Several brief but well-animated cutscenes offer a closer look at the main characters in action and can be replayed to further enjoy the agony, the idiocy, and even some uptown dance moves. Small animations enliven every scene, such as water rippling, bugs crawling, animals stalking, and lights flashing. Goodbye’s locations are more varied than in the previous games, including a hotel at the end of the world, a trooper ship with mazelike corridors, an enigmatic cloning facility, and a battle-worn city. In a doff-of-the-hat to Chaos, duckbilled platypus shapes roost in the rooms, with their nascent offspring hidden in the background. Some of the scenes aim to trigger a double-take moment, where, if you look closely, the rough end of a beam looks like a face, giant legs are spread out across a hotel floor, and a water tap resembles a skull. In a game with more realistic graphics, this dystopian setting would be dark and depressing, but the stylized graphics in Deponia instead exude an atmosphere of quixotic make-doism. The exterior cityscapes display acrid yellow skies, buildings with gaping holes, and jagged metal debris. In the interiors, curtains are bedraggled, cardboard is littered everywhere, and congealed substances ornament the walls. Everything on Deponia is worn-out, blotchy, and piecemeal (picture a world constructed entirely from dumpster diving). It features colorful, cartoon-like 2D graphics which create a quirky yet believable world. Like its predecessors, Goodbye Deponia fits snugly into the tradition of classic third-person, LucasArts-style comedic adventures. (This is not a game for children.) You must access all the dialogs to ensure progress, and you may have to re-access some of them, as essential new choices occasionally appear under old dialog trees. One example is a woman dancing half naked in public as a substitute for an organ grinder’s monkey. As in the previous Deponia games, the script contain dollops of toilet humor, some sexual innuendo, and a few incidents of deplorable taste. You can click through these conversations, though the voiceovers are so good that I rarely did. Dialogs in Goodbye are snappier, and I laughed a lot more. Overall, the writing has improved since Chaos. Rufus thinks he has found a shortcut to their destination, but of course it ends up being a detour.
(The story’s ongoing complexity definitely warrants playing the first two games before attempting this one.) Rufus, Goal, Bozo (a fisherman), and Doc (a scientist) are on a coastal cutter heading toward Porta Fisco, where the last highboat to Elysium will soon depart. The plot resumes shortly after the end sequence in the second game, Chaos on Deponia. As a parting gift, convincing the Elysians to abandon their plan to blow up the planet would also be nice. Once again, Rufus plans to use his friendship with Goal – an aristocratic young woman from Elysium, a floating city far above the planet surface – to finally bid Deponia adieu. Personally, I find Rufus's antics quite entertaining, if sometimes atrocious.
GOODBYE DEPONIA SERIES
The player’s enjoyment of the Deponia series is largely based on your reaction to Rufus – i.e., whether you find his behavior amusingly provocative or shockingly aggravating. Most of the people around him are simply hoping to survive him. “Winging it” is his trademark and he knows just enough to make an awful mess of things. Rufus is imaginative, reckless and wholly self-centered. Is it time to bid Deponia a fond farewell already? Not so fast! Though the main menu has a “now leaving Deponia” message splashed across the screen near the start of Goodbye Deponia, there's one last engaging adventure remaining for series veterans on this garbage-strewn planet.Īs in the first two games of Daedalic's comic trilogy, the finale's story focuses on Rufus, a malcontent inventor who seldom lets reality taint his sky-high ambitions. Becky Waxman - NovemThis review contains minor story spoilers relating to the first two chapters.
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