Elvira: Won

One of the nicest sights in this game.

Now that I've done what I remember, I need to get started on what I don't. Around the main courtyard area are towers, most guarded by guards on both the ground floor and the top floor. These guys are here for the easy experience, more experience means my skill goes up, and skill going up is good. Down on the towers leads to the catacombs, which I need to deal with somehow later, for now, I can only deal with upstairs.

This is mostly just a way to remind me of what I needed to do. There's a cannon up here which has a convenient fuse and is pointed at one of the towers. The tower in question holds a knight who is invulnerable in melee combat. Somehow I know this just walking towards him...which got me thinking, maybe I could use a spell or a crossbow bolt. Because invulnerable in melee is one of those exact wording things games like to use, and I'm right, because a crossbow bolt knocks him off the battlement and into the moat surrounding the castle. I file this away as something that will be useful in the future. Clear out the easy enemies and hard ones will appear in their place.

The layout of this room in relation to what's outside is weird. This only makes sense if it's an L-shaped room with the entrance being off to the right, which it isn't.

At the front entrance of the castle, where I came in, there are two rooms. One which has a bunch of nice stuff you can examine but otherwise has nothing, and one containing the captain of the guard. He's tough, possibly the toughest regular enemy. He's fast too, just a general tough cookie. Which is why using a few spells on him is the best policy. The room has a few pieces of paper which reveal quite mundane things. But if I take one of the notes off the noteboard you can get a key, primus. Still nothing that opens any doors I've seen.

There's a wolf no one will confuse for being friendly.

The next part is to deal with the werewolf, a guy hiding out in the stable and turns into a werewolf when I get close. In order to take him out, I need a silver tipped crossbow bolt. That's what the silver crucifix was for, not dealing with the vampire. Turns out I already had everything I needed to kill him. There's a forge on the same side of the castle. Just drop the crucifix and a bolt into a crucible, put that crucible on the fire, then return to the werewolf and just use the bolt. For my efforts I get some horsehair and if I check one of the walls, the secondus key. That's four out of six. Surprisingly far all things considered.

I've been carrying the bones the entire time, since I'm not really sure what the point is.

I decide to do one little cheat, find out where the key to the herb garden was. It was my bad for not exploring the garden shed more, it turns out they were in the seed packets in the tin there. Sometimes a bit of knowledge can be a bad thing. Anyway, after taking out two of the lizard people, I can now clear out the herb garden of everything useful. After taking the herbal honey spell I prepared earlier.
 

If you see this bit, alas, its already too late for you.

Now it's time to deal with the part of the game that gave me the most trouble, the garden maze. Here you need a ton of spells to deal with the pesky little goblins that pop up here. See, you can't fight them in melee combat, they explode. Since it's Elvira, this is a problem. That means using the crossbow, of which I have a limited amount, and spells. As I go to start mixing spells, I realize I'm lacking in many essential components to make any offensive spells. I'm lacking nightshade, belladonna and surprisingly enough, bird eggs. These aren't in the kitchen, the herb garden or anywhere else I've looked. This is what I mean when I say even the walkthroughs are no help.

In retrospect, I made a mistake in going after the captain of the guard, that lightning spell would have been a help in this maze. It's entirely luck if I can reach the end of the maze successfully. You can't fight goblins, if you try, they explode and set you on fire. Or steal stuff. Which in this game is worse than slowly dying. The one attack spell I had ahead of time is useless against the goblins, so basically I have to hope I have enough firepower to reach the end of the maze where the goblin nest is. You need to hit that twice with a bolt or a spell. But inside, is all the rest of the lovely spell components and Elvira's Ring.

Considering how this sort of thing goes elsewhere, putting the object in the convenient hole seems too logical in retrospect.

 I decide to try out the chapel, since this is the only place where a jeweled object fits in. There's an altar covered in fancy objects, a cup, a cross and two candlesticks. There's a slot in the cross that just so happens to correspond roughly to the size of the ring. I put it in and the altar explodes in a flash of light, revealing a set of stairs down.

