Steam's word limit is stupid, full review here: https://www.dragon-quill.net/lamplight-city/ I enjoy bad games, which is good because I play a lot of them. But even if I didn't, playing a thousand terrible indies would be completely worth it to me just to find one this brilliant. Truthfully I was just excited for this game because I like steampunk and mysteries and the whole Aesthetic seemed like my jam -- I was hoping to like it, but didn't think it would be as brilliant as it was. There are a lot of reasons I tend to play through developer and genre catalogues in order, one of them being that I have a deep-seated psychological need for things to be in a proper sequence. I assume everyone shares this and it is in no way strange or offputting. But the other, more tangible reason is that art builds on itself. You can't learn physics before you learn algebra, and you can't really know a text until you know the texts that came before it, especially when those texts are closely related. Unsurprisingly for someone who's worked with Wadjet Eye, this game is clearly influenced by the Blackwell series, but more important, it is also clearly responding to the Gabriel Knight: Black People Are Dangerous game. I wouldn't even call it a rewriting or critique of that game -- it was a complete evisceration. It was honestly one of the most satisfying critiques I've ever read, a resounding declaration that no, voudou is not evil, no black people who practice it do not deserve to die, and actually, rich white people were the ones brutalizing black people with impunity and not the other way around. I found it so cathartic. And that was just the first case, lol. The game takes place in an alt-history 1840s, where the US seems to have lost the Revolutionary War and been split up into various regions. You play as Miles Fordham, who lives in an Italian-influenced mid-Atlantic region called Vespuccia, in the port city of New Bretagne (Seems like it might be the Carolinas? I'm too lazy to lay the map over a real map). During a mundane burglary investigation, Miles' partner Bill falls from a roof and dies and the perp gets free. The police blame Miles for 'getting his partner killed' and the bullying drives him to quit and start working as a PI. Meanwhile, he begins to hear Bill's voice in his head at all times, with strong sedatives being the only thing that give him peace. As his life unravels and his possibly-ghost partner refuses to leave him alone, he tries to keep taking on investigations. The story is deeply concerned with questions of institutional power -- Miles' wife is black, and we're constantly reminded that in antebellum not!US, an interracial marriage is taboo and black people can't vote and struggle to make ends meet. The game strongly ties together questions of race with gender and class, and makes a point of showing that Miles is better able to help the downtrodden as a PI than he was as a cop. It's heavily implied (if not outright stated) that his political views had made him a pariah in the department, and that only thing keeping him his job was that he had an incredible record of solving cases. Bill's death seems to have been the thing that allowed his coworkers to finally completely push him out, and in his absence his corrupt colleagues are promoted. You definitely get the sense that the other policemen are ghoulishly happy they can say he killed his partner, that nothing you could ever say or do could change that, and I appreciate that the game doesn't try to reason with them. The organization is corrupt and unsalvageable and Miles is both personally better off without them, as well as more capable of professionally helping people working around them. I think it's significant too that the only people at the precinct sympathetic to Miles are the coroner, who is a POC and also very isolated from the cops, and the administrator, a woman who ends up fired by the ♥♥♥♥♥♥ chief. The whole game is set against the backdrop of a tense election where the candidates are Atwood, a wealthy establishment politician who promises to fund Big Tech and you can discover spoofing votes, and McAvoy, a worker's rights campaigner who runs on job security and improved infrastructure. I don't want to say too much else because I don't want to give away the premise of the lategame cases, but the way institutional violence translates into real, physical violence is a major theme. I also really loved this as a story about survivor's guilt, substance abuse, and depression. (I've cut the big thematic analysis here for space). The art in this game was beautiful, a very painterly pixel style that at times hovered between traditional pixel art and something more impressionistic. The sound design was... fine. If you like your games to be voice acted you'll probably be fine with it, but it's not Supergiant, and I didn't feel a need to play with the sound on. Gameplay wise, this was a rather complex AGS game -- I didn't realize it was AGS until I went into the save files to back one up and noticed the 'agssave' in the filename. This is partly because of how impressively it manages to feel like an investigation -- I tend to associate AGS with the more 'puzzle' gameplay where you find and use items, but there's no inventory here, just a journal with clues and documents -- for the most part, you're solving things by paying attention to what people say to you and figuring out where to go next. I will say the one big problem is that there's no autosave. I really really wish the game saved, say, whenever you went to the map. The thing is, the game is really focused on the way you interact with characters, and this means that you can make mistakes, say the wrong thing, and ♥♥♥♥ up the case by pissing people off... which is great, I love it. BUT if you want to see everything, especially if you want to do it on one playthrough, not being able to reload can be a real killer. I liked stumbling into dead ends and making mistakes, but I disliked not being able to easily go back and pursue different choices. I actually think the game maybe would have been better served by a VN-style bad ending when you mess up, returning you to the prior decision point, but an intermittent autosave -- even like, every 15 minutes -- would have worked as well. To me, part of the appeal of this type of game is poking and prodding it, seeing what happens if I do the stupid thing and then seeing what happens if I don't, and while you CAN do this here, you have to be constantly manually saving, which is a definite downer. And if you're a ♥♥♥♥♥♥♥ like me you constantly forget to even after you've realized you should and it causes issues. But honestly, I really loved this. It's up there next to Seance at Blake Manor as not just a standout among the detective games, but among games period, and it's definitely a general rec. There should be more steampunk detective games, preferably also with ghosts and detectives, please appeal to me directly from now on devs thank you.
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