The Inquisitor: Book 1 - The Plague review

The Inquisitor Book 1
The Inquisitor Book 1
The Good:
  • Complex, historically-sound story
  • Intriguing characterisation of the protagonist
  • Well-written, concise script
  • Adept localisation and voice acting, especially for Eymerich
The Bad:
  • Clunky gameplay mechanics
  • Pixel-hunting
  • Some poorly clued puzzles
  • Dreary abbey setting
  • Many avoidable visual and interactivity-related glitches
Our Verdict:

A combination of the eponymous Inquisitor’s acerbic charisma, a compelling story and ambitious production quality overcome a plague of minor gameplay issues to keep you interested in the first episode of this four-part series.

It is AD 1364, a dark time for the small village of Calcares in southern France that finds itself in the grips of a lethal plague that has decimated its population. The prior of the abbey at nearby Carcassonne suspects the disease to be of demonic origin, so he summons notorious inquisitor Nicholas Eymerich to investigate the case. Eymerich's reputation as a resourceful and committed – and suitably ruthless – defender of the Catholic Church makes him the ideal candidate for the job, and he is directed to visit the village to determine the nature of the illness as well as the fate of a missing monk, Father Corona. But even before he can saddle his horse, Eymerich stumbles onto evidence of heresy at the abbey itself, which delays his trip and sets up the first episode in the planned four-part series, The Inquisitor. Subtitled The Plague, this opening installment is an erudite, nuanced and unapologetically cruel start to a grim, socio-religious mystery, and despite many minor gameplay nitpicks that tarnish its appeal, it is a sincere, ambitiously crafted game that achieves its core objective of creating interest in the ongoing series.

The game is adapted from a set of sci-fi / fantasy novels by contemporary Italian author Valerio Evangelisti, who in turn has drawn inspiration from the real Nicholas Eymerich, a Dominican priest and Inquisitor General of the Spanish Inquisition, entrusted with pursuing – and where possible, quashing – paranormal and Satanic incidences in medieval Europe. This three-hour debut details the history-laden plot via conversations and books, and features a moderately challenging mix of inventory quests and standalone puzzles. Clever use of light and shadows, detailed facial expressions, well-written and nicely voiced dialogues, and a steady pace of revelations create a palpable sense of something wrong beneath the all-pervading veneer of sanctimony, and will keep you engaged till the cliffhanger-ish end. This is despite some clunky game mechanics like maneuvering Eymerich and objects at times, as well as pixel-hunting, randomly activated locations and hotspots, some poorly clued puzzles, and a few disruptive glitches. Even with these foibles, however, the interesting story and superb characterisation of Eymerich are sufficient reasons to give this Inquisitor a fair chance. 

The plot blends religious beliefs and supernatural events to create horrors both real, like the putrefied, distorted corpses of those killed by the pestilence, and surreal, where visions of pagan deities – demon women with flames for hair and such – haunt the followers of the Church. Underneath this overarching crisis lies a more insidious problem: moral and ideological corruption within the Church itself. Centuries of crusades against various groups of people have resulted in a multitude of covert opposition, and this in turn has led to increasing paranoia among Church members over their weakening grip on those they controlled through force and fear. The abbey at Carcassonne is no longer a haven of pure faith, and appears, at the moment, to be the tip of the proverbial iceberg of internal conspiracies. 

Meanwhile, Eymerich is the polar opposite of a conventional hero. Tall, bony and middle-aged, he is arrogant, impatient and indiscriminately rude towards anyone who offends his finely-honed sensibilities, be it other monks, guards, servants, ladies, and even the wheezing, manipulative prior, Abbot Vinet. Fanatical in his devotion to the Church, he considers the calculated, gruesome murders of those he condemns as heretics his duty, to the extent of even enjoying the process. He frequently refuses tasks with snide putdowns like, "I hate touching things. Particularly for no particular reason," and is downright vicious when offered a well-meaning glass of lemonade. However, at no point does he come across as boorish, as his outrageous superiority complex is justified by his obviously high intelligence, bolstered by the vast amount of knowledge he possesses from his travels and studies; his keen sense of the true motives of people; his unwavering personal integrity (within the limitations of his faith); and interestingly, his scathing wit. The game walks a constant tightrope with his characterisation, balancing each shocking negative trait with an impressive positive one, and thereby gives us one of the most offensive, intriguing, and perversely likeable protagonists of all time.

There are few other characters in this episode. The elderly Vinet is a crafty, politically-savvy man who subtly obstructs Eymerich's quest despite being the one who initiated it. A shady librarian stutters his way through a web of half-truths that threaten the very core of the abbey, while a few errand boys gossip about the recent goings-on at the village. Vinet's crass mercenary guard excels at grating on Eymerich's sensitive nerves with his shenanigans, while a rustic innkeeper incurs his wrath by merely being polite. There aren't too many locations either: set almost entirely at the abbey except for a brief segment at Calcares at the end, Eymerich shuttles via long corridors between Vinet's office, a cluttered kitchen, a tiny library, a dreary courtyard, his miniscule room and a couple of secret chambers.

The gameplay unfortunately lacks the finesse of the storytelling. The process itself is uncomplicated, as left-clicking an object brings up the possible interactive options, such as look at, get a close-up, or take, open, or use it, while right-click is left unused. Collected items, about half a dozen at a time on average, are added to an inventory at the top of the screen, to be used with each other or onscreen hotspots. But the playing experience is hampered by a litany of nitpicks: objects are described in plain white text at the base of the screen, which is frequently lost amidst the background art; some hotspots are extremely small or placed right next to others, and in the absence of a hotspot revealer, require sweeping each screen with the mouse to detect; the inventory must be clicked to open and items then clicked to bring up usage options, requiring a third click to use them; and areas, objects and even alternate viewing perspectives of existing places become accesible without notice, making you repeatedly revisit previous scenes scouting for such changes. One puzzle that needs a part to be dragged onto another may take a few tries to manage, while a sometimes-there-sometimes-not hotspot had me stumped at a crucial juncture towards the end. The game also froze up frequently for me, proving the ten save slots to be essential.

Eymerich jots his objectives in an omnipresent journal and recites them aloud ad nauseam when kept idle. He also sketches out, in amusing chicken scratches, key events in the diary, skipping pages if you miss something – which is possible, because the game is not entirely linear, and quite a few activities appear to be optional. His reference notes chronicle the bizarre abominations he has encountered in the past, some of which refer to the plots of Evangelisti's novels. While the stories are not legible, sometimes Eymerich deigns to reminisce a bit about a particular case. Continuing the little annoyances, unfortunately, the journal always opens on the first page instead of the latest one. At one point, a map of the abbey is added to your repertoire, which usually – but not always – marks out Eymerich's location, and is supremely helpful in allowing teleportation between most available areas. The map also shows your current score out of a hundred, which is augmented by collecting items, solving puzzles, and discovering Easter Eggs like developer logos. The latter warrants serious pixel-hunting, and it's obviously easy to miss lots of stuff because I ended with a paltry score of 73.

Continued on the next page...

What our readers think of The Inquisitor: Book 1 - The Plague

Posted by Cheshire Cat on Apr 19, 2016

Avoid like the plague

Much as I wanted to see what happens next, I got annoyed with the gameplay and deleted the game before finishing it. I couldn't for the life of me find the appropriate pixel in order to progress futher and just lost it. Two-stars rating is only for the good...


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