Continuing Horrorsoft's fondness of putting corpses in walls.

Inside is a room with a crown and a mural showing a king getting knighted by an angel. There's Latin writing I don't understand. Take the crown out of the room, and the room collapses. Remember that Bible verse I had from upstairs? Turns out that's the answer. I looked that up because I assumed the game expected me to translate the Latin and I'm kind of tired of dealing with that. This reveals that there's a skeleton inside the mural, which I can put the crown on to get the Crusader's Sword. Which is presumably more powerful than the one I'm using, but still decreases my skill for the moment. I find it somewhat amusing that they couldn't code the sword's skill to count for two weapons.

Unfortunately, I lack a number of easy foes to clean out. I still have the battlements, of course, but I don't know how many trips I have up there. The catacombs have a monster I'm not sure how to deal with, which leaves the dungeons and the upstairs part of the castle. Going around the dungeons results in significantly less enemies than I was hoping and the upstairs castle has suddenly cranked itself up to max strength.

Yes, this is a guy I want to fight.

So I decide to do the catacombs. You enter here through one of the southern towers. This is a scary and dark place full of creatures which are not easily killed. Including an ogre monster which I assumed was invulnerable to physical damage, but it turns out you just need to use a certain weapon and then click it in certain places. This comes off less as a matter of cleverness and more as a matter of luck. Until this section no enemies have required anything more than just getting the correct attack.

The reason why this becomes a thing here is that you have to deal with flying skulls here. I'm not sure the proper method of dealing with them, but what I'm doing is clicking where they are and eventually they die. Eventually the flying skulls get used as a weapon by fishmen. Which is still weird, but mostly works by the usual rules.

The giant is holding a stone with runes on it, and guarding a tomb which has a key in it. Lots of graves in here, including one room with two empty coffins. Only problem is, one of them leads to under the well and floods the room. The other is where I guess you're supposed to put those bones I've been lugging around since I cleaned out the dungeon. What this does is unexplained. Also unexplained, a random vial of dragon's blood in the entrance to a random set of coffins. I have no idea how you'd figure this out without a map explaining where everything is.

There's a spell to read the runes, which just tells me there's a secret passage in the catacombs. Useful, but unless that's the tomb that fills up with water, I'm probably going to stumble upon that sooner or later. I mix up the last of the spells I think I'll need, turns out that I used up all my nightshade and I'm not going to be getting anymore, so no super powerful attack spells for me. I do realize that I should make a light spell so that Elvira can go through the area behind the dumbwaiter to the left of the kitchen.

An entire jungle of stuff that doesn't matter.

One key left, which is outside, in the moat. The key I got from the tomb is not one of the six numbered ones, it's one that opens an actual door. Or rather gate to the outside. The moat is accessed from the well, which is where there's some moss, after I've given up on using the rest of the spells. The moat is a risky area, because you get very little warning before you die from lack of air and the whole area is wide and vast. There's probably spell components here, but good luck finding them. Instead, I just need to grab a key off the knight I shot earlier. Finally, the set is complete. Now what?

It's kind of disappointing that this is what most of the game has been building toward, instead of the final fight, but it makes sense that the evil witch lady would be easier to reach.

This allows me reach the chest, and after using the six keys in order, I get a dagger and a Scroll of Spiritual Mastery. Now to find where the villain of the game is, which is in the Catacombs. Thank god I have a map. Random women pop up to throw fireballs in my face as I explore now, because I've been having too good a time lately and the game needs to remind me I'm its bitch.

Considering what kind of license this game is, it's surprising that something like this isn't an entendre.

From the entrance I take, to reach Esmalda, you have to go right then left. It's a random hole in the ground, which is always nice. Examine, the put the stone in. Finally, the confrontation, and it's somewhat underwhelming. There's a hole in the center there which obviously requires...something. I took a leap of faith and guessed that it was the Crusader's Sword I needed to use, and it was. From there, it all falls into place. Use the Scroll, and she's further stunned, and the dagger finishes her off.

