1. railway station

– scroll to the man with gazette, collect gazette, open it from inventory, collect wallet and a document.

– enter the station and go left to the tickets window. Buy a ticket, doesn’t matter which one. Go back to the main hall and into thelounge, and then into the locker rooms.

– click on locker 102 and enter code 2340. Collect everything from the locker.

– Go back to the tickets, now window on the left is open. Buy a swiss army knife.

– find restaurant and go into the toilet. Enter the far right toilet booth and look up. Unscrew the window using the knife, and click on open window.

2. safe house

– enter the hotel, talk to the manager, buy key 14.

– go upstairs, unlock room 14 and enter. Find bible on the bed, collect adocument from the bible. zoom on the telephone, take off the ear-piece (drag it to table on right side), and enter the number you got from the bible.

– open the closet and go into the secret room. Collect lever from the carton box on the ground and key from the far right drawer of the desk. turn around and use them both on the device next to the exit. Then turn the key and lever. Both lights should go white.

– now turn left and approach the machine. Zoom on the codename input and enter m-24-7-69 – now the machine should display “Kara”; zoom out and click the main button on that machine. A print comes out. collect it.

– Get out of the hotel into the street, and click on the exit that says “old town”;

3. the library

– zoom on door on the left wall. Use newspaper to break the window. Click on window to unlock the door. click on handle to enter the library.

– go right once and enter the door that’s in front of you. There should be a rail. Open it by clicking the lock on the gate. Now open the drawer, take the large key. zoom out and click on the machine on the desk. enter 32158 and collect the print out. Exit that room.

– go right and into the big main hall with a star on the floor. Enter the middle door (catalogue).

– open the gate with the large key. Enter the room.Click on the “n” closet and “e” drawer. Collect the book card. Go back to the main hall.

– enter the left door (books). Open the gate and zoom on the machine input slot. Use the book card and press button. Collect the book.

– look at the book in the inventory, collect photograph from it. Look at the photograph. go back to the main hall.

– enterdoor on the right (newspapers). zoom on the machine and click on the button that says “Zurichsee Zeitung”. Click on the set of newspapers and on one active newspaper. Zoom out. Look at the newspaper on the table, click on von Toten’s picture and again on his suitcase. go back to the main hall and click on the star on the floor.

4. trapped

– click on Manfred and talk to him. After he leaves, zoom in on the bed grating and collect four metal rods (first one is to be taken by hand, other using the first rod).

– turn around and face the wall with cracks on it (you should have the gate on your right side and window on the left). Find four spots to place the rods in, and click the corner beneath the ceiling.

5. the airfield.

– click on the building twice, so you’re facing its front wall. click the rainspout near the open window. Inside turn on both levers. Exit the building.

– go near the plane. Zoom on the wheels and take out the blocking logs. zoom out.

– click on the pilot’s cabin, beneath the wings and turn the horizontal lever. get out.

– zoom in ot the propeller and turn it.

– get back to the pilot’s cabin and turn the main steering lever.

Covert Front épisode 3 : Night in Zürich, la solution, auteur: Lambda.

Chapitre 1 :

– Regarder sur la gauche, cliquer sur le journal que lit l’homme du banc, récupérer le journal et le feuilleter dans l’inventaire pour trouver un portefeuille et des notes. Aller à droite, ouvrir la porte métallique et entrer.

– Aller à gauche et prendre le passage du haut (entre les lampadaires), cliquer sur le guichet et acheter un billet de train (n’importe lequel). Ressortir et aller à droite, entrer dans le salon (« lounge »). Entrer dans le passage à droite et regarder à droite pour trouver des casiers. Cliquer sur le casier n°102 (tout en haut à peu près au milieu). Ouvrir avec le code 2340. Le code correspond à l’horaire affiché du train pour Vienne et le n°102 est à la fin de la note trouvée dans le journal. Récupérer les photos, l’appareil photo et les notes.

– Revenir vers le guichet où on a acheté le billet de train, cliquer sur le guichet de gauche et acheter un couteau suisse. Revenir en arrière, prendre le passage de gauche et entrer dans le restaurant. Aller au fond à gauche et entrer dans les toilettes. Entrer dans les toilettes de droite et regarder en haut, ouvrir la fenêtre avec le couteau pour s’échapper.

