Your muscle memory will whip out the good ol’ mouse crawl technique, zigzagging up and down, side to side, slowly looking for people and items to click on. You’ll combine items sidling up to one another in your inventory. You will, with varying levels of success, solve puzzles tucked into the environments.

Nestled deep in point-and-click adventure land, Memoria travels across painted landscapes, its inventory bar breathing in and out at the bottom of the screen, while the steady soundtrack of your mouse clicks fill in the silence between clips of dialogue.

But he’s posed with a riddle that bridges four and a half centuries, ties his side-quest-of-a-lifetime to Princess Sadja’s defunct memoir, and learns that the past can be as much of a blank page as the future. All he wants is to have his girlfriend slip into something more comfortable than raven feathers.

She wanted to go down in history books, but the history books apparently thought otherwise.Īnd that’s where Geron the bird catcher unwittingly comes in. Something thwarted her plan to become a revered and worshiped warrior-princess. Funny thing, though, is that no one in Memoria’s present day remembers who Sadja was. She’s a princess, but you’d never know that from her ambition to become history’s most renowned warrior. Four hundred fifty years in the past is Sadja. His singular drive is to restore his girlfriend’s normal fairy body because she’d been transformed into a raven. Geron, a tousle-haired bird catcher, resides in Memoria’s present day.

Memoria weaves its narrative and its timeline between two main characters and two different eras. That’s okay, though, because starting in medias res-in the middle of its narrative-builds on Memoria’s chaotic theme of memory, false memory, and the stories we tell in order to connect them. Memoria is part two of The Dark Eye series, sequel to 2011’s The Dark Eye: Chains of Satinav. Memoria doesn’t start from the beginning.

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