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autolenaphilia · 3 months

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Broken Sword: the Shadow of the Templars

Broken Sword: Shadow of the Templars is a point-and-click adventure game by Revolution Software from 1996.

Broken Sword is an attempt to tell a serious conspiracy thriller/mystery story, with a complex plot and intelligent writing. Yet one that isn’t too serious and has plenty of humor and told with colorful visuals reminiscent of 2D animated movies.

It starts with a murder and bombing in Paris that our player character, the american tourist George Stobbart witnesses and narrowly avoids being killed by. And he decides to investigate the mysterious killing. He teams up with french photojournalist Nico Collard, and they soon discover a complex conspiracy involving the Knights Templar and their lost treasure.

Broken Sword is very much an amalgamation of its various influences, with there being clear influences by Umberto Eco’s Foucault’s Pendulum, Indiana Jones and the Last Crusade,various stories and myths regarding the Knights Templar, and Gabriel Knight: Sins of the Fathers. Gabriel Knight overall is the most obvious influence, which is not surprising, because it was one of the few prior attempts to create this kind of serious mystery adventure game. The protagonists are even a comedic blonde-haired american man and a dark-haired intelligent woman. Yet it does synthesize its various influences into something that feels fresh.

The story and writing is excellent. It is a story that treats its audience like adults and respects their intelligence. So it isn’t afraid to drop in references to things like Alfred Jarry’s play King Ubu. And the writing carries this learning lightly, with a genuinely witty sense of humor. It’s one of the funniest games I ever played.

And you need the humor, because this kind of conspiracy thriller stuff needs a certain tone to work well. It needs to take itself and its characters seriously enough that there is some genuine tension, yet not take the conspiracy theories too seriously. And Broken Sword manages this balancing act well. The conspiracy theory about the knights templar is used to provide the story with a dramatic weight drawn from history, and combines that with modern paranoia about the chaos caused by global neoliberal capitalism, yet it never takes that stuff too seriously. I like the Eco-inspired reveal that the modern evil conspiracy isn’t actually ancient, it just pretends to be and wants to appropriate the power and prestige of the templars. And the game knows how to keep the conspiracy stuff just fantastical enough to remind us that this is a fantasy, without being too over-the-top for the game’s serious tone.

It’s not the same as Dan Brown’s The Da Vinci Code, where both the author and his most ardent fans took The Holy Blood and the Holy Grail conspiracy theory underlying the novel’s plot as fact. Broken Sword is often suspected of being an influence on The Da Vinci Code, which might be true, but might be a case of similar influences on both works. Broken Sword does reference The Holy Blood and the Holy Grail several times, characters are named Plantard and Lobineau, although the Jesus bloodline idea isn’t part of the actual plot, like it is in Gabriel Knight 3. What I would argue however is that Broken Sword is the kind of intelligently written conspiracy thriller that Dan Brown wants to write, but isn’t capable of writing.

The game is not perfect. The characters in the Syria sections rely on ethnic stereotyping that hasn’t aged well, even if I like the boy who learned english from Jeeves and Wooster tapes. And while George is far more likeable in this regard than Gabriel Knight, his closest predecessor, his infatuation with Nico does go into creep territory at one point very late in the game. These are both things that director Charles Cecil himself regrets. Still, I very much enjoy the writing in this game.

The fairly grounded if humorous tone of the game is reflected in the gameplay too. The game is very standard point-and-click adventure, no surprises here. But the game’s puzzles are largely devoid of the moon logic that could sometimes be a problem for contemporary adventure games, a design decision that reflects Broken Sword’s tone. The puzzle design is fairly simple, but therefore fairly intuitive. And that makes for a rather fun game to play. There are a few dodgy puzzles, but overall this game feels fair.

