![]() Lucy has an almost Sarah Millican-level of squeaky brogue (although fortunately not quite that extreme), and everything is firmly rooted in parochial Englishness, rather than the usual tourist-friendly red phone boxes paraded out for in-built familiarity. (Also, there’s a useful system in there that will highlight only the important items in any scene, if you don’t fancy a pixel hunt.) That this is primarily the work of one person is mindblowing. (The game uses a simplified version of LucasArts’ classic verb-picker.) Gags are written for everything, and it’s often worth talking to inanimate objects just to find all the most unlikely actions for which lines have been written. Every scene, and there are so many scenes, is crammed with items to look at, pick up, use or talk to. Most exciting for me is the astonishing amount of detail. (I’m looking at you, wet bread from the bakery.) Far too often you’re expected to just guess to go back to an old dream, with no prompts that anything would or should have changed there. Where I have been frustrated is when those solutions have required my noticing an object that can only be picked up in very specific circumstances, that stumbling upon would have required a ridiculous number of permutations. Of course, getting stuck is a vital part of classic adventures, and I’ve honestly not been bothered by needing to look at a walkthrough every now and then: that’s just in keeping with the 90s format. The result of all this is a superbly crafted adventure game, with a lot more going on in it than you’d usually see, but then at the same time an awful lot of complication that can see you getting stuck. Aaaaaaand, on top of all this, you can further influence the dreams with the objects on Lucy’s bedside table, like her fan. Each progression marks a new chapter in the game, although you can always return to older dreams to get missed items or try other combinations. But a book of venus flytrap jokes and a worn old teddy has her at a plant-based comedy club, accompanied by a miserable full-size bear.īy mixing and matching these items, you can help Lucy find items to help her progress through her main nightmare, dreamt when her dream box isn’t placed by the bed. So a book about crabbing, and a fluffy duckling, has Lucy dreaming she’s at a beach, occupied by sentient crabs, accompanied by an enormous floating duck. Lucy has a dream box that when placed next to her bed, and filled with “inspiring literature” (books on specific topics) and “companions” (cuddly toys), that then influence the nature of her dreams. This is interspersed with Lucy’s dreams, which are themselves a whole other complicated, interweaving set of puzzles. This eventually finds you investigating a decade-old murder, in between resolving all sorts of situations that require juggling inventory puzzles, conversations with its broad cast of characters, and darting about town convincing everyone to give you vital items. ![]() Your goal, throughout this elaborate story, is to resolve the issues in her dreams, while also exploring the town of Figgington, a Yorkshire-ish community of village fetes, local shops and satanic libraries. Lucy is a very confident child of indeterminate age, living in what might be early 90s Britain, who is plagued by repeating nightmares.
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