One of the games I consider to be an initiation into PC gaming was the legendary “Myst.” For the first time, I was able walk through spooky, creaky environments and collect clues to solve a mystery — without having to type each command (ex: “view table”). The quest game was suddenly real and immersed me in a addictive manner. Many like it have come and gone since then, but that “game of the year” was a milestone in gaming evolution. Rhiannon: Curse of the Four Branches is set in the same style, though obviously even higher in detail and depth of story. Got Game Entertainment is trying to deliver thrills and mystery in a complex, rich environment of its own.

Wherein Myst takes place on a seaside, with the sounds of waves and far away buoys, Rhiannon places you at a remote farm in Wales, taken right out of An American Werewolf in London. There is fog, dim lighting and things that make noise without revealing themselves. Not necessarily haunted; or is it? In this first-person perspective, you are “Chris,” who has been asked to house-sit a farmhouse called Ty Pryderi by the owners - Malcolm and Jen Sullivan. In an early introduction to the game, it is revealed that their 15-year-old daughter, Rhiannon, is not adjusting well to the new home. It is undergoing some extensive refurbishing, and Rhiannon is behaving strangely. They want to take her away from there for a while and see if a change of scenery helps her adjust. Naturally, you (Chris) is their first choice to come watch the house — no questions asked! Trust us! They know more than they let on, but hey — you’re a good friend and there’s free food to mooch on. I’d do it.

The first impressions of the grounds are nice. It’s lush, in-depth and plenty of … nature. The motion is entirely mouse-controlled, which really takes some effort. Not in using the mouse so much as the quirky nature in which you move once a click is made. You have arrows to guide you, but select the wrong one, and disorientation can be immediate. I did a lot of walking in a circle and going to the same door by accident. You’re constantly thinking: “I couldn’t be here, I just clicked in the opposite direction.” At first, this was tolerable because you got to see how expansive and “pretty” the grounds really are, but eventually I grew tired of passing the same patch of moss and wanted to get to the game. If you hit a locked door, you’re promoted that you need a key — after the prerequisite sound effect of someone shaking a doorknob. Find the hidden key, the right door, and you’re in. Take a nap. You’ve just spent two hours getting in a door.

There is nothing to interact with in regards to humans or other “forms.” You essentially follow clues and crumbs, and try to ignore the things you keep thinking are voices. Surely, the Sullivans would have mentioned that little detail when you agreed to come eat free chips. There is a cat, who has a fondness for mouse hunting and sharing the trophies. Otherwise, you are solo and wander the house and grounds finding clues and solving puzzles. Both are required to progress, and neither is consistent in being simple or straightforward. Being alone, your only resources are scattered notes, clippings, messages and whatever you can look at or listen to. Some of it is crucial, while some of it is mere detail and has no relevance. To the game’s credit, it isn’t wasteful either way. You have to absorb everything — as you don’t know what may be needed later on. Such written or vocal clues are well done and feel natural. You get graphical prompts like a magnifying glass or large hand — when something is there that deserves attention. Some items, like a piano, can be played with, may not have any affect on the game (you’ll have to find out).

I intentionally reference Myst because this plays a lot like that for me. There is no defined way of announcing you are on the right path. There is no chiming bell when you’ve achieved a milestone (cut scenes don’t count). If you’ve done something right, you may not know until later. I did a lot of backtracking, just as I did in the Myst days. Being distracted towards one thing, I overlooked another, sometimes repeatedly. That’s not a bad thing, and challenges me to be thorough. It’s also a test to your endurance and patience. No mustached plumber is going to jump on a flagpole if you unlock a secret. Soon enough, the reason Rhiannon was taken away begins to inflict you as well. You’re either both losing it (by now, you know they left for a reason other than a simple vacation), or something in Ty Pryderi wants to be your friend, too. The disembodied wind calls her name, while other sounds enrich the mysterious playing experience.

The audio in the game is very nice and the music follows the events and plot accordingly. The environmental sounds really enhance the experience. This game relies heavily on senses, for lack of interaction, and the spooky sounds fill in the ghostly gaps effectively. There is rustling in the distance, and the distinct, startling sound of a cat door to keep you on your toes.