Chapitre 2 :

– Entrer dans l’hôtel, parler au gérant, prendre la clé de la chambre 14. Monter les escaliers et aller ouvrir la chambre 14 avec la clé, entrer. Cliquer sur le livre posé sur le lit, feuilleter jusqu’à trouver un papier avec un code. Aller au téléphone, décrocher le combiné et le poser sur la table. Composer le numéro trouvé dans le livre. Ouvrir l’armoire et entrer dans la nouvelle pièce.

– Ouvrir le carton et prendre l’espèce de clé, fouiller les tiroirs et prendre la petite clé. Se retourner et utiliser la petite clé et l’espèce de clé sur le boîtier à gauche de l’ouverture. Tourner la clé et abaisser le levier pour allumer les deux boutons.

– Tourner à gauche et cliquer sur la grosse machine posée sur le meuble. Cliquer sur les boutons et entrer le code (numéro d’identification trouvé sur les notes : M-24-7-69). Reculer et cliquer sur le gros bouton de la machine. Prendre le papier qui sort et sortir de l’hôtel et se diriger vers la vieille ville à droite.

Chapitre 3 :

– Cliquer sur la porte à gauche, utiliser le journal pour casser la fenêtre et passer la main dans le trou pour ouvrir la porte et entrer. Aller à droite et ouvrir la porte du fond. Ouvrir le portillon (en bas à droite) puis fouiller le tiroir pour trouver une clé. Cliquer sur la machine posée sur le bureau et entrer le code 32158 (voir les notes). Valider avec le gros bouton et récupérer le papier qui sort.

– Ressortir, aller à droite puis tout droit jusqu’à une grande pièce avec une étoile au sol. Passer la porte du milieu, utiliser la clé pour ouvrir la porte. Chercher le meuble N puis le tiroir « Ne », prendre la fiche trouée (dans les notes on parle du dernier livre emprunté, de Newton). Ressortir, prendre la porte de gauche et utiliser la carte perforée sur le lecteur de la machine (penser à ouvrir d’abord le portillon), valider avec le bouton. Récupérer le livre et le feuilleter dans l’inventaire pour trouver une photo.

– Ressortir et prendre la porte de droite, cliquer sur la machine puis sur le levier « Zurichsee Zeitung ». Cliquer sur le journal qui descend puis le feuilleter sur la table, cliquer sur les photos. Revenir en arrière et cliquer sur la grosse étoile au sol.

Chapitre 4 :

– Parler au garde. Tourner à droite, cliquer au bout du lit et récupérer le barreau rouillé. Récupérer les trois autres barreaux du lit en utilisant celui qui est rayé. Prendre la note sur le bord de la fenêtre. Tourner à droite et utiliser les barreaux sur les fissures du mur (une des petites fissures est au dessus de l’arche). Cliquer tout en haut pour grimper et s’échapper.

Chapitre 5 :

– Cliquer sur la maison, entrer par la fenêtre en utilisant la gouttière de droite. Abaisser les deux leviers en face. Sortir de la maison et aller jusqu’à l’avion. Enlever les cales sous les roues. Entrer dans l’avion et pousser le bouton à droite. Ressortir de l’avion, cliquer sur le moteur et lancer l’hélice. Remonter dans l’avion et tirer sur le manche.

You think you’re a big fan of Submachine?… Think again. And take a look at those pictures of Jennifer. You think you can top that? That’s a Submachine loader tattoo in the back of her neck right there. Epic. The artist was Kaylene from Wicked Ink in Sydney. I’m kinda speechless.

