My experiences with the Goblins trilogy have been a mix of charm and frustration. The quirky humour and the intriguingly innovative gameplay have been a strong backbone of all of the three games. Then again, the first game had a frustratingly hard interface, with a diminishing health bar forcing you to replay the levels until you nailed it perfectly, and the second game was just too long and repetitive. I feel like the third game has nailed it, since there really was nothing to annoy me – even the length of the game was spot-on, the end coming after the most ingenious levels. We’ll see how far that gets with the PISSED rating.
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| Let's see where we'll land |
Puzzles and Solvability
Goblins Quest 3 resembles the second game of the series in that it is structured into discrete levels that often consist of two or three rooms. I noted in my review of the second game that this was a partial solution to a problem haunting the first game, where all the rooms were self-contained, with access to the next room available only after solving the previous room, because the ultimate goal of these self-contained rooms was often obtuse, with the motivation for some puzzles coming only at later screens. Even the second game failed sometimes in this regard, but the third game provides finally a simple and effective solution to the problem by outright informing the player what they are supposed to achieve.We are down to one goblin, but this does not mean that the puzzles would be less complex than in the previous games, since Blount usually has friends or other versions of himself to interact with in the rooms. In fact, the different combinations of characters in different rooms allow for more variety, with different individuals having different abilities to play with.
The puzzle sequences are still full of complex Rube Goldberg machines, but the developers have introduced them cleverly, with the first few levels being relatively simple, and the puzzle sequences becoming more and more devious as the game goes on. A nice touch was also that especially in the later part of the game, many of the levels had clear themes (for instance, potion brewing, compiling and playing a chess game, and mirror shenanigans). I feel like a great deal of effort and craft must have been put into constructing these puzzle sequences, since many of them feel like small pieces of art. If there’s something I have to criticise, it is that some of the time-based puzzles were a bit frustrating for a person like me with slow reaction times, but that’s a minor problem.
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| Probably my favourite level puzzlewise |
Interface and Inventory
Goblins-series has always had simple, but adequate interfaces, and on a superficial level, there has not been that much development in that regard. I still have to give a point more for the variability of ways the interface is put to use with different characters. The sections with the two hands were a particularly innovative twist on the basic formula.Score: 6.
Story and Setting
Story has never been the forte of Goblins-series, and the third game is no exception. In fact, at times there were a bit too many plot threads going on, with none of them properly developed. Who was this Fourbalus character introduced out of nowhere and why was he so obsessed with the key to the labyrinth? A particularly useless piece of the story was the late reveal that Blount had been one of the characters in the second game of the series. I guess there is an attempt to make it a vehicle into introspection and acceptance of one’s darker side on part of Blount, but you really have to stretch the few hints of a plot to get there. I did like the newspaper articles describing the plot and often containing hints of what to expect in the future, but they felt a bit disconnected from the actual gameplay.![]() |
| The newspaper clips also contained premonitions what was about to happen later in the game |
Sounds and Graphics
It’s a good-looking game with nice, hummable music. Overall, there’s enough progression from the previous games that I feel good rewarding the game with an additional point.Score: 7.
Environment and Atmosphere
I’ve always had a taste for the absurd and quirky and this game has it a lot! There have been wacky small bits of animation and ludicrous level designs in Goblins-series before, but now these small elements have been weaved into a pattern of almost endless hilarity and ridiculousness. It’s like Monty Python at its best – nothing much makes any sense, but you are still compelled to just love the nuttiness of it all. I am sure my score in this category will shock the more strait-laced people, but the weeks of pure fun I’ve had with this game deserve it.![]() |
| In how many games you get to whack bugs living in someone's beard? |
Score: 10.
Dialogue and Acting:
This is another category which the Goblins-games have never really mastered – it is a series of visual, not literary gags. There have been slight developments in this regard, the aforementioned newspaper being the most important addition in the textual aspect. They have still hired for the starring role of Blount the annoyingly high-pitched actor, who sounds like a castrated lovechild of Mickey Mouse and Elmo the Muppet, but luckily he is balanced by the far more tolerable voice actor playing wolf.Score 3.
(8 + 6 + 4 + 7 + 10 + 3)/0.6 = 38/0.6 = 63.
