Silence: The Whispered World 2 - GDC preview
Silence: The Whispered World 2 - GDC preview

Silence: The Whispered World 2 preview

Daedalic’s 2010 game The Whispered World was celebrated by many players for its return to “classic” adventure elements: 2D cartoon graphics, an epic fantasy storyline, and an abundance of clever puzzles. When I sat down with Daedalic’s Claas Wolter to get a first look at the upcoming sequel, Silence, I wasn’t sure if I was remembering the right game.

Wolter started the preview by showing the opening cinematic, which was released in December as a trailer. In it, a teenage boy named Noah tears his sister Renie away from the snowman she’s building to run to the safety of a bunker, while incoming planes begin to drop bombs on their city. At the end of the three-minute movie, Wolter asked what we thought. My sheepish reply: “Um, wasn’t The Whispered World that game with the clown named Sadwick?”

Spoiler alert for The Whispered World

I’ll admit, I never played The Whispered World. Maybe if I had, I could have figured out the connection between the video’s serious, real-world situation and the comedic fantasy game about the sad-faced clown. Those who did play The Whispered World might already have a hunch about the identity of Silence’s protagonist. If you didn’t, brace yourself for a great big spoiler: Silence’s Noah is the boy who dreamed up Sadwick and his entire adventure.

End spoiler

This apparently darker storyline isn’t the only obvious difference between The Whispered World and its upcoming sequel. The aesthetic has also been overhauled, with striking 3D graphics that use a “camera projection” method. Instead of applying textures to 3D objects to give them color and form, as is normally done in 3D games, Daedalic is building a 3D environment and then projecting a 2D painting onto it. This allows them to reap the benefits of 3D, such as dynamic camera angles and close-ups, while taking full advantage of their 2D artists’ skills. The paintings are meant to be viewed from a specific position—if you were able to pan the camera around you’d see the landscape start to skew as the camera moved too far from the intended perspective—but since the game uses fixed cameras, this limitation should never be apparent to the player. As an added bonus, Silence will run better on lower-end machines than a game with true 3D graphics. And from what I saw, it does look incredible—in fact, that opening cinematic is all in-engine, not a prerendered cutscene. (Check out the video near the end of this article for a better idea of how camera projection works.)

In the game’s first scene, which takes place in the bunker, Noah attempts to distract Renie from the chaos outside by telling her the story of Sadwick and his adventure to save an ailing king in Silence, the land of dreams. Besides catching players up on the events of the first game, this sequence also gets you used to the interface—a departure from Daedalic’s usual approach. Silence uses “one click” mouse controls, with a smart cursor that changes in appearance to indicate what your next task is or what items you’re trying to find. I saw this in action as Noah looked around the bunker for props to use in his storytelling: the cursor turned into a jester hat, suggesting that Noah could only begin to tell Renie the story once he cobbled together a reasonably convincing Sadwick costume.

At points you’ll need to hold down the mouse button and drag the cursor to move items—for example, a heavy rock that must be pushed across the room—giving a more hands-on feel than we’re used to with traditional point-and-click. And in what might prove to be the sequel’s biggest fundamental change, there’s no inventory in Silence. You can pick up one item at a time, but that item will be used nearby, not carried around with you. “Gameplay-wise we want to do things a little differently,” Wolter explained, “to make the puzzles, and how they carry the story forward, more intuitive.”

Some of Silence's supporting characters

 

Why has Daedalic, whose games have always been faithful to the “old school” adventure format, decided to go in this new direction? “We’ve seen so many games that use heavy story focus but other gameplay opportunities,” Wolter said. “We’ve seen of course the Telltale games, for example—a bigger audience for the gameplay. On the other hand we don’t want to go away from our roots and do something like an interactive movie where you just have to click through, but we want to create gameplay that maybe can attract more players to the story.”

This doesn’t necessarily mean Silence will be deprived of the challenge fans enjoyed in the first Whispered World game. “It’s way more accessible now, without becoming too easy for the core adventure community,” Wolter explained. “We don’t want people to get stuck in a situation because they didn’t find the right item five screens before, or didn’t combine it in the right way, stuff like that. But [we still want to] have them thinking about what’s going on, listening to the dialogues, paying attention to the world around them.”

Continued on the next page...

Silence can be purchased at:

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Game Info

Silence

Platform:
Mac, PC, PlayStation 4, Xbox One, Linux

Genre:
Fantasy

Developer:
Daedalic Entertainment


Game Page »

Digital November 15 2016 Daedalic Entertainment

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Silence

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About the Author
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Emily Morganti
Staff Writer

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Comments

Phaid
May 22, 2014

My blood always begins to boil whenever developers cite Telltale’s latest (lack of) efforts as a source of inspiration and subsequently jump onto the “storytelling takes priority over everything else” bandwagon. This usually results in the kind of “gameplay” everyone got sick of during the FMV era - press a button and a cutscene happens, rinse and repeat. The only difference is, these days actors have been replaced with 3D models.

