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preview: J.U.L.I.A.
Calling a game a great indie endeavour may sound like damning it with faint praise. After all, independent productions are invariably low budget affairs that have a tough time competing with deeper-pocketed studios (though that’s a fairly relative term in the adventure genre). The implication is, lower your standards for an indie game and it may just clear the bar. But it can mean much more than that, as being an indie also has some inherent benefits. You can take chances no publisher would endorse, and go in a more artistic, personal direction without bowing to safer commercial pressures. That freedom can lead to some really creative, inspired productions we’d never see if not for the independent status of their developers. You will collect items as you go, but there’s no visible inventory, as any objects you acquire simply become part of your text choices at the appropriate time. You’ll encounter quite a few other puzzles that are much more difficult to solve, however. Some are familiar but contextually disguised standalone types, like five-image tile jigsaws to restore damaged memory clusters, Lights Out cognitive worthiness tests, and misaligned chemical gauge balancing, while others need clues to complete, like codes for keypads and wire connection tips. A few are clearly contrived, but several are beautifully integrated, like descending your way through a block-tiered ice world and assembling a hi-tech energy weapon. A few are repeated, but never so often that they feel repetitive, though they do get progressively more difficult each time. That’s important, because J.U.L.I.A. is not an easy game. But nor is it unfair. I almost keeled over at the sight of a numerical cipher, yet slowly but surely I pieced my way through the coded message. Despite its highly streamlined nature, this is no “casual” game with helpful hints and puzzle skip options, so you’re on your own to get through the challenges yourself. The only exception is a math-based puzzle that offers assistance before you begin. I chose yes, only to get a lot more help than I anticipated, leaving me mainly to input numbers already calculated ahead of time. There’s one other minigame that requires a degree of dexterity, though it’s not an “action” sequence per se. I won’t spoil the context, except to say that it’s a fairly titanic confrontation that requires keeping a twitchy cursor centered on a small target. Failing simply means starting the sequence over, however, as there’s no fear of (permanent) dying or other game-over scenarios here. I thought this sequence would mark the game’s climactic challenge, but I was wrong, as J.U.L.I.A. proceeds to spin off into entirely new areas beyond the initial desert, ocean, jungle, and ice-covered worlds, ultimately culminating in a moral choice that impacts which of the two endings you experience. It won’t be an easy choice, as you’ll discover some unpleasant truths in the troubling backstory of mankind’s first encounter with extra-terrestrials. The story isn’t particularly deep, but it does delve into ethical issues of self-preservation and justice, careful not to paint the issues in black-and-white, good vs. evil brushstrokes. You’ll glean some insight from your encounters with the same alien races (once you learn to communicate), and some through recorded documents left by the probe team who abandoned you. All the while, you’ll be accompanied by the cheerful voice of J.U.L.I.A., whose Data-like emotion chip makes her seem more human than artificial, and Mobot, the purely mechanical and yet surprisingly personable machine who seems all-too-aware that it’s his metallic hide that’s on the line in hazardous environments, not yours. Each character is fully voice acted and quite well done, from Rachel’s pleasant English accent to her companions’ slightly modulated tones. Some lines seem to be poorly inflected, but as neither J.U.L.I.A. nor Mobot are human, that could very well be intentional (or at the very least, conveniently passed off as such). The music is as varied as the environments, shifting radically from gentle piano to Eastern strings; from tribal chants to more traditional 2001-like orchestrals, among others, providing a remarkably diverse aural backdrop to the action. While it’s never necessary (or often possible) to finish a game played for preview, it speaks to the quality of J.U.L.I.A. that I felt compelled to see it through to the end. It’s certainly unlike anything I’ve ever played before, and although different doesn’t always mean better, it does make it noteworthy. Yet this game warrants your attention for more reasons than that. It’s got all the budgetary hallmarks of an independent adventure, sure, but the developers have smartly capitalized on those limitations in a way that’s actually a benefit. No one watched the Mars probe expecting to see Avatar, and the mystery of the Salia system is similarly enhanced by the teasingly detached view offered here. With plenty of challenging puzzles and a solid sci-fi storyline tying it all together, I suggest making room on your calendar for a date with J.U.L.I.A. this fall. In the meantime, in case you still can’t get enough, next up is a behind-the-scenes chat with the game’s writer and designer, Jan Kavan.
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