CAP distribution
- Blogger Award - 100 CAPs - For playing and blogging Goblins Quest 3 to our (and his own) enjoyment
- Believe in Your Cause Award - 20 CAPs - For giving the most positive and most correct guess for the final score of this game
- Goblin Diary Award - 8 CAPs - For sharing thoughts about the game in extensive detail
- Goblin companion Award - 12 CAPs - For playing the game with Ilmari and sharing thoughts about the game in extensive detail
- Goblin Diary Award - 5 CAPs - For sharing thoughts about the game
- Gobln Award - 2 CAPs - For an unsolicited Goblins joke
- Gobliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiins Award - 2 CAPs - For an unsolicited Goblins joke
- Oh No! More Goblins Award - 2 CAPs - For an unsolicited Goblins joke
- ¿Or 1 English and 1 Spanish Goblin? Award - 2 CAPs - For an unsolicited Goblins joke






my thoughts as always,
ReplyDeleteI agree with the general review of the trilogy, the first game is just one of those games where you are fighting against the designers/developers. Also, I hate how they used the PC speaker for every little sound like picking up objects, it was just ancient by the time it was released.
2nd game was sort of ok, but too long, repetitve, I don't think the last levels/screens add too much. The first part is actually quite fun, but having 3 or 4 screens at the same time almost from the start was just a little too much.
3rd game, as I described in all these posts is just an amazing experience. Again will have to highlight the work of the CD redbook audio, a totally different soundtrack than the adlib one. Weird for moments, but full of ambience and atmospheric tones. Also having a main character with a werewolf alter ego, and a lot of random mascots was a great addition. Much better than just having a bunch of similar characters doing almost the same things. I also agree that there was almost a timed puzzle on every screen, that's not really fun, and sometimes too tight.
I wished you wrote a little more about the music though, Charles Callet passed away almost immediately after this game, and personally I think it's one of the most uniques OSTs in gaming.
French adventures are always wacky, but this one is also quite good.
Pleasantly surprised that it scored that high, and at first I thought that the 10 rating for Environment/Atmosphere was too high. But thinking about it, I agree with the rating. Goblins 3 set up this wacky fairy tale world and fully committed to it. We rapidly went from an Airship to literally dying and being in the underworld to a town to a castle to a sci-fi mirror room and it all felt cohesive. I can't think of anything that was jarring or stood out as "Wait, how does this fit in?"
ReplyDeleteIt's a wonderful, funny experience with great pacing, great graphics, and that satisfying "I got it!" feeling whenever a solution falls into place.
Can’t argue with the scores given the justifications provided - they’re well reasoned, and fair. Whilst Gobliins 2 is still my personally preferred game, I’ll admit that objectively part 3 is the better experience. As I mentioned in an earlier post, I couldn’t stand the voice acting for Blount so played the floppy version and never got to experience the redbook audio soundtrack. Whilst something about the warm, warbly tones of FM Synthesis just seem “right” in a Goblins game, none of the tracks “stuck” with me like those in Gobliins 2 did (I can hear a couple of those in my head right now!) - based on Alex’s commentary about the CD audio, I’m wondering if I missed out!?!
ReplyDeleteReally enjoyed this journey with you and the handful of folk who stuck with it - looking forward to what’s next. Oh, and thanks for the CAPs too!
If I've checked correctly, this is only the second time a "10" has been granted on the blog so far, the first being last summer in current top dog GK1, also for Environment & Atmosphere.
ReplyDeleteOf course, in spite of guidelines and example elements, ratings will always be subjective and a point or even two up or down in any category can easily occur just due to the identity and personal preferences of the reviewer and/or the specific gameplay experienced by each one when playing the game in question for the blog or separately (plus rose-tinted glasses). Witness all the recurring discussions about MI vs MI2 or whether FoA should have rated higher.
Still, given this period is often seen as the or at least one of the heights of the adventure game genre, I wonder: Do you feel the blog (reviewers) has(/have) been a bit too strict/stingy with doling out points? The current top games here are admittedly much closer to the perfect game 100 than e.g. on the CRPGAddict blog where they haven't even cracked 70 after 500+ games, even though he admitted probably having rated some games too highly in his first year(s). However, with CRPGs it could be argued that there is an upward development in many categories which in time might lead to higher ratings across the board and explains the room he has to leave in some - no 10 has dropped there to date. And yes, his system with ten categories is different, but the general question still stands.
