Faust (video game)
Faust, known as Seven Games of the Soul in North America, is 1999 graphic adventure game created by Arxel Tribe, and Cryo Interactive. Loosely inspired by Goethe's "Faust", it tells the story of Marcellus Faust and his battle of wills with the demon Mephistopheles. "Faust" began development in late 1998. Designed primarily as a cultural object rather than a game, it was Arxel Tribe's second project derived from German Romantic literature, following "Ring". The team's goal was to make a unique, transgressive adventure for adults, with the episodic structure of a television series such  as "The Twilight Zone" or "The Kingdom". Arxel drew inspiration from the many interpretations of the Faust legend and sought to create its own version for modern day. "Faust" underwent one year of development by a team of 30 people, split between France and Slovenia, and ultimately cost £700,000. Its budget was increased by the use of music licensed from Universal, including recordings by Stan Getz and Sarah Vaughan. Although it attracted a cult fan following, "Faust" was a major commercial flop. Gameplay. The game has generic features of post-Myst adventure games. Players pass many 360 panoramic screens , and by clicking on objects and manipulating items, they can progress through the level. The aim of each of the seven levels is to reveal secrets about the sins each person has committed. Once this is achieved, a cutscene will play and the player will commence the next level. Plot. The player assumes the role of an elderly African American man named Marcellus Faust. He finds himself in an abandoned amusement park called Dreamland where he meets a mysterious man named Mephistopheles. He explains that he and "the boss" are arguing over what should happen to seven souls, and tells  you that your job is to arbitrate their cases - to look over the evidence and decide if they are guilty or innocent. Through the journeys of the seven characters, the game aims to reveal insights and observations about human nature. At the very end it is revealed that you, not Mephistopheles, is the devil; you have had your memory wiped so you can look over these cases objectively. He is given the opportunity to swap roles with the owner of the park. Development. Arxel Tribe began development of "Faust" in late 1998. The game was a collaboration between , Cryo Interactive  and Arxel, and production work was split between Paris and Ljubljana, Slovenia. , son of and co-founder of Arxel Tribe, served as writer and creative director of the project. "Faust" was devised as one entry in Cryo Interactive's series of literature- and myth-based titles, begun by the company after its success with "". Arxel's game consequently followed the series' overarching design formula, in which "the content was definitely more important than the technology", according to Cryo's Stephane Ressot. "Faust" co-writer Béryl Chanteux likewise argued that Arxel's goal was not to make "the game for the  game": she reported that "Faust"s "cultural content" was its driving force. By December 1998, the title was set to launch in October 1999. Working from Johann Wolfgang von Goethe's play "Faust", Arxel Tribe continued its trend of adapting the literary output of German Romanticism, in line with its Richard Wagner-inspired "Ring" in 1998. However, originality was a main goal for "Faust". Arxel's Guillaume de Fondaumière remarked that the team sought to "stake out a new type of quest" in the gaming medium. Frédéric Dufresne of "" noted that Arxel opted for a looser style of adaptation with "Faust  than it had with Ring", and Carrière said that "Faust"s structure and core ideas were "even crazier" than those of its experimental predecessor. According to Carrière, the team drew influence from the many retellings of Faust's story, including "Doctor Faustus" by Thomas Mann, "The Master and Margarita" by Mikhail Bulgakov and "The Tragical History of the Life and Death of Doctor Faustus" by Christopher Marlowe. In turn, Arxel "tried to offer a new contemporary reading" of the myth that suited modern times. "Faust" was built from a 100-page design document written by Carrière, which outlined the environments, characters  and available actions in each scene throughout the game. The project's episodic structure was based on the model of a television series; each segment was initially meant to end with a credits sequence. By February 1999, the seven episodes of "Faust" were planned as the first installments in a series of 21—an episodic release format, set to continue after the game's launch, that Carrière called "a new approach of adventure". He compared the concept to "The Twilight Zone" and "Profit", and to the miniseries "The Kingdom" by Lars von Trier. The results were intended for an adult  audience: Carrière told "Libération" that "Faust" was written to be "a transgressive game, offbeat and ironic". Similarly, de Fondaumière said that it was an attempt to make a uniquely "anxious, disturbing" adventure unlike other games in its field. The role of Mephistopheles, portrayed as a dandy, was intentionally steeped in moral relativism. In retrospect, de Fondaumière described him as "Faust"s true protagonist. The "Faust" team numbered above 30 members and the development cycle lasted one year, with 10 months of production. Arxel Tribe worked with the CINview engine, written by the company during its creation of "Ring" and "", to generate  Fausts rotatable 360° panoramas. The cutscenes were animated on Silicon Graphics hardware, and they employ Arxel's