I get the feeling that these guys lacked the talent to write dialog, which is a mistake for what this game should be doing.

There's no grand ending, just text saying that Elvira is calling our name, and then an image of Elvira giving us a come hither look. No points for sex jokes, that's basically what's happening in-universe. I wonder if they knew that was going to happen when they signed off on this game?

This Session: 2 hours 30 minutes

Final Time: 4 hours

Elvira: Introduction

Welcome to friendly castle Killbragant, which may or may not have a moat depending on where you are.

This is not a playthrough of honor. This is a game I have tried to win for over 10 years at this point. I'm going to play through this entire game in a state of frustration, trying to figure out things that have eluded me in this time. At the end, despite this difficulty, I'm going to recommend it, because despite being very hard, it's fun and interesting.

Elvira - Mistress of the Dark is a weird game. Not necessarily in regards to the world and design of it, though that is true too. A sequel/adaptation of a movie that takes an incredibly graphic horror tone to a character intended to be incredibly campy? It's very strange. What's always intrigued me about it is it playing like an early survival horror game, and you being in a constant fight to survive is not something that only applies if you know what you're doing, this is a constant slide downward you need to fight against. Which is why it's taken me so long to get around to trying to win at it.

Probably not.

The game puts me down in front of the entrance to the castle the game takes place in. There's not a lot to do here, except I can examine the sign there to find out I should enter the office. You can avoid the office, but the end result is the same anyway. I meet a pleasant looking gentleman, who proceeds to tell me that I'm doomed, which is probably accurate, and then has you thrown in the dungeon.

Hey, it's not my fault that the English banned my assault musket and butter knife!

I'm freed by Elvira, who then proceeds to berate me for getting captured by a guard who is undoubtedly stronger and more capable of fighting me right now. She then tells me what I have to do, find a chest which contains some stuff I can use to destroy Emelda, which in the manual is explained. Inside is The Scroll of Spiritual Mastery, and I need to find six keys to open it. Otherwise Emelda will come back from the dead and probably do something terrible. Before I'm sent off, I'm given a dagger, a healing spell and an attack spell.

The game proper starts in the courtyard. There's about eight guard towers, a couple of other exterior rooms, a path to the garden area, a door to the dungeon and a door to upstairs. Enemies pop out whenever you reach certain sections, here it's guard towers, exterior rooms. You get the opportunity to attack first, which is basically you using a spell or your crossbow, neither of which I have right now. You can run, by turning around and then, well, running. But if you turn after the guy behind you starts chasing after you, you enter combat anyway. Chasing after you, in this case, is him stabbing you in the back. Which they'll do once and then sort of politely wait for you to do something.

Few games give you such concentrated "I'm going to kill you" energy like Elvira does.

Combat is straight-forward. Click on the left or right side of the screen to defend or attack on that side. You defend based on which side the guy is attacking. Attacking is more luck of the draw, really. I'm not sure there is a method to being able to do it perfectly, you just hit whenever the game decides you hit. I think the skill stat is tied into this, but despite the simplicity of it, the combat system here has some depth to it.

In contrast to a lot of other games, Elvira is gory. Very, very gory. Dying results in you getting to see very graphic results of what happened to you. In most cases, this involves seeing your slashed throat. Since these are modified photos of real people, it feels a lot worse than the more campy gore of what games would have over the next couple of decades. This, oddly, is in sharp contrast to what Elvira tends to promote herself as. More campy, goofy Halloween fun rather than some dude getting mutilated. Even if she tends to show those films anyway.

My goals this early on are all based around the spells. This is one of the most important aspects of the game. At this moment, Elvira is in the kitchen, and once I get her the spellbook, she can whip up more spells for me. There are a few that are necessary, but the ones that will sustain me throughout the game are healing and pain removal spells. See, if I get hit enough times, it doesn't matter that I'm healed up, the pain still causes my stats to plummet. I also need salt, the spell that identifies spell components, and those spell components.

