De Baron

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Most Helpful Member Reviews

Disturbing and difficult to like, but this brave work demands to be played, April 11, 2008
It's hard to write a review of The Baron using conventional computer game metrics. Did I like the game? No, not really, but then I wasn't really intended to. The game deals with a very difficult real-life subject and manages to handle it with maturity and even a certain degree of understanding, to the extent such a thing can be understood. I was nevertheless left with conflicting emotions toward the person you play in the game. His crime is SO monstrous that even understanding cannot bring forgiveness.

There is at least one notable formal innovations in the game. In keeping with the focus on ethics, responsibility, and morality, you will occasionally be asked not just WHAT you wish to do but WHY you have done so. The game does a reasonably good job of keeping track of your choices and bringing them to your attention later, although there is only one fairly linear path through the game, and the only real global player agency over the outcome comes with your final choices.

The game is unfortunately plagued by a constant trickle of typos, and in various places its author chooses awkward phrasings that no native English speaker would ever employ. It's by no means a perfect work, but it is a very brave and important one. I don't expect you to enjoy it, but I do highly recommend that you play it. (I should note in closing, in case the above hints were not enough, that the game deals with a VERY sensitive, difficult subject. This is definitely one for adults only.)

Limitations, Will, August 1, 2008
There's evil in De Baron, and the medieval trappings of the narrative do very little to pad its edges. It's real evil, and it resides primarily in the PC (though there is no character in this story whom a sane person would want to be). Trying to deal with this evil through the necessarily limited choices provided by dialogue menus can be frustrating. I can reject the importance of guilt and forgiveness by typing numbers, but there is of course no way for me to inject my own ideas about the psychological and interpersonal mechanisms of the consequences of wrongdoing.
One can say that these ideas are not things the PC would think of, but I'm not sure Gijsbers would wish to have the universality of his piece eroded in this way.

Pavel Soukenik described De Baron as a psychological test which does not give its results. I think the results can be given by the player throughout their second playthrough of the piece. Even if they choose not to do so, what further analysis could the program give beyond its final series of choices, which try to force the player to think through the motivations behind their (and/or the PC's) actions?

The prose did jar me out of the story at a couple of points. I didn't particularly mind the occasional grammatical errors, but certain phrases were so melodramatic as to undermine the piece's general seriousness. I would be interested in reading a review of the Dutch version.
The mechanics of the game are smooth, though I'm inclined to think that the occasional bits of physical interaction should be either complicated or further simplified. Having to retrieve the torch to read something, though it only took 4 turns, seemed a pointless chore.
As my rating would indicate, these minor technical flaws don't do the piece too much damage.

Why do I think this a very good work, despite its limitations? Possibly because its structure involves both the inexplicit revelation of what one is and the creation of sympathy with an unsympathetic protagonist, my favourite IF devices. Possibly because it's well-implemented enough that I spontaneously (Spoiler - click to show)howled at a wolf and received an appropriate response. Possibly because it treats its victims as humanely as is possible from inside the PC's head. Certainly because it succeeded in its ambitious aim of making me think about human will from a novel angle.

Finally, I'm inclined to think that the content warnings and minimum age requirements associated with De Baron are unnecessary. As with most written works, those who lack the maturity to deal with it will find it neither interesting nor entirely comprehensible.

An interesting experiment, May 6, 2008
De Baron deals not so much with actions as with their justifications and rationalization. This is achieved almost exclusively by conversations which happen in menu-based trees. The action of the story is moving steadily along a linear path with some choices to make along the way. What is both good and bad is the fact that the subsequent in-game discussions cover all the options available, which is very interesting but it makes your particular choices seem less important.

The highest point in the whole story is probably the conversation with the gargoyle because it mixes the parable illustration, self-realization and choosing one's attitude to the central problem. That moment's wonderful mastery is slightly undermined by its placement in the story arch, and by the appearance of a similar dialogue that felt (at least in part) superfluous.

Unfortunately, De Baron suffers from an unnecessary problem: typos, particularly in key scenes, are distracting, and the proofreading by an English native speaker would also weed out some of the other translation problems. A more serious problem concerns the design. Outside of conversations, the standard exploration gameplay feels too obvious and you will often mechanically perform actions ("solve puzzles" would not be accurate) that you know beforehand are going to uncover the next piece of exposition.

One way to fix the problems mentioned would be to make the actions and choices matter at the end of the story, have a native English speaker go through the text, redesign the exploration (sparser exposition, removing or enhancing the puzzles) and cut the Baron scene. The last suggestion is maybe radical but that scene contains a lot of what is already obvious and also duplicates some ideas that were already covered.

The experience I was left with was that of filling in an interesting, thinly disguised psychological test but not receiving the results. It is an interesting exercise none-the-less.

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