autor: MaW

I. Dworzec

1. Przewiń na lewo, zobaczysz siedzącego na ławce człowieka – weź od niego gazetę. Będzie w niej portfel i tajna informacja. Dwie rzeczy z niej będą nas interesować.
2. Przewiń do pierwszych drzwi w prawo, wejdź w nie. Przejdź do poczekalni – na końcu drogi w lewo znajdziesz dwoje drzwi. Drugie od lewej prowadzą do sali biletowej.
3. W pierwszym okienku przerwa – trzeba będzie tu wrócić za jakiś czas – podchodząc do drugiego okienka zostaniesz spytany o wybór biletu. Zajrzyj do tajnej informacji. Już wiesz, jaki kupić bilet. Odchodząc od okienka sprawdź, o której odjeżdża pociąg – czas odjazdu znajdziesz na tablicy po lewej. Zapisz go sobie.
4. Wróć do korytarza i idź do końca w prawo – skręć do poczekalni (Lounge), tam przejdź do wejścia po prawej – to sala skrytek kolejowych. Przyjrzyj się jeszcze raz notatce. Na końcu znajduje się dziwne pozdrowienie – czyżby to liczba zapisana cyframi rzymskimi ? Znajdź skrytkę o tym numerze.
5. Otwórz skrytkę używając do tego spisanego czasu odjazdu Twojego pociągu. Weź z niej wszystkie rzeczy, będą to notatnik, podręczny aparat oraz plik zdjęć. Pod nimi oczywiście najważniejsza dla Ciebie rzecz: kolejna tajna informacja.
6. Pamiętasz, że w jednym z okienek była przerwa ? Wróć tam teraz, a staniesz się właścicielem wielofunkcyjnego narzędzia typu “McGuywer Max” czyli scyzoryka.
7. Z sali biletowej przejdź do bufetu (wejście przed salą biletową). Tam nic nie zamawiaj, skręć za bar do toalety. W jednej z toalet da się wspiąć na muszlę, nad spłuczką znajdziesz okienko – za małe jak na Ciebie, ale po użyciu scyzoryka będzie w sam raz.
8. Wyskoczysz przez okno. Bez trudu domyślisz się, że Twoim celem będzie hotel za rogiem (jedyne drzwi, w które można wejść).

II. Hotel

1. Recepcjonista zaproponuje Ci dwa pokoje: 12 i 14, choć z tajnej informacji (którą zapewne już przejrzałeś wcześniej) wynika, że szukasz pokoju numer 13. Zainteresuj się kluczem z pokoju 14. Wejdź na piętro, skieruj się do tego pokoju (użyj klucza).
2. W pokoju nie czas na spanie, ani na czytanie, ale pomimo tego zajrzyj do Biblii. Przekartkuj ją, może znajdziesz coś interesującego. Będzie to pięciocyfrowy numer. Pora poszukać telefonu.
3. Głupia sprawa, aby użyć telefonu należy zdjąć słuchawkę z widełek, odłożyć na bok, a następnie wykręcić numer. Czyżby coś gdzieś się przesunęło ? Pora przeszukać wszystkie kąty – zacznijmy od szafy.
4. W szafie zniknęła tylnia ściana ukazując przejście do poszukiwanej trzynastki. Zacznij od obklikania wszystkiego, co się da. Zostaw w spokoju coś, co wygląda jak dziwna maszyna licząca – za chwilę staniesz się właścicielem małego i dużego klucza, który to jak się okaże, jest wajchą uruchamiającą dalekopis (to ta dziwna maszyna).
5. Odwróc się przodem do wejścia. Użyj małego kluczyka na dziurce panelu po lewej stronie otworu wejściowego. Duży nałóż na trójkąt. Przekręć oba.
6. Dalekopis zaczął działać. Spuść wszystkie wajchy w dół. Zajrzyj do wcześniejszej tajnej informacji, tam jest Twój kod agenta. Gdy podniesiesz dźwignie pokazujące znaki, których nie ma w Twoim kodzie, wyskoczy Twój pseudonim.
7. Wyjdź z panelu ustawiania dalekopisu i kliknij przycisk na płycie czołowej. Oto następna tajna informacja. Wiadomość kieruje Cię do biblioteki miejskiej.

III. Biblioteka

1. Tutaj mały zonk: jednej rzeczy od początku gry nie użyłeś – gazety. Czy można gazetą wybić okno ? Można. Wypróbuj to na jednym z drzwi. Przez wybite okienko będziesz musiał przełożyć rękę, by odblokować zamek.
2. Będąc w środku wejdź w drzwi na wprost. Odblokuj zatrzask barierki, by dostać się do maszyny. Może zajrzyj też do tajnej informacji, by wiedzieć, jaki numer wprowadzić ? Otrzymasz nazwę książki.
3. Pora udać się do katalogu tematycznego. Zanim wyjdziesz, przejrzyj jeszcze pomieszczenie – może znajdziesz klucz ?
4. Wyjdź z pokoju i idź korytarzem w prawo, do środkowego wejścia. Otwórz kluczem kratę.
5. Znajdź szafkę rozpoczynającą się na literę taką samą, jak nazwa książki z karty bibliotecznej. W tej szafce wyjmij przegródkę zgadzającą się z literami początkowymi tytułu. Poszperaj w niej – coś znalazłeś ? Pora by coś wypożyczyć.
6. Wróć do korytarza, wejdź w pierwsze wejście na lewo. Odblokuj zatrzask barierki, by dostać się do maszyny. Tym razem wystarczy tylko włożyć znalezioną kartę i nacisnąć przycisk. Potem nie zapomnij odebrać książki.
7. Przekartkuj książkę na miejscu. Fotka, która wypadła jest popisana na czerwono – są tu gdzieś gazety ? Wróć do korytarza i skręć w lewe wejście. Już wiesz, której gazety szukać ? Opuść jej roczniki używając wajchy maszyny do wybierania.
8. Wybierz szukany numer. Gdzie on spadł ? Nie ma go w inwentarzu, trzeba sprawdzić w pomieszczeniu. Jest. I są dwa zdjęcia. Jedno takie same jak masz u siebie, drugie to nikt inny jak Karl von Toten. Kliknij, by zobaczyć zbliżenie. Ten symbol mijałeś po drodze. Wróć tam, gdzie go widziałeś.
9. Kliknij na symbol na podłodze, by dopadła Cię banda żołdaków. Nie dasz im rady, ale innej drogi dalej nie ma.

