Old Skies Review

If there is one hugely positive aftereffect of the Nintendo Switch’s massive success, it is that genres of games normally consigned to PC have gradually made their way to the console. Point and click adventures, in particular, are more naturally suited to the keyboard and mouse setup, but that hasn’t stopped a plethora of developers from bringing their narrative-based puzzle-solving quests to Nintendo’s system. Old Skies is one such title, from the adventure game architects at Wadjet Eye Games, released almost in tandem with its PC edition, implying the Switch version isn’t simply an afterthought.

Time travel stories are a dime a dozen in video games, but it is always interesting to see the unique takes from different writers and how gameplay mechanics incorporate the sci-fi concept. Old Skies presents a futuristic world in which hopping back in time is commonplace, albeit with megacorporation ChronoZen keeping a tight grip over who may do so and what level of interaction can be had in the past.

The company employs “special” talents that accompany wealthy clients on their trips to years gone by, and these agents ensure that the fortunate individuals get to see and do what they desire during the period they wish to travel to – within reason. There are regulations, and experience has taught that there are some people more important than others that cannot be interfered with in the past, else drastic changes may occur in the present. It means ChronoZen has assigned every human in history a timeline ranking, where “low” priority allows for more interaction than with a person ranked “medium” or “high”.

Fia Quinn is the time travelling agent players assume the role of in Old Skies, and the opening segment provides an immediate demonstration of the notion of “Chronoshifting”. With Fia taking time out from work to have a drink at the bar, the potential love interest she is chatting to suddenly phases out of existence mid-conversation, never to be seen again.

This is nothing new for Fia, who has seen people come and go in the blink of an eye numerous times because of timeline manipulation. It sets up what is actually a rather dystopic universe, despite Old Skies presenting itself in a laidback way thanks to the humorous dialogue that carries throughout most of the adventure.

Each chapter sees Fia take on a different client’s request to go back in time, usually with the motive of changing the present in some way. Sometimes the client accompanies her, while other occasions demand Fia goes it alone to achieve the goal at hand. What is captivating about the story is that despite each chapter seemingly being distinct in the tales being told, there are more links between each one than first realised. It can take a bit of time to get going, but becomes worthwhile midway through the game as the events of prior time jumps begin to tie together in a fascinating way.

Standard point and click genre staples apply, with Fia required to utilise her multitool to pick locks and use and combine other items relative to the situation to advance. Controls are sometimes a little awkward, but there are a few helpful functions to more easily select points of interest or see what can be interacted with. There aren’t too many moments that will stump players, but there are a few times that some thought is required.

Dipping into the virtual archive to look up specific chapter-relevant people for clues is another option for working the next steps out, and as the story progresses and alterations are made to the present from the past, the archive and items may update accordingly, adding a clever additional method to piecing puzzles together. Hearing in real time how exploits are affecting the present keeps the story engaging as things go – and don’t go – according to plan.

Whereas in most games death means game over, Old Skies integrates it in a comedic way. If Fia winds up in a circumstance that results in her being killed, her trusty companion back in the present, Nozzo, rewinds time, bringing her back – with the memories of what just transpired intact. Players can learn from the mistake that was made, but light is made of the situation, with Fia providing many a laugh-out-loud quip as déjà vu sets in again.

Many deaths can be avoided, and part of the test is in doing just that, but there is a certain level of entertainment in choosing various text and gameplay options to die on purpose to see what happens afterwards. It is clear that the writers and voice actors had fun with the dialogue here.

On that note, too, special mention must be given to the voicework with Fia’s strong English accent standing out amongst the American cast, where it and her dialect are amusingly highlighted on occasion to deliver a little more authenticity to proceedings. All around, the voice acting is of a high calibre, ensuring the characters and narrative remain engrossing.

From someone that hasn’t had much experience at all with point and click adventure games, Old Skies opens the door to the genre in a positive way. Screens aren’t overpopulated by interactable objects or characters, and while those that prefer more challenge may wish to look elsewhere, this feels very friendly to newcomers of the genre, with a heavy focus on a personalised story.

While that narrative is fascinating and emotional in parts, there does, however, appear to be a bit of a disconnect. Dialogue choices don’t seem to amount to much when it feels like major branches are presented, and the final portion of the game not being an actual chapter that can be played is a missed opportunity. Choices aren’t given in moments where they feel like they should be, and while that’s okay for Fia’s focused storyline at times, it does go a little against the grain for the supposed major choices that can be made in earlier chapters.

It is also difficult to not think about life outside of Fia’s enclosed world. In an era where time travel is commonplace, only the rich can afford it, and people can be erased from existence at the flick of a switch, Old Skies never delves into the universe from the general public’s perspective. Taking a moment to think about what living in this kind of future must feel like for someone not so fortunate to be a ChronoZen agent or protected person, it is hard to imagine anything other than the most stressful and miserable reality.

With normal citizens rarely, if ever, shown during present day segments, Old Skies sweeps that aside, as Fia’s own struggles with how Chronoshifts affect her mental wellbeing take precedent over anything else. Since the dilemmas Fia deals with have their own intrigue, the story is mostly fine for not fully exploring the points of view of other regular people, but it is certainly something that is difficult to ignore once the thoughts cross the mind.