This last bit is quite tricky, because the game's copy protection is the spell system. Which is not unreasonable, except that because of this, walkthrough makers seem to skip over the whole, where can you find the components, part of the game. Also, the official cluebook has something obscuring text, so you can't find the components with the versions online.

You can pick up the plates...because you can.

The first part is easy, go inside the castle. The library is to the left of the entrance. I just need to grab the book. This is oddly, the only action not built into the interface. You get all the usual adventure actions, but picking things up is exclusively click and drag. Elvira is in the kitchen further down the hall, along with a larder stuffed with food, some of which are spell ingredients, which at the moment, the most important is honey.

I also take the opportunity to enter the armory, after fighting off the guard. There are weapons in here, as well as a suit of armor. I just stick to a sword, dropping the dagger I started with, and pick up a crossbow. Now I just need to find some bolts. Unfortunately, I don't remember where they were. So, for now I'm going to enter the garden area.

If you somehow haven't been killed until now, this is the point you'll realize this isn't quite a fun, fantasy adventure.

The garden area is where most of the spell ingredients are. Unfortunately, most are hidden behind a locked door at the moment. So I go all the way to the far side of the area, past the falconry area and the hedge maze, to the garden shed. Where an old man has had a door fall on him, his throat slit, and maggots crawling on his corpse. Which is as charming as it sounds. There's also a sledgehammer and a crucifix in here, which might be useful later. There's other stuff, but it's all food I don't think I can use.

Shouldn't she be looking towards the camera more?

I'm not really sure what I can do next, so I decide that what I'll do next is clear out the upper floor of the castle. First, I need to get a stake from the living room, because there's a vampire just snoozing in one of the upstairs rooms. Not sure what the logic is, because if you go near her, despite being, you know, day, she'll get up and bite you...assuming you don't have the crucifix. Which I'm glad I got, because I forgot I needed the sledgehammer to drive in the stake. It's odd how often vampire media forget that you need a lot of force to drive a stake through someone's chest. Guess this was before people forgot that.

After returning with a sledgehammer and staking the "vampira", I get the dust she turned into. The rest of the place is mostly killing lizard people and then grabbing random crossbow bolts inside the rooms. Yeah, lizard people, as in lizard men wearing robes and swinging various weapons. The exception to the rooms is the central room, which is a bathroom, which only contains Laudanum, a kind of opium, and a locked door for which I have no key. I also get a Bible page for some important reason.

Four bolts turns you from a rank amateur to a master. (the fourth hit the forest)

Now that I have the bolts, I can return to the garden, getting past two respawned guards. Here, there's a target which I can fire a few crossbow bolts at and suddenly I'm an expert marksman. Just use the crossbow and you hit someone with a bolt. In general, this is useful, but there are specific enemies you can only take out using this thing. The first, and nearby, is a weird hawk and falconer combo. Hit the hawk with a bolt and the falconer disappears. You get a feather and a key labeled tertius.

As I return to Elvira to drop off the stuff I don't need, I hear a scream and see that she's left the kitchen because of a lard bucket. That means I can't return there under penalty of death without the salt. Where is the salt? In the basement, where more creatures and spooky things are.

If you make a joke about him, that'll probably be the last joke you ever make.

There's not just salt down here, there are skeletal guards. These differ from regular guards in that you can't tell how wounded they are from how they look. There's also bugs, centipedes, spiders, beetles and earwigs. And of course, spider webs, all of which are useful spell components. You basically just explore every room, clicking on the same hotspots to try to find the same things. At about halfway through the area there's a sort of boss skeletal guard, who wears pink, and takes quite a bit of swordfighting to take down. I've also noticed that the tougher enemies swing their sword faster, which is screwing me over on occasion.

The area he's guarding contains the salt and a few other things. There are tongs on the table, which if you grab, kill you. The spirit of the torturer around here comes back and burns your eyes out. I've always assumed that it's just another one of those things that kills you, but seeing as I have a satchel that seems to be just flavor. Maybe it's one of those puzzles where the game plays against your assumptions? The satchel and the seemingly unobtainable tongs. Surprisingly, it works.

