This hint guide, too, is completely visual, illustrating the solutions with comic book panels, which are worth unlocking even if you’ve already figured out what to do. The built-in walkthrough also requires that you play through a short side-scrolling shooter segment, guiding a key through various environments to a lock at the end. One of the final puzzles involves an old-school maze action game, where you control a tiny little blue robots shooting other tiny little red robots, which is made a bit annoying due to the awkward mouse control. There’s also a healthy appreciation for old school arcade games, as evidenced by the mini- Space Invaders clone. (The fact that the bathroom, up high in a skyscraper, seems to empty out into open air is more than a bit distressing.) And one has to wonder what use a robot has for a toilet, much less toilet paper. There’s a hulking guard robot who really wants nothing more than batteries for his little bunny pet. There’s a strangely cockeyed owl who has a fascination with mimicking Josef’s every movement. There’s a robot who looks perhaps a bit stereotypically Jewish (what with the large-ish nose and Hasidic curls), who must be diverted by drawing him into a temple. Much of the atmosphere comes not only from the music and artwork but the very design, some of which is bizarrely humorous.
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Striking the same balance as the visuals, it’s full of vibrant life but simultaneously more than a bit haunting. The soundtrack matches up with the visuals, and while minimalistic through most of the journey, it comes remarkably to life in certain areas. His only audible sound is a cross between a honk and a bark. He spins his head in disapproval at impossible actions, he’ll slide down railings, he’ll teeter haphazardly while moving when vertically extended. His only real special skill is the ability to extend his body upwards and scrunch himself downwards, necessary to reach high objects or fit through small holes. He’ss impossibly adorable, with bulging eyes like a fish, with a gaze that’s never quite centered. Josef himself might be a cuter, tinier version of Bender. It’s easy to draw comparisons between Machinarium and Pixar’s Wall-E, although more than a few elements – particularly the robot design – seem to channel Futurama, even if unintentionally. Machinarium not only stands as evidence that there’s still an amazing potential for 2D artwork, but also disproves the commonly held belief that games developed in Flash are destined to look cheap and gaudy. By the time technology had allowed for something more advanced, they were ditched in favor of computer rendered graphics, before 2D was tossed out wholesale for fully 3D environments. Many older Sierra and Lucasarts games had painted backgrounds, but were mostly limited to 256 color VGA graphics.
Much of the style draws from steampunk, as if the robots were powered by gears rather than circuit boards, and made of tin rather than steel. It seems like a contradiction, then, that a world so dingy manages to come off so colorful.
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It’s dirty and dilapidated, walls cracked and rusting, and yet every single background is a work of technical mastery. It’s fascinating, because Machinarium is a world of strange, conflicting beauty. It does appear aimless at first, and it does all come together in the final segments, although the experience is more about exploring its world than following a story. Further adventuring will reveal that this gang – named The Black Cap Brotherhood – is causing significant troubles for the other residents of the city, and your paths will cross more than once. Leave Josef standing still, and he’ll reminisce about his missing friend (purportedly a female, but it’s a bit hard to tell with robots, isn’t it?) When Josef meets a rotund robot, he recalls a scene from his childhood where this portly fellow cruelly knocks over his sand castle. His goal is, it seems, is to merely return home, although additional bits of the story are related through animated thought bubbles, sketched like a flip book.
We also know that he’s more than a bit distraught at waking up amidst a pile of discarded rubbish, having to reassemble his poor little body piecemeal. We are not told his name, but it is Josef, named after writer Josef Capek, who coined the term “robot”. There is no real introduction beyond the immediate plight of our hero, a cute little robot who is unceremoniously dumped in the midst of a junkyard. Beyond the title screen and the option bar, there is no writing, no dialogue, no words to be found anywhere. There are few game so gorgeously understated as Machinarium, a gorgeous little adventure game by Amanita Design, a small team of seven from the Czech Republic.
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