IV. Więzienie

1. Pogadaj z przyjemniaczkiem – blablabla – nieważne, byle sobie poszli.
2. W ścianie znajdziesz dziury w tynku wyglądające jakby ktoś zerkał zza desek. Pytanie brzmi: co w nie wsadzić ?
3. Spojrzyj na łóżko. Jeden z prętów przerdzewiał i ledwo się trzyma. Kręć nim tak długo, aż się nie urwie.
4. W międzyczasie ktoś podłożył kartkę na okno. Olej ją, dopóki nie wyrwiesz pozostałych trzech prętów – użyj zardzewiałego pręta jako dźwigni.
5. Pamiętasz “oczka” ? Jest ich dokładnie tyle, co prętów. Do dzieła!
6. Jak dojdziesz do szczytu zaczaj się w górnym rogu (kliknij tam). Przyjdzie strażnik i Twoja ucieczka będzie możliwa.

I tu duży ZONK: wcale nie musisz brać kartki z okna, by przejść do następnego rozdziału – czyli dowiedzieć się, co czynić dalej.

V. Lotnisko

1. Podejdź do samolotu. W kabinie pilota przesuń dźwignię w bok, wysuń klocki spod kół.
2. Wróć do budynku. Choć zamknięty na 4 spusty, to do górnego okna idzie dostać się po rynnie. Na co czekasz ?
3. W budynku interesują Cię dwie wajchy na wprost. Opuść je, by oświetlić pas.
4. Wróć do samolotu. Za skrzydłami jest śmigło. Zakręć nim.
5. Wskakuj do kabiny pilota. Drążek do siebie. Lecimy do następnej części Cover Front-u!

Miłej gry bez podpowiedzi (i z podpowiedziami też) :-)

This is how we roll.

Once a group of polish graphic novel artists get together, they tend to get a bit drunk. And then they like to draw comics together. One way to do it is a comic battle on an easel in front of a cheering audience (well, more screaming from the top of their lungs then cheering). On this photo easels pictured, afterwards, partly destroyed because there was no way to make a decent photo during the event – too crowdy:

On the next picture you can see Bartosz Sztybor, well known polish story writer, the only person to win two awards at the International Comic Festival in Lodz in one year (that record was set last year, as he won in two different categories with different short graphic novels) as he attempts to draw something, because the word spread the he’s not only great story teller but graphic designer as well. See for yourself:

I’m not too convinced. You can’t be THAT good at everything, mate.

So as far as the battle is concerned, there could be only one winner:

That’s Jaszczu, and yeah, you can see that killer instinct in his eyes, which is neccesary to slay all other contestants. Just look at this happy care bear:

that’s Krl, the runner up. He did not stand any chance whatsoever against that killing machine above. You might ask yourself how did I do in that battle? Well I was wise enough not to take part in it. This way I’m covered in full extent. Once the battle was over and dust settled, we thought it would be a good idea to draw each other. So:

That’s me drawn twice by this dude:

and this is him:

drawn by me. The resemblance is in deed striking, you must admit:

And once again me:

drawn by no other than forementioned Bartosz Sztybor:

So maybe he DOES have a good drawing hand. Because I look exactly like that. EXACTLY.

The third and final way to release your drawing force fueled by some alcohol is to take part in a freestyle jam, which is a comic story made up in real time by different artists, based on what-did-the-person-before-you-do rule. Basically lots of profanity ensued. But there were some hilarious moments of utter genius in that work. Something worth a good laugh. Unfortunately I don’t have that comic, it went home with the sketchbook owner as I imagine. But here are the geniuses hard at work:

And there – three ways to run a nerd party at a comicon. I can’t really say anything more about the comicon itself, because I didn’t participate in any way, but I heard it was good.

an interview by Igor Hardy.