There's an iron ring on the ground which, when you attempt to take it, opens up an old grave, which has skeleton bones and the quartus key. Then it's just a finishing ring around the dungeon until I get out. I was surprised that I managed to pick up what was seemingly all the cobwebs, because they're not in the rooms like the others, they're out in the halls.

You're welcome. I'm so glad I decided to help you.

Now that I have the salt, I return to the kitchen, slowly wait for the right time to toss the salt at the cook, and everything's back to normal. Elvira thanks me, and I unload all the bugs I've been carrying, and now this place is a bizarre mess of bugs, poisons and other assorted odds and ends.

Unfortunately, this has all been the easy part. This is all I really remember solving. There are minor puzzles I've solved everywhere, but what those are escape my mind at the moment. The bigger problem, of course, is that enemies respawn, and as they do they get tougher and faster. I've already taken out three guarding the path to the garden and there's at least two trips there left for me. What that eventually means is something I'm afraid of.

This Session: 1 hour 30 minutes

Welcome House 2 (1996)

Name:Welcome House 2 - Keaton and His Uncle
Number:247
Year:1996
Publisher:Gust
Developer:Gust
Genre:"Survival Horror"/Adventure
Difficulty:3/5
Time:2 hours 30 minutes
Won:Yes (110W/79L)

There's a certain measure of apprehension when you see a video game sequel released the same year as the original game. By default, it means that unless you carved up a bigger game into smaller chunks, you've spent less than a year on this game. This isn't really a problem during the '80s, because you generally just focused on a gameplay loop, or even during the early '90s. Id did their best work in around four years. But by the time 3D models started getting good enough to resemble something?

Welcome House, in case you forgot/missed it, is a Japanese-exclusive PSX game centered around a man called Keaton visiting his uncle's mansion. These days, it reads as a strange parody of survival horror games. There's no real enemies or threat of violence, but it plays like the genre, looks like the genre, and feels like the genre.

There's going to be a lot of this, often just as "telegraphed".

This time around, Keaton's been living with his Uncle Parkinson for a while, but uh-oh, it's the Fourth of July and his prankster Uncle has set a whole bunch of explosives off in his room. Turns out, he's set the entire house up with similar exploding presents. So much so, that he's rigged phones to explode. You better get used to this, because everything in this game explodes.
 

There's going to be a lot of this.

Which sounds like an exaggeration, but the game is practically non-stop explosions. The game really ramps up the physical comedy, to the point that it centers around it. Were it not a comedy game, the mansion would be a deathtrap. Bombs, phones turned into bombs, pits, mechanical traps and even bear traps. Parkinson probably got himself on a few lists with the purchases he made for the events of this game.

Control-wise, the game is unaltered from the first game. Tank controls, circle opens your item menu, square functions as your general action button. Once to use something in front of you, hold down and move forward to run. Start pauses, opening a map, press it again and you get the save menu. In general start functions as an accept button and cross as a cancel button. Which caused me a bit of confusion at first. 

Unlike in more serious games, a sign labeled danger is an indication that you should use it.

Much like the original game, this is advertised a polygon cartoon. In this case, it feels more like a description of gameplay than the general style of the game. You only interact with the game just to engage the game's jokes in the sequence the developer wanted. Everything else is an illusion, you get things like descriptions of objects and rooms, but they don't ever tell you something beyond what you can see in front of you. It's one long joyride.

But the game does have a problem. While it does flow well for the most part, once you stop for whatever reason, it becomes apparent that the game is basically just a series of events that happen, and your contribution is just advancing the plot. Actions that advance the gameplay are either a matter of gameplay, using an exploding phone, obvious, key and door, or random luck, walk through a doorway in a certain way.

One of the descriptions you get when first entering a room.

