still all there, even with the most prestigious license of the adventure gaming in their hands. Even with a way bigger customer basis. And increasing. And becoming more popular, even in non-english speaking countries.
So TTG made The Devil’s Playhouse. I don’t understand how it can be that wrong. Why the scenario is so complex that you even sometimes just click randomly to trigger a cutscene without having any idea of why and what could possibly be the outcome ? I’m an adventurer. I live far from my homeland, in a foreign country, and I have to deal with problems in a foreign language everyday, deep into a totally different culture. And that’s really exciting. But what motivates me is the possible outcome. Here, the only reward I felt in the last TTG games was to see a new (not that beautiful, not that well designed) set. And I played the BttF demo, it was even hard to get through it, it was so unconvincing. And I played W&G, I bought the entire season, just played three episodes, it was also totally unconvincing (but the graphics were neat). I didn’t even try to play Jurassic Park (didn’t even read any review, customer or professional, actually), but reading that, I feel so sorry.
Yes, I feel sorry.
After bringing all my support to that company, saying all that good from this little sprout in the adventure gaming desolated soil, I don’t recognize it anymore. Maybe I was all wrong since the beginning. Maybe you’ve been successful in convincing us (me) that it was the beginning but in fact you thought the goal was already reached. I don’t know. But I’m sad.
I’ve recently replayed the first two Broken Sword and Beneath a Steel Sky (as you may know, Revolution Software is back in the business

), and just finished, two days ago, for an nth time Hit the Road… How can you be that far from the original material ? So far that you feel like you need to convince people by filling customer reviews meaning that they/you)'ve done an incredible job ? Sure, JP is not S&M or MI, but it’s not an external development from what I know (maybe external funding though, explaining the weird advertisement for the iPad version, selling more the iPad than the game itself), and it betrays to me a spirit that does not belong to a trustworthy company.
I’m not attacking you, sometimes constraints make our work not as good as we wish it could be, sometimes there’s just a malfunction in the society, and as we know, every chain will lower its strength to the weakest link. Then, don’t be proud of it. You can be proud of a nice 3D model you’ve been assigned to, and which turned out to look stunning in the final game. But why trying to convince people that the final product isn’t what it actually is ? Let the customers talk. Your job’s done. Your best shot may belong to the future… or to the past (Abe Lincoln is dead).
It’s not fair play.
I’m not following TTG’s new projects anymore, it’s been quite a while now, because instead of making progress, they’ve changed the contemplative aspect of adventure gaming into a passive entertainment
*. I wish I’ll be surprised some day, and hope I’ll be as happy to buy a shiny new TTG game’s icon (no matter what’s the device) as I was when TTG was the symbol of the return of the good old adventure gaming.
*Heavy Rain was on the edge, but never crossed the line, you always know what you have to do, and have a very clever illusion of choice… like a movie director’s. Besides, the art, the gameplay and the writing allow this game to get rid of puzzle, just like Shenmue did on his time.