Original Review -- 500 Words

Ceremony of Innocence provides an incredibly unique and rewarding experience, but it struggles to meet expectations of what constitutes a game. Based on the Griffin and Sabine trilogy by Nick Bantock, Ceremony takes you through the story of Griffin, a neurotic young English artist, and his mysterious South Sea Island muse Sabine, of whom he becomes aware at the very beginning. In the process, it challenges your understanding of interactivity and storytelling. But is it a game?

Only one part of Ceremony works like a game: the puzzles. They are not conventional puzzles, however, as each serves as a visual metaphor, relevant in some way to the story, which is surreal both in appearance and solution. In some instances the mouse becomes more than a mere interface between user and puzzle. It is eaten, washed away, or used to break a fish bowl, which leads to a horrifying scream and the shattering of glass -- an event so impressive it leaves you feeling a tinge of guilt. The puzzles are so cleverly designed that you will question all that you take for granted in interface design, meanwhile appreciating the lighter touch on what becomes a dark tale.

Ceremony is perhaps more accurately described as a piece of interactive multimedia, with exceptional audio production and animation linking the original work with a less-tangible medium. Its strengths lie in deep characterisation, beautiful artwork, and subtlety. Nearly everything is left open to interpretation, from the surreal postcards and puzzle design to the odd connection between the characters, and even the individual motivations that drive them through the plot.

The story is told through a series of postcards and letters, which are presented through voice-over and a variety of audio-visual techniques. Sounds mesh with words, which themselves may flash across the screen or blur into the background, creating a haunting, ghostly effect that stays with you long after you stop playing. The visual and the verbal engage in a captivating dance of spoken word, ambient sound, and poetic imagery. Every moment is entrancing. But -- for the most part, at least -- it all plays out before you; there is no way to change the fate of Griffin or Sabine, or to impact on either character’s story in any way.

And somehow that adds to the experience. In an early letter Sabine tells of an image of a half-drawn flower that unexpectedly appears in her head. Entranced, she watches it grow and change, lines appearing and disappearing, until a noise from outside breaks her concentration and the image evaporates. But enough of a trace remains to leave her desperate for more. Ceremony of Innocence is much the same. It gives you a window into the deepest, most personal secrets and feelings of these two characters through their “extraordinary correspondence” and heartfelt letters and illustrations. Your lack of agency only serves to make you closer to the characters who themselves are tugged along by some mysterious external force. You can’t change the story, but neither can they.

First Cut -- 249 Words

Ceremony of Innocence offers an incredibly unique and rewarding experience, but it struggles to meet expectations of what constitutes a game. Based on the Griffin and Sabine trilogy by Nick Bantock, Ceremony will challenge your understanding of interactivity and storytelling. But is it a game?

Puzzles provide the most game-like experience, albeit with unclear goals and a highly surreal presentation. They serve a double purpose; breaking up the story progression with moments of play and interaction, and offering visual metaphors that can aid in your understanding of the story. They also challenge the very essence of what it means to interact with software via a mouse interface.

Ceremony is perhaps more accurately described as a piece of interactive multimedia, with exceptional audio production and animation linking the original work with a less-tangible medium. Nearly everything is left open to interpretation, from the surreal postcards and puzzle design to the odd connection between the characters, and even the individual motivations that drive them through the plot. This is helped in no small part by the mix of spoken word, ambient sounds, and poetic imagery, which will leave you entranced.

But there is no way to change the fate of Griffin or Sabine. You are as helpless as they are, though it doesn’t seem like a problem. Rather, your lack of agency only serves to bring you closer to the characters who themselves are tugged along by some mysterious external force. You can’t change the story, but neither can they.

Second Cut -- 99 Words

Ceremony of Innocence provides a unique and rewarding experience, but it struggles to meet expectations of what constitutes a game.

Puzzles -- the most game-like element on show -- present a double purpose; breaking up the story progression with moments of play and interaction, and offering visual metaphors that can aid in your understanding of the story. Meanwhile, nearly everything is left open to interpretation, with ambiguous letters and animations, poetic imagery, and subtle voice work.

The unusual presentation will leave you entranced. You have little impact on what happens, but nevertheless feel compelled to continue -- much like the characters themselves.


Final Cut -- 25 Words

Ceremony of Innocence provides a unique and rewarding experience that impresses from beginning to end, but struggles to meet expectations of what constitutes a game.
 

I realise that few (if any) of you will have heard of Ceremony of Innocence, so I dug up this video made by the lead designer. It shows clips from several "cards" in the game, including one from relatively late in the story. Please post in the comments any questions you have about this odd little gem. I’ll do my best to answer.