Sure, some categories should still get better overall here as well, like sound & graphics. Do you think others will, too? Or is it just a reality that it's hard to get it just right in every aspect of adventure games and their dea(r)th as a substantial commercial market prevented the genre from getting closer to producing the perfect game(s)? Would that change once we get to the more recent indie revival?
its impossible to have an objective rating from so many values (0-10) when you have a lot of people doing these reviews, and accross many different times of their lives. What you considered a masterpiece 15 years ago, might not be today, or the other way around. It's just impossible, you would need all these ratings to be done in a short period of time and measure them all with the same rules.
DeleteMost of the points are just, sensations, after playing the games along a month or 2. How can you value for example, sound department ? No sound at all in 1994 gets a 0, that's easy enough. How about music composition ? Sound design ? Are the songs in stereo or mono ? How about red book audio vs midi ? Adlib ? Roland 32 ? The articles generally cover basic stuff like voice acting and how annoying (or not) are sounds and music, and that's it. Then, someone would rate it .. I don't feel like the sound was that good, and the music was sort of ok, I just don't remember a particular song after playing the whole game .. let's say sound department = a 6.
It's just a semi random score, I guarantee you that if you replay the game again in 5 years, you won't score it exactly the same as before. Then there's the personal experiences and preferences. For example, I generally don't like scifi oriented games, and I really love far west settings. It would be enjoy a lot more games like Freddy Pharkas, and not really enjoy masterpieces like Gemini Rue. Being neutral is hard or impossible, I guess that is reflected in the atmosphere/setting score too.
Then you have bias with previous scores. If you scored all LucasArts games too high, should you try to balance the points so other (probably not as good) games score lower ? Should you just use your guts and cause ruckus (like here with the 10 in Goblins 3) ? I cant still understand how KGB scored so high. But thats ok, 99% of reviews average it on the low numbers, it sort of happened that the reviewer was deeply impressed with the game. That would have happened with me with Fate of Atlantis (a 100 score, no doubt), and Veil of Darkness (around 90).
In the end, the score is just one more score in a sea of reviews, it's not definitive nor final. It tries to be fair to someones point of view at a specific point in time.
While we try to be consistent, there is some subjectivity that creeps in. Also, in the early Trickster days, he tended to score more for notable games or innovators of certain tropes or features. I think (subjectively) that we do that a lot less now.
DeleteI will agree with most of Alex Romanov's final thoughts, although I will say that Fate of Atlantis would have been (at best) a 97. No way someone gives 10 points for Heimdall's voice acting.
Also: Would that change once we get to the more recent indie revival?
DeleteI think numbers will jump from one category to another. While graphics and sound will go up, a lot of the indie fare I've been exposed to generally have shorter games and less alternate solutions, likely due to the cost of producing art and voices for all the extra scenes and scenarios.
We’ve entered the golden age of graphic adventures… this is where I’d expect the 10s to come from. I might not have gone with 10 myself for Environment and Atmosphere in Goblins 3, but I also didn’t baulk at it. GK1 was a no brainer, but to be fair I probably would have rated Sam and Max, DOTT and Fate of Atlantis a 10 here too (noting I would have been harsher on them in other categories). I guess it’s hard to normalise across bloggers, but we’re also not talking about decisions that make or break a career, nor influence contemporary sales figures anymore, so it’s all just a bit of fun.
DeleteAs for modern indie games, I agree with Michael… I recently played through The Drifter - cracking game, and while the graphics, sound and voice acting were top shelf, I felt the puzzles were a little “dumbed down” to appeal to a broader, modern audience, whilst the game itself was considerably shorter than these earlier studio titles.
What am I trying to say here? I’m not really sure. I guess, it’s that I don’t ultimately care what the number is. It’s the journey I enjoy. If The Bizarre Adventures of Woodruff and the Schnibble somehow dethrones Gabriel Knight, I’d be all the more intrigued as to the reviewer’s justification (and the discourse it would trigger) for their individual PISSED ratings as opposed to being outraged that it usurped one of my all time faves.
How the reviewer gets to the number is often as important as the actual number. Don't like bizarre and quirky humour? Then Goblins is clearly not for you. But if you like it this title should be right up you oversized nostril.
DeleteAs PsOmA says it does help that we're also not here trying to decide how to spend $50 on a game. I'm here because I like the history of gaming, and the PISSED system scratches the itch of learning about games I will probably never get around to playing.