The Batman game 'Arkham Asylum Files' comes from those in the theme park space. 'Mother of Frankenstein' is from escape room masterminds Hatch Escapes.
Class warfare. The spread of disinformation through social media. A lifelong love affair, and the ways in which passion and grief shape and color our hobbies. These are grand themes, some of-the-moment and others timeless, but all told through the medium of play courtesy of two separate groups of local designers.
Los Angeles’ Hatch Escapes, home to the lighthearted, comedy-focused escape room Lab Rat as well as the Scout Expedition-created,” opts for a more timeless approach. Think of its “Mother of Frankenstein” as part novel, part puzzle game, one in which challenges are sprung from various aspects of Shelley’s life and interests.
It’s probably not what Mary Shelley would have done, either. In the game, the author left a series of personal love letters and puzzles for her son, Percy Florence. Each is designed to further reveal details about her relationship with her husband, Percy Bysshe Shelley, or to her art, and to deliver a message to her son — and the player — that she was too ashamed to reveal while alive. The puzzles are challenging.
“We spent many, many, many months attempting to make this process of her learning about anatomy and electricity effectively feel the way a scientific study feels — that the action of solving the puzzles is repetitive,” Wallach says. “We’ve had people genuinely complain that it’s repetitive, and we’re like, ‘Yeah, we know. That’s what scientific inquiry is like. You get a little farther each time and it’s iterative. And it’s a struggle, and it’s work.
It’s a testament to “The Arkham Asylum Files” that I often felt like I was constructing a story more than I was solving a puzzle box. There are times we will pause the narrative to, say, build a 3-D city, but once we erect a cardboard tower representing a Gotham City news station, we can scan the building to watch newscasts materialize on a mini Jumbotron, or solve puzzles via the ever-shifting graffiti on the urban buildings.
“We created a giant box of things that we have control of, so we know that when we scan it, it works,” Lieu says. “We can’t control everything in the room. But it’s a lot harder for us to map your dining room table and that chair against the wall and be consistent. We can build the format of these documents and the board game and be consistent. It makes it more reliable, and it’s magical. Because we’re putting magic on top of real stuff.
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