The writing here is excellent, painting pictures that the most expensive graphics engine simply wouldn’t be able to.
Passepartout’s internal monologue gives us glimpses into cities ravaged by conflict; wondrous inventions of steel and song; and bumbling, desperate, and intriguing characters who let slip snippets of important information.
Calling it a gamebook feels a little disingenuous. This is something more than a Choose Your Own Adventure, with each avenue you take changing the narrative in some subtle way.
Whether it’s picking up an extra suitcase and having to pay a little more, or making a remark with which Fogg disagrees, nothing has a straightforward outcome. The game feels all the more organic for that.”
Harry Slater’s hands-on preview of 80 Days at Pocketgamer.
A fantastic first “preview-review” of 80 Days, which picks up on so many of the bits of the game that I’m particularly proud of. Passepartout is more changed by the world, than leaping in and changing. He does not get to play white saviour. The decisions and choices he is offered are often personal, private, set firmly within a wider context, but no less important for that. It can be more surprising and organic, I think, to play a game where you are not the only hero, where you can be part of the revolution but not its source. Where the world is vast and rich and full and turning as you make your way through it, and it does not always stop for you. It does not turn around you either. Where the people you encounter can be as lost as you are, as beautiful, as venal, as foolish and determined and ridiculous. Passepartout sees the world but doesn’t think he knows it, or owns it. His stories never go where they’re supposed to go, and how much fun is that?