This is an adventure game where you can die, at multiple points in the story. And this does work to make the gameplay reflect the tension of the game’s thriller plot, by having actual stakes, game-overs, that George can actually die. And true to the game’s tone, they can be funny too. And while your progress can be set back quite a bit by a game-over if your last save was a long time ago, that’s perfectly fine. It has a point in creating tension. And there are no Sierra-esque “dead ends” or unwinnable situations that I could find, of the type “the player missed an item they need to progress, but can’t go back for it, so they are stuck,” so the game doesn’t become too hard. Those are not fine, and they are thankfully not in Broken Sword.

Finally the game’s presentation is top-notch all around. The graphics on a technical level is nothing spectacular by today’s standards, it’s fairly low-res 2D graphics. But by 1996 computer technology had progressed to the point that Revolution could use more detailed and slicker-looking 2D art than the pixelart of many previous point-and-click adventure games, and they took full advantage of that. The art design of this game is excellent. This game looks gorgeous, especially the lovingly-detailed backgrounds. Broken Sword has this warm and colorful cartoon-like look to it, reminding me of traditional 2d animated movies and the Tintin comic books. And the game’s animated cutscenes fit fairly seamlessly with the rest of the game, due to artstyle consistency (not always the case with video games), and help with the animated movie feel.The animated movie feeling is so convincing because Revolution Software hired people with that kind of experience to do the game’s art and animation, such as Eoghan Cahill and Neil Breen who worked for Don Bluth, or Roslind Allen who had actually worked for Disney on the Ducktales movie.

They similarly looked outside the video game industry when it came to the game’s music. The game’s composer Barrington Pheloung had composed music for various theatrical films and television shows, most notably Inspector Morse. And Pheloung composed an excellent soundtrack, that helps with the game’s epic feel, and the music is actually performed by an actual orchestra, instead of just using MIDI as many game soundtracks did at the time.

The game is fully voice-acted, which was becoming standard at the time, but the high quality of the voice acting is anything but common, not even today. The accents are often dodgy, but in a fun way. The standout actor is of course Rolf Saxon as George Stobbart, which would turn into the role of a lifetime for him. He would reprise in all future Broken Sword games and he feels irreplaceable as George.

Broken Sword: the Shadow of the Templars was a huge success, and remains popular and beloved to this day. It spawned a franchise that is still on-going. It feels like a point-and-click adventure game milestone. And this is despite it not being a very innovative game, there is little in the gameplay, story or presentation that we haven’t seen before. As a game, it really doesn’t do much that we haven’t seen in its predecessors in the genre by Lucasarts or Sierra or even Revolution Software’s own previous games, like the excellent Beneath a Steel Sky.

Broken Sword is still an adventure game classic that deserves its accolades. That’s because it does what it does very well, with a minimum of flaws. The game is not all that original in concept, but the execution is of the highest quality. It manages to become a classic milestone game by that alone.

Broken Sword is such an enjoyable experience to play that it feels like a benchmark of quality for point-and-click adventure games, one that is rarely met. In fact, Revolution Software’s Broken Sword sequels haven’t really reached the heights of the original, as much as I like the second and even the third game in the series.

Revolution haven’t even been able to fully recapture the magic in the game’s remaster from 2009, the Director’s Cut, which is overall a weaker version than the 1996 original. It adds puzzles and entire sections of the game where you play as Nico, but they don’t add much to the story. These additions are artificially grafted onto the original and feel like it, as they detract from the pacing. It reveals how tight the original game design and pacing is. The new art is by the great Dave Gibbons, but similarly it clashes with the original art. The new animations are worse too, often looking like a cheaply made motion comic compared to the movie-like original animations. The remaster also removes things, including bizarrely censoring the blood and violence in cutscenes. It’s a weird decision that maybe has to do with the fact that the remaster was created for the DS and Wii consoles, made by the sometimes aggressively family-friendly Nintendo. This also included removing the ability for George to die and get a game-over, removing the tension that created.

However, if you buy the Director’s Cut on GOG, it includes the original MS-DOS version of the game as an extra. And that version is easy to get running on non-dos systems with Scummvm. And this is something I recommend you do, it’s a great game.

#my writings #game review #broken sword #broken sword: the shadow of the templars #point and click adventure games

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