proprietary CINmovie technology to allow playback up to 25 frames a second. Pre-rendering was used to create most of the game's visuals. Each character in "Faust" began as a design on paper, which was then developed as a physical sculpture that the team digitized via 3D scanning. Thereafter, motion capture animation was applied. The final budget for "Faust" totaled 6.2 FF million, or around £700,000. This was a sizable cost for a French adventure game, although de Fondaumière considered  it small in comparison to American titles. According to Chanteux, "Faust"s expenses were raised by its technology and licensed music, the latter provided by the Universal Music Group. Featuring what "The Independent" called "a cool jazz emphasis", the "Faust" soundtrack contains recordings by Sarah Vaughan, Mel Tormé and Stan Getz, among others. "Faust" first launched in October 1999, on four CD-ROMs. In Sweden, it was distributed by IQ Media, with actors such as Reine Brynolfsson and Pernilla August in its voice cast. Nival handled the Russian version, brought to shelves in April 2000, while the Czech edition was released  in early 2001 by Bohemia Interactive. The latter was significantly delayed by difficulties with dubbing and translation. In the United States, "Faust" was retitled "Seven Games of the Soul" and published by DreamCatcher Interactive, which launched the game on November 17, 2000. Reception. "Faust" failed commercially. John Walker of Rock, Paper, Shotgun wrote that the game "was an enormous flop, selling fewer than 10,000 copies". In the United Kingdom, it was among a string of bombs by Cryo Interactive: the company's entire line sold only 42,000 units in the region during 2000, which led it to cease its British  publishing operations. Market research firm PC Data estimated "Faust"s North American retail sales during 2000 as 4,500 copies, of which 4,429 derived from December. During 2001, the firm tallied another 9,794 retail sales of the game in North America. Despite the title's poor sales, de Fondaumière was nevertheless pleased with "Faust"s critical reception, and he said that the game drew a cult fan following. Metacritic reported that "Faust" received "mixed or average reviews" from critics. GameSpot criticised the game, writing " The real problem with Seven Games of the Soul is that it's not only nonsensical, but it's  also pretentious. " IGN mirrored this view, commenting "The box for Seven Games of the Soul promises a game rich with story and immerse atmosphere an adventure that simply oozes inexplicable style and vivid imagery through exotic locations, dark mystery and quirky characters. The truth is, however, that this game makes no freakin' sense whatsoever". While questioning the contextual relevance of the musical choices, the latter site also praised Mephisto's character as being "wonderfully acted". Adventure Gamers offered a more favourable analysis, concluding: "A philosophically ambitious game that distinguishes itself from the crowd. A rewarding experience, but expect plenty of  confusion along the way", praising its "unique, complex premise; atmospheric, multi-layered mystery; high production values; excellent music; nice puzzle variety". Awards. The editors of Eurogamer nominated "Faust" for their Gaming Globes 2000 awards in four categories: "Cinematography", "Adapted Storyline", "Male Lead Character" and "Male Supporting Character". Mephistopheles ultimately won the editors' choice in the final category; the other awards went variously to "Outcast", "Final Fantasy VIII" and "Indiana Jones and the Infernal Machine". In Russia, "Game.EXE" named "Faust" the best-localized game of the year, praising Nival's "fanatical professionalism" compared to other Russian game translators' loose and  informal work at the time. The voice cast received similar plaudits. "Game.EXE"s editors also presented "Faust" with their "Best Scenario" award, which it shared with four other titles, including "The Longest Journey". Legacy. During the first years after "Faust"s release, Eurogamer's John Bye recalled it as "one of the best adventure games of 1999" and a "truly excellent" title. In 2001, Guillaume de Fondaumière retrospectively told "Game.EXE" that "Faust" was "very dear to all of us" at Arxel Tribe, despite its commercial performance. Adventure Gamers later named it the 94th-best adventure game released by 2011. The  site's staff lauded "Faust"s uniqueness and depth, and singled out its soundtrack for praise. In 2018, John Walker offered a less positive lookback at "Faust", as he disliked Cryo Interactive's entire catalogue of releases. Nevertheless, he argued that "Faust" was somewhat superior to Cryo's and Arxel Tribe's other output, and called it "not all that dreadful." "Faust" was one of many pop culture interpretations of its source material during the 1990s, including a board game ("Doctor Faust") designed by Reinhold Wittig and "all manner of musical "Faust" adaptations", according to writer J. M. van der Laan . He grouped Arxel Tribe's "Faust" with other work that used Goethe's play as "window-dressing for mindless entertainments or marketing products such as lipstick, shampoo, cigars, even beer." Author Edwin Gentzler called Arxel's project part of a trend in games and comics that focused on the play's "theme of the competition between God and the Devil for Faust's soul." He noted that the Faust legend's prominence in games like "Faust" led to its being "culturally ingrained at a young age", among players who otherwise had no knowledge of Goethe's work. Faust (video game