Story and gameplay aren’t contradictory in any way, they can both complement each other greatly, but only skilled designers are capable of achieving that goal. If you’re purposefully dumbing down the gameplay or getting rid of it altogether for the sake of telling a story (like Telltale or Chinese Room), you’re doing it WRONG. Maybe, just maybe it’d be better for you move on to the movie industry instead, because you clearly lack the understanding of what a GAME DESIGNER should be doing in his field, that is: creating interesting GAMEPLAY that supports the story (puzzles, flow etc.) as opposed to imitating MOVIES.

Very, very concerned about the direction the adventure genre seems to be taking. Thinking not required, just watch the story unfold. What the hell.

Frogacuda Frogacuda
May 22, 2014

Clearer objectives, easier to find items, and more help when you’re stuck are all positive things. I generally don’t mind the fact that adventure games are trying to be less punishing. But I’m not as much of as fan of the fairly extreme streamlining that some games are doing.

Adventure game mechanics are already very simple and very intuitive. They are not the problem. The problem is just that very good adventure puzzles are one of the most difficult kinds of gameplay to do well. So instead designers give up and present the player with what amounts to busy work instead.

Terramax Terramax
May 22, 2014

FULLY AGREED PHAID!

I’ve explained the same for David Cage’s games also. It’s so surprising people don’t often make the correlation between adventure games by the likes of TellTale, and the notorious older FMV games like Night Trap.

Regarding this game, however, I can say that the original Whispered World is the ONLY adventure game I’ve thoroughly enjoyed since Still Life back in 2005. It had its faults in places, but I loved both the story, and visuals (although the puzzles weren’t particularly engaging).

The writing was surprising well written also. I hope this instalment has more characters to interact with this time though.

MoP MoP
May 23, 2014

I don’t have anything against the “interactive storytelling” focused offshoot of the genre, I can enjoy those games for what they are… as long as it’s an offshoot.

I’m thrilled adventure games are seemingly booming again, but the increasing trend of going down that road is worrisome; even the “structurally” classic games often opt for a much lower challenge/difficulty level than I’d hope for (especially concerning when it’s the high-profile Kickstarted titles… fingers crossed at least for Cyan being the counterbalance here).

I’d hope for both styles to coexist, but watching the trend unfold, can’t help but echo Phaids closing sentiment right now.

diego diego
May 23, 2014

I must agree with the above posters. Daedalic served as a great “counter-weight” on the other end of the scale of Telltale, and if there’s one thing that “saved” the genre after the golden-age it’s the diversity of titles. I don’t think interactive movies are unnecessary, just as we’re witnessing the “Myst clones” renaissance in last couple of years - probably because the market wants it.

I’m not concerned though - not only we’re not sure about this game (though, it doesn’t sound “promising” in the interactive department) but we don’t know what future holds for Daedalic, and like I said - while there’s the demand (and commentary for this article is a solid proof for that) I’m sure the genre will keep the diversity.

Advie Advie
May 23, 2014

Daedalic through silence whispering to the world; we are not gonna just sit still and feed your nostalgia we are pushing the genre a step forward)))
.

“It’s way more accessible now, without becoming ‘too’ easy for the core adventure community,”
but why this doesn’t sound ‘too’ good for me ears!!

Zifnab Zifnab
May 24, 2014

Is the real issue about interactivity or is it about Daedelic changing things around again for no good reason? Remember what happened with the sequel to Edna & Harvey? The fans were prepared for another escapade in the tradition of The Breakout, and instead we got something that felt like a whole other world away: not bad, but not what it could have been if Daedelic had stuck with what they knew. I fear The Whispered World 2 could end up being the same. Being ambitious can be good of course, you just need to do know when to do it, and I don’t know if Daedelic does.

zane
May 26, 2014

^its worth pointing out again, that harvey’s new eyes was never intended as a sequel in the traditional sense. It wasnt “edna and harvey 2”. It never was.
Im reserving any judgement of the new whispered world until i play it.

Zifnab Zifnab
May 27, 2014

^I understand that it wasn’t a true sequel. The question though, for me, is “why not?” Why was Deponia, a game which needed a shaking up after the repetitive jokes and puzzles which had become tiresome by the end of the game, given a proper sequel in exactly the same style as the first game - while E&H and The Whispered World, two games widely applauded for their originality and freshness, deemed by Daedelic only suitable for spin-offs?

I can point to dozens of successful sequels, but not many great spin-offs. Discworld Noir is one, but at least they produced a proper sequel (and a great one) before that in Discworld 2. I would suggest to Daedelic that when they produce a great thing, stick to it.

Aurebesh
Jun 6, 2014

If this game is commercially successful, we’re going to lose the only company who created a steady flow of excellent true-adventures since Sierra and Lucasarts in the 90s.

Well, I guess we should be thankful that it lasted as long as it did, before they decided they want to make money Grin

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