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About the StoryThe intrepid Duke has returned to Castle Coris, where he thwarted the Xixon sorcerer Zalazar's plan to destroy the world with a horde of demons from Hell (See THE SPECTRE OF CASTLE CORIS). The castle has been undergoing renovation by Baron Coris's heir, Thorion, who has found a mysterious tunnel leading from the cavern where Alaric fought the sorcerer and rescued the would-be sacrifice, Megan. A riding accident has prevented the Baron from investigating where the tunnel leads, so he invites Duke Alaric to explore the tunnel. What mysteries await Alaric as he enters the tunnel? Find out in [b]RETURN TO CASTLE CORIS[/b]
86th Place - 26th Annual Interactive Fiction Competition (2020)
Return to Castle Coris is the most old-school text adventure I’ve played so far in this year’s IFComp. It’s huge, somewhat sparsely-implemented, contains lots of puzzles, is set in a fantasy world, and features a plot that’s pretty much “Explore this interesting location and see what you find.” Fans of this older style of interactive fiction will probably enjoy Return to Castle Coris, but players who prefer shorter games with more focus on story will likely not care for it as much.
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This is apparently a late entry in a long series of games, stretching back several decades, so it comes by its old-school approach honorably. The introductory text calls back to many of the protagonist’s previous adventures, including one in the eponymous castle, which you’re now called to follow up on after the discovery of a new tunnel in the dungeons. There’s nothing really motivating the exploration – you’re just asked to go into the tunnels and check things out – except perhaps a hint, when examining the protagonist’s clothing and finding out that his wife made him throw out all his old, comfy gear and get nice new stuff, that he feels slightly henpecked and is looking for a distraction.
So it’s really a straight-ahead dungeon crawl, which I can certainly be in the mood for, but the emphasis here is on the “crawl.” The puzzles rely on going through the dungeon like you’re being paid by the hour, and poking at every single object like you’re a CSI technician analyzing a crime scene. Sometimes this is just a matter of tedium: there’s one area that’s made up of about ten wooden landings on a set of stairs, and you need to SEARCH the random detritus that’s glancingly included in the identical room descriptions to find a hidden key in one of them. But usually it’s much more involved, due to the profusion of verbs.
LOOK and LOOK AROUND are billed as different actions. SEARCHing an object won’t disclose if it’s on top of something; that takes MOVE. Your initial inventory includes a magic bottomless bag (handy!) but neither the inventory listing nor X BAG reveals that this open bag actually contains a rope and grapnel – you need to LOOK IN BAG for that.
This is where the guess-the-verb issues and the hunt-the-pixel ones combine into a cocktail of eye-stabbing frustration. To solve the first puzzle, you need to find a hammer and chisel. These are hidden in the space below a set of spiral stairs leading back up to the castle (why are they there? Who knows), four screens north of your starting area which clearly prompts you to explore the area to the south. If you X STAIRS you get told “They go Up to Castle Coris itself. Under the bottom of the stair you see a space.” OK, X SPACE: “A space under the spiral stairs about a foot or so high.” That’s right, you need to LOOK IN SPACE.
This is not to undervalue the places where the way to solve the puzzle is obvious, but you can’t get the syntax right. In the above-mentioned stairway, at one point there’s a gap in the wooden stairs that you need to cross, described as follows: “You are on a platform in the spiral stairway in the vertical shaft on the west side. There is a gap in the stairs further down where the wood has rotted away and you can only go Up to the platform above this one.” The grapnel and rope is the obvious way to proceed, but THROW GRAPNEL ACROSS GAP, THROW GRAPNEL OVER GAP, THROW GRAPNEL AT STAIRS, TIE ROPE TO PLATFORM, THROW GRAPNEL AT PLATFORM, and THROW GRAPNEL ACROSS SHAFT all fail with unhelpful errors. Maybe there’s a non-obvious solution? No, you just need to THROW GRAPNEL AT UNDERSIDE of the platform above – a word that shows up nowhere in the descriptions of the scant scenery here, at least when just using the standard EXAMINE.
The punch line here is that five minutes after using the walkthrough to get past that puzzle, I faced an almost-identical one where I had to climb down into a dark chasm, with a conspicuous wooden railing at the top providing a convenient anchor point. Again, I tried TIE ROPE TO RAILING, HOOK ROPE TO RAILING, HOOK GRAPNEL TO RAILING – nope, none of it works, just HOOK GRAPNEL TO WOOD. Then I found myself in a pit with a snake who seemed to autokill me in half a dozen turns no matter what I did, including the time I was able to climb all the way back up the rope to what I thought was safety. It appears to have been magical in other ways too:
"The snake hisses loudly and its forked tongue whips in and out of its mouth as it tastes the air to work out what you are.
STAB SNAKE WITH SWORD
You can’t see the tunnel snake!
The snake throws itself at you, knocking you to the ground. You try to scrabble away but the creature coils its muscular body around you and starts to squeeze."
The old-school tough-as-nails adventure game is part of an honorable tradition, and I’m sure there are players who slot into the mindset necessary to make progress in RtCC without too much difficulty. But I am just not a bad enough dude to rescue the president/mess around in the dark for hours until hopefully stumbling onto a plot. When I checked in the walkthrough and found that I was maybe 10 percent of the way through the game, and also saw there was no mention of the snake but a bunch of stuff I’d missed in the beginning (apparently by not shining my lamp at the walls for no prompted reason I could see) and I was once again walking dead, I just didn’t have the heart to spend any more time with this one.
I always have a bit of trouble finishing the games. These games are definitely in the older school fashion, which Adrift is suited for. Adrift only encodes specific verb-noun combinations, although you can set up a few synonyms. So in particular, if an action works in one room, it might provoke an error message in another. To climb down a rope, you must type ‘CLIMB DOWN ROPE’ but not ‘DOWN’. This isn’t necessarily a drawback…it ends requiring careful analysis. These games are the perfect games to slowly pick at over a month or so.
During the comp, though, I rushed with the walkthrough, until I messed up a part with a bucket and got stuck. In the part I saw (about 2/3 of the game), I found some really fun dynamics (like growing and shrinking), intervened in a goblin war and navigated through some crazy caverns. Definitely one to come back to later!
+Polish: It has a lot of effort put into nice color changes and complex mechanics.
+Descriptiveness: I could imagine a lot of the scenarios vividly.
-Interactivity: I frequently had trouble doing what I'd like to with things, and commands frequently had to be very specific.
+Would I play again? I plan on looking at this again.
+Emotional impact: A lot of parts of it were just fun, like crossing the ravine and changing shape.
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This is version 6 of this page, edited by Richard Otter on 1 November 2020 at 4:21am. - View Update History - Edit This Page - Add a News Item