First impressions of the graphics weren’t mind-blowing. I’ve seen better, but once you start playing the game and realize the intention, it looks quite nice. The details on this “old home” is really nice. It never looks like a standard 3D render with some moss painted on it. Scratches and remnants adorn much of this worn-out farmhouse, and the exteriors are equally rich with nice lighting and sometimes an outstanding halo from a light source. The clues you encounter blend well with the environment they are in. You won’t see bright white objects on a dusty mantle.

The controls and frustrations encountered are hard to overcome. Deep into the game, I still missed having more options. I was better at not getting lost (considered drawing a map at one point), but navigating a room was still awkward. Aside from that, you forget the time and the games rolls along well. You can’t die, but saving my place became a constant event. You don’t want to start over any part of it. I’d be curious, given a walk-thru, how much of it I missed. It was so full of detail, I know there had to be plenty. It’s not like playing tic-tac-toe. Rhiannon got chased out of there for a reason, and you get to find out why. 

Gameplay: 7.0
The reliance on mouse-only movement is hard to get used to. The click-and-render action went pretty well, but the potential to get seriously lost was everywhere. One wrong click and your back outside a room you spent forever locating. The arrows are meant to help you not try things that can’t be done, but all the prompts in the world don’t compensate for the awkward movement. Once that is within a tolerable range, you can get into solving the mysteries, and have a lot of fun doing it. It pulls you into the spooky environment quickly, and it’s a fun adventure to undertake.

Graphics: 8.0 
The game is rich and in depth, with few exceptions that are easily forgiven. Like a good game from a 8-bit system, the strength is the game itself, not how much it taxes your video card. Being able to load the whole game from the DVD, then not need it, is wonderful. The motion was smooth and nothing was too “blocky” or otherwise annoying to view. Some items were better than others, but usually strategically so. There is no need to have extreme detail on some distant hedge, and have vital clues that are fuzzy. That didn’t happen, here, which is great.

Sound: 8.0
The audio is one of the more low-key, less remarkable aspects, but not bad by any means. There is no thundering soundtrack, nor would you expect one — in a spooky Welsh setting. In fact, the lack of music is … odd. Things are loud and clear as needed, with an occasional friendly sound (cat door!) to keep you in the game. Unlike many games I play, I turned off other sounds around me so I could hear what was happening in this one. The experience was that enriching. .

Difficulty: Medium
Moving the mouse and not getting dizzy is the first hurdle. Once you are past that, having a decent head on your shoulder and some basic puzzle skills will get you through. I did have to retrace for clues, which is annoying, but it is not always something you’ve done wrong. Some items can’t be interactive until other things are done. Do Item B, go back to A.

Concept: 7.0 
The concept of solving a mystery by following the right paths and puzzles has been around for decades. I wrote a game in 1982 that was a simple, idiot-proof version of the (future) hit Oregon Trail. Myst broke new ground for me, as that was my first experience in a world without people to talk to, or lots of typing. Having referenced that classic many times, I still feel that this is refreshing, though not new. Since then, most games like this exist in that shadow. Some of the way puzzles have to be solved is new to me, and the incorporation of 21^st Century Tech (ex: e-mails you get as clues), combined with a very old Welsh setting, is a unique twist for me. It’s like a modern variation of Scooby Doo. Velma would have loved a laptop back in the 70s, but it wouldn’t fit in the Mystery Machine back then.  

Overall: 7.5
Despite agonizing movements and getting lost a lot, it’s a joy to play — and experience. It excels when things are dark and quiet. Puzzles are somehow more intense ... the more quiet things get. Clues are sometimes unique and unexpected, while the false leads don’t feel like a waste of your time. Everything you encounter is fun. Frequent pauses to save the game are prudent. I found that returning to play the game was like an event for me. I had to have everything just right, but once I began, the game takes over and puts you in the right mood, easily. It took me longer than it might others, but I rarely delve into this genre much. The recent Dracula: Origins game was similar in visual ability and scope, but both are equal in compensation. What Rhiannon: Curse of the Four Branches lacks in people-skills, it more than makes up for in enriching experience and keeping the mood. Now if I could just get that whispering voice out of my head.