Winnie the Pooh in the Hundred Acre Wood (1984)
Genres:Adventure
Themes:Fantasy
Game modes:Single player
Story:The Hundred Acre Wood was populated with characters from A.A. Milne's Winnie the Pooh series of short stories.
Each character had lost an item of value to them and wanted the item returned. The player moves through the Hundred Acre Wood and collects the missing items then returns them to their rightful owners. Only one item can be carried at a time, so picking up one item means leaving behind of whatever item is currently being carried. Some screens have interactive sub elements. For example: you could "climb" Pooh's tree and see the limb where he kept his honey pots safely out of the reach of flood waters (a reference to a scene in the Disney animated movie "The Many Adventures of Winnie the Pooh"and Chapter 9 of A.A. Milne's book Winnie-the-Pooh.). The game has no animation in the mode of a traditional Quest game such as King's Quest. Rather, the Hundred Acre Wood existed as a grid of connected static screens. Players move between the screen using the arrow keys and can only move North, South, East or West. The missing items are randomly assigned at the start of each new game to screens within this grid, although the various characters can always be found on the same screens. When an item is "dropped" on a screen in order to "pick up" another item, the dropped item stays on that screen until the user returns to retrieve it later.
Reuniting a character with their item results in a celebration screen.Show more
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The Dark EyeThe Dark Eye is a computer game of the horror genre, released in 1995 for the PC by the now-defunct software company Inscape. Upon its release the game attracted little attention from either critics or consumers, though it has received some attention since and, arguably, cult status.
The game featured combined 3-D graphics, stop motion animation and video segments. With its unconventional interface, storyline, and characters, the game's peculiarity became its selling point. The characters are largely lifelike in appearance except for their clay-modeled faces, which are often distorted or feature grotesquely exaggerated features. This near-realism, sometimes referred to as the uncanny valley, contributed to the game's ambience of unease and anxiety.
The character animation is stop-motion. Inscape did the art design of the puppets (lead artist Bruce Heavin) and had a Hollywood house actually make them. Inscape then hired two stop-motion animators and Russell Lees spent many, many hours in a hot, dark warehouse directing the animations. The working hours were from 7 am to 7 pm for about a month. They created computer-generated screenshots of the environments and shot against blue-screen, and they had a director of photography light them to match the environment.
Also notable was the use of author William S. Burroughs as a voice actor: Burroughs provided not only the voice for the character of Edwin, but also voiceovers of two slide-show sequences illustrating the short story "The Masque of the Red Death" and the poem "Annabel Lee". Another story, "The Premature Burial", can be found while reading the newspaper during "The Tell-Tale Heart", and the poem "To Helen" can be read while playing the victim in "Berenice".
Thomas Dolby composed the game's music.
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Structurally, the game was a point-and-click adventure fueled by the macabre stories of Edgar Allan Poe. The player could experience three of the stories ("The Cask of Amontillado", "The Tell-Tale Heart", and "Berenice") from the perspectives of both murderer and victim.
The game presented no choices to make, no life-or-death decisions, and no points; similar to other point-and-click adventures like Myst, the game simply waited for the player to find the next hotspot or location, at which point another video would play to advance the plot. During the portions that were direct interpretations of Poe's stories, the player was constrained to follow the actions of the stories' characters. The player could carry only one item at a time. Much of the animation in The Dark Eye consisted of QuickTime movies, either full-screen or smaller looping segments framed by a static background.
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