A good example of this is a room on the second floor with four big cabinets. You can enter here beforehand, only to find nothing inside. What you actually do is wait until later, when Napoleon the Dog flees in here after you get stabbed by him in military regalia. This makes no sense in context either, you just randomly turn away while chasing him around the room. Once you get him inside, whenever you open a cabinet, he appears in the opposite row. How do you solve this? You go to another room, sit on a random chair, which puts a "kick me" sign on Keaton's butt.

Which is not helped by the game following this up by making you give this axe to a lady of the pool, as in, a water elemental that appears in Parkinson's pool, who then gives you the choice of three axes, only one of which advances. I'm also reasonably sure that in order to get this axe exchange, you need to actually go down, talk to the guy repairing the diving board, go up to the second floor where a set of stairs upwards are, which somehow causes the board to be repaired, then return. Not exactly a series of puzzles which tends towards anything but random actions, but at least I understand the logic to axe lady of the lake and axe against chain of same color.  

Keaton gets his revenge against a statue.

Unlike the last game, there is no long awkward backtracking sequence once you seem to reach the end of the game. Instead, it's put all across the game. In a certain sense, the game suffers for this. It's obvious what the really big things you need to go back for are, but all across the game you get little ones which make you go back and forth across most of the mansion. For a game that isn't that long, it's odd that there's such blatant padding in it.

There's voice acting this time around, which is nothing special. They're doing the job you expect them to do and doing it well, but the job isn't special. Nobody rises above the level of the archetype they're expected to do. Because of what the game is, this wasn't ever not going to be the case.

Admittedly, out of context it just looks like a guy laughing at a dead dog, which is a different kind of weird.

The ending of the game is quite spectacular. In order to stop Napoleon from pranking you, you need to bait him with a bottle of booze. Which is in the spirit of what this game is imitating, but damn, it's pretty ballsy to do something like that. That seems like a risky move, even in the '90s. Then, after finding all the objects you need to open Parkinson's secret bedroom/viewing room, you get treated to one, spectacular final explosion. No wonder there wasn't a Welcome House 3, there was no house anymore. Onto the rating.

Weapons:
None.

Enemies:
None.

Non-Enemies:
With the exception of Allegro, most of the characters are one-note and only state and offer simple things, only ever being more than scenery when the rare puzzle comes up involving them. 1

Levels:
Not having a last-minute point in the game where you have to go all across the mansion again and seeing the bizarre changes the game has made over the course of the game does wonders to improve the quality of the place. 4

Player Agency:
Same as last time. I feel like the game could have used a sidestep function, it really, really could have used that. 3

Interactivity:
In addition to the usual look/use actions, you get a lot of choices. Sure, these choices are often for things you have to do, but you get the option. 3

Atmosphere:
While I didn't much care for playing the game, I must admit, the cartoon violence and what awful prank Keaton would fall victim to more than made up for it. 6

Graphics:
It's cartoony, but charming. Keaton gets a wide variation of animations for the various calamities that befall him, albeit he's pretty much the only character with more animations than the usual you'd give a character who walks and talks. That said, it is very obvious that whenever something calls for an object to lose part of itself, the model completely changes. 5

Story:
It's the Fourth of July and let's just have the most explosive one ever, and boy howdy, does it ever deliver. 4

Sound/Music:
Low quality but fitting sound effects and a smooth jazz soundtrack. Unlike last time, when the tracks played in different rooms somewhat randomly, you get some degree of control, since there are radios in numerous rooms you can change the song on. Which doesn't apply to the licensed songs you can find around. These still only work on the jukebox, all one of them that I found. 5

That's 31.

I feel like I was very harsh on a few aspects last time. Despite taking longer than I should have on it, it was enjoyable as an experience, at least. One of those odd games where it could be said that a let's play is the better experience than actually playing it. Since you won't get the joys of wandering around a big mansion wondering what you have to interact with in order to advance.

Next time, another spooky game, albeit, one that's also not quite the usual fare. It's Elvira - The Adventure Game, an adventure/RPG hybrid which is one of the first games to lean into horror more seriously.