Of all the things that Indigo Prophecy represents in its contribution to video games, consistency is not one of them. A bold and clever experiment at times, the game’s heavily authored narrative fails to sustain its coherence after one plot twist and bizarre character interaction too many. Yet there are still a lot of interesting moments in the game worth focusing on, including the moment where the game becomes a train wreck.
The game design is basically a subjective adventure game interface with random mini-games. The chief limitation to your actions is what the designer will allow you to do or touch, there is no real agency outside of this conceptual space. Discovering what you can interact with means walking around the room until the options light up. What’s interesting is the game’s willingness to let these normally limited interactions include the mundane. For each character, you can walk around their apartment, fix a drink, play guitar, watch TV, or a variety of other tasks. The fridge and cabinets are all operable along with the bathroom. Iroquis Pliskin points out that these moments, “succeed in communicating this idea that your protagonist is a regular human being who’s trying to cope with the bizarre events that just transpired. It’s the most successful sequence in the entire game” (“In Praise of the Mundane”, Versus Clu Clu Land, 12 February 2009).