In modern times great adventure games don’t come in big shiny cardboard boxes and on multiple CDs. In fact very often they are just one click away from you in your internet browser.

Among some of the best of those are the works of Mateusz Skutnik of Pastel Games. His episodic adventure games resume consists of such well known series as Submachine and Daymare Town.

These games despite simple interfaces offer complex, creative puzzles in visually fascinating hand-drawn game worlds full of eerie atmosphere and a kind of surreal beauty.

Besides being a game designer Mateusz Skutnik is a highly regarded Polish graphic novel author. He is especially well known for his series Revolutions – the fifth book is coming shortly. Concurrently, on June the 17th in Polish cinemas has premiered a CG 3D animated short “Kinematograph” by Oscar-nominee Tomasz Bagiński which was based on one of one of the stories from Revolutions.

We are grateful to Skutnik for answering a few questions about his works for us.

____________________________________________________________________

Igor Hardy: Could you briefly introduce the Pastel Games team, tell us how you work together, and who and in what way is responsible for which game series?

Mateusz Skutnik: Pastel team was started by me and Karol Konwerski. Concerning our point and click escape/puzzle games –  Karol writes scenarios for 3 different series – the Fog Fall, the Great Escapes and Covert Front. Submachine and Daymare Town are completely done by myself. Later we started inviting more graphic artists, mostly Polish comic book artists to join our team and draw for us. And so it goes – Maciej Palka draws the Fog Fall series and Kamil Kochanski draws the Great Escapes. Besides those two we also have Barbara Jarosik on board, who writes scenarios and draws her own games, two so far – the Escape Artist and Charger Escape. She works on her third game right now. As I said – all games go through me where I polish them, add more puzzles or logic to the game, and program using my pnc engine developed throughout last 4 years.

IH: The Submachine series seems to have become your biggest and most recognized adventure game creation. How do you look at it now, after new episodes have been appearing for several years, and how did you see the project in the beginning?

MS: At the beginning, the project was a one-game only experiment. Didn’t have a clue that it would gain such appreciation. So after the first one I was very pleased yet surprised by the responce, so the continuations followed. Right now series consists of 7 games with a lot of backstory included. With each game I reveal more and more. This series should go at least until Submachine 10. After that I dont know.

IH: How successful did you find the episodic format of releasing games in several concurrently running series? Do people complain a lot when they don’t get a new episode of their favorite series for a longer time?

MS: Well yes, they do. But that’s ok, that just means that they want that game badly. I’ve got only 3 series of my own – Submachine, Daymare Town and Covert Front – given one game yearly that gives me 4 months to develop each episode. That’s more than enough, I dont have to rush things, and people recognize that in my games. Everything in its own time. That’s why Covert Front 3 is taking so long right now. But once its done – it will be great, I promise.

IH: Your games receive a lot of feedback from players of your games and you have a devoted group of fans among them. What are the aspects of your games that you feel appeal to your audience the most?

MS: Every game is like a clock. Every piece has to fit perfectly in order to work. There are several aspects of each game taken into consideration, each one of the same value. Having said that, we are ready to create a good game. However – what is so appealing to the audience? atmosphere, logic, well thought puzzles, and most of all appreciate player’s intelligence. It looks like I manage to do that in my games. Luckily.

IH: Given your background in comics and architecture how do you approach drawing and animating the environments in which you set your games?

MS: Given that background, I draw games as I draw comic books. Without sketches, what comes out of a drawing – stays there, I hardly ever make changes to what I’ve already drawn. Techniques are very different, comic books are mostly watercolours, here we have vector graphics in flash.

IH: Why did you choose photos instead of drawings as backgrounds for the 10 gnomes series?

MS: I always wanted to create a photo-based game. You know – less drawing, less trouble :D . But there was always an issue of on-stage elements that change. Switches, lights, evers etc. How to make that believable. Simple idea of a gnome-findng game hit the jackpot for me, you just look around and try to find hidden objects. The combination was perfect.

IH: Do the limitations of the Flash medium, especially the necessity to maintain small file sizes, produce any problems for you? Given opportunity would you be interested in giving your running series a rest for a while and focusing all efforts on creating a big budget, non-web browser-based game project with things like painting quality art, detailed animations, recorded speech for characters?

