Back out and turn right twice, then give a shrimp cocktail to the 3 guests here. There are more than a few filler puzzles here, which is a shame in a game that’s only three or four hours long.Approach the desk and talk to Mr Crow, then pick up the 5 shrimp cocktails. My only complaint is the puzzles Paradise pads out the action with. The moments where you spot a veiled reference, where a mask or a throwaway line or a puzzle callback suddenly speaks volumes about a character-those moments are special because you realize there is an internal consistency underlying the gore and the absurdist humor. Surface level weirdness disguises a strict internal logic, a purposefulness that’s apparent whether one, three, or a dozen games in. Or you can drill deep on the lore, turn it over in your mind, try to draw those connections. Your brother turns into a fly and you think “Wow, that’s weird/gross/creepy” and move on. It’s a unique tone piece, and like most tone pieces it’s often helpful to sit back and let it wash over you, to take in the imagery with an open mind. That’s I guess what makes Rusty Lake stand out. If anything, I feel less certain what’s going on after every new iteration. If the “real puzzle” of Rusty Lake is figuring out that overarching narrative, I’m still a long ways off from a solution. Not that any of it makes sense, or at least not to me. But Paradise is probably the most overtly Biblical, an interesting addition when filtered through Rusty Lake’s surreal horror tendencies. Roots had references to Cain and Abel, for instance. This isn’t the first Rusty Lake game to dabble in Biblical allegory. It’s a grandiose undertaking for what started as a simple escape room series. These ten plagues serve as Paradise’s framework, each the same sort of puzzle-laden vignette that made up Hotel and Roots. Paradise is probably unpleasant at the best of times but the name is doubly ironic at the moment, as in the wake of Jakob’s mother’s death the island has been beset by the Biblical ten plagues of Egypt-frogs, flies, diseased livestock, and so on. “Home” in this case is the titular Paradise, a small and barely habitable island in the middle of a lake. The setup this time: Jakob Eilander, eldest son, returns home after his mother’s death.
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