MS: Sure, given that the budget would allow me to toss everything else away and work on just that. But – flash games are not small, small file size is not a problem, right now we can make 10Mb games no problem, and these are long games.

IH: Could you tell us what it is your main interest in drawing, comic books and visual arts in general. Also, what happened that you started to create games at some point in your career?

MS: Don’t have main interest. Or maybe I do – delivering a story. Whether through graphic novels, games or movies – no difference. What happened that I started creating games? Nothing happened. I just started.

IH: What kind of atmosphere and experiences do you seek yourself in other people’s creations (games, art, fiction)?

MS: I don’t seek. I just embrace what’s coming. That regards to music, games and books. I’ve got my favorites, but can’t say they inspired me.

IH: Being a very prolific adventure game creator how do you cope with amount of new puzzles that need to be constantly invented?

MS: Don’t know. It’s not the puzzle that starts the design. Usually I create environment, and then add a puzzle that fits into that setting. It comes naturally I guess.

IH: How do you compare the experience of playing adventure games (and games of other genres as well) to the experience of creating one’s own?

MS: Incomparable. You can’t compare making and consuming. Both are fun and trigger different emotions – that’s for sure.

IH: Besides adventure games what other game genres does Pastel Games dabble in? Are there some special traits or design goals that connect all your company’s games regardless of the different genres they belong to?

MS: We just opened our brand new iPhone division – those games will be completely different from what we do best on the internet. Mostly action, platform and skill games. No, there is no pattern connecting all the games. They’re far too different from each other to try to introduce something like that. Take Submachine and Daymare Town for example. Impossible to connect.

IH: Speaking of  iPhone, what new opportunities and/or challenges does this popular platform provide? Does the iPhone audience differ in their expectations from the people who play your games on their internet browsers?

MS: That’s a completely different target group, different background and age. We will be trying to understand the differences and create games that appeal to that audience. Maybe we will succeed. That’s a biggest unknown right now for Pastel Games.

IH: Recently Pastel Games released a new adventure game The Scene of The Crime that gives the player more detective work like challenges than traditional puzzles. Does it take a different approach to create this kind of gameplay? Is it a beginning of a longer series?

MS: It’s a bit different approach mostly because the plot is non linear. There’s no given path in which you have to discover objects – like in all other pnc games – here you can find different items in different order and the story still has to make sense. that’s a bit more difficult to achieve than creating a regular point and click. About longer series – we’ll see. if this game creates a buzz, then maybe. But right now I’m not into creating new series, while my main game series suffer from lack of new episodes. I want to revive Covert Front, Submachine and Daymare Town and maybe then think about possible new series.

IH: Can you share of your plans for game releases in the next months, or at least give a few hints about what new surprises can we expect from Pastel Games?

MS: Covert Front in June or July, then Submachine 6 which should take around 3 months to finish, so around October, November, and then Daymare Town before the end of the year. That’s my plan for my games. What will pop up in the meantime from other Pastel Games creators is a big unknown for now.

IH: Let’s step out of the gaming topics for a brief moment… A short animated movie Kinematograph by Tomasz Bagiński based on a story from your Revolutions is just having its premiere. However, the style of the art in the movie is very different from your graphic novel. From a brief chat I was fortunate to have with Tomasz Bagiński recently I learned that he was given free hand with his vision and interpretation. How does it feel to have your own story reinvented for such a high-budget production that took many years to conceptualize and complete? Will the release of the movie help you to publish your graphic novels internationally?

MS: Honestly don’t know. Comic books are a tough item to sell and if anything would help – it’s that movie. About the reinventing – the story  isn’t reinvented – it’s an exact copy of the comic book scenario with additional minor changes, only the graphic side is changed. And for the better. Original comic graphics are more artistic than commercial, and the movie took more open approach to wide audience. The movie in its present form is acceptable for the mass viewer. If it resembled original comic characters it would be just eyebrow rising.

IH: What advice would you give to fans who inspired by your adventure games would like to create games of their own with similar strange, escapist worlds ?

MS: No advice. Anything I might say to someone who’s about to start creating games would be useless. On the practical side? nothing more that dozens of online tutorials have to offer. On the artistic side? Nothing to say. Everyone has to evaluate this on his own. It’s simple as that. You cannot be taught how to create a game. You have to feel it and learn it on your own.

IH: Thank you very much for the interview. We wish you best of luck with your future work and an expanding group of fans.