La base de todo lo que entabla Amanita Design como creadores de videojuegos, concentrada en una obra de apenas 10–15min. La premisa de 'Samorost' no puede ser más sencilla: desviar una nave nodriza de su trayectoria antes de que impacte en el planeta (¿asteroide? ¿Ameba?) de nuestro protagonista. Que vuela hacia ella en su lata Polokonzerva como si este escenario fuese mundano y ya se hubiese producido otras veces. En una estructura point & click, cada pantalla nos obligará a trazar una ruta para que Gnome se abra paso por la estrafalaria flora y fauna que moran estas tierras, que a menudo podrá contemplarse al lado de maquinaria industrial y cachivaches muy poco orgánicos que digamos. La extrañeza de sus acciones nos impide ver un destino claro, desligadas entre sí, aparentemente pacíficas en un ambiente pastoril, impermeable y ajeno a todo lo que les rodea. Aquí el ciclo de la vida no entiende de células o protones, de polvo y de vapor. Todo funciona en simbiosis como un único ser mientras somos los absolutos desconocidos pululando por su ecosistema. Un patio del recreo en el que todos parecen divertirse mientras estamos buscando al profesor para que aclare alguna de las preguntas que saldrán en el examen. Es otro mundo y tú eres el alienígena.

A pesar de lo cual, no se requieren de muchas vueltas de tuerca para acceder a la siguiente pantalla de juego. 'Samorost' es ambiguo pero intuitivo. No tiene una profundidad clamorosa o un reclamo que le identifique como una experiencia original y revolucionaria. Es tan sólo un mundo surrealista y absurdo nacido por deseo expreso del checo Jakub Dvorský, en su epopeya por producir un juego de navegador en 2003 que le ayudase a mostrar su faceta artística a empresas e interesados (como Nike). Pero detrás de su aparente premura, 'Samorost' se percibe como un mundo en armonía pese todos los componentes "extraños" que nos retrotraen a la realidad que conocemos. Un esquiador no se desliza cuesta arriba, una ardilla no tiene un PNG con la cara de una mujer, un árbol no tiene una napia en la que introducir el tronco de otro árbol. Pero prefiero verlo en su conjunto como un escenario para la recreación personal antes que como un cuadro de museo minimalista, cuya básica proyección sea tan provocadora que necesites tervirgersar la realidad para hallar un significado distinto. Entrañable y absorto de una realidad de la que participa: estas son las consignas que Amanita Design tomó como seña tras el lanzamiento de 'Samorost' en 2003 y que, veinte años después, siguen paragonando como la base de su proceso creativo. Con la diferencia de que ahora ya no hay una persona al frente, sino más de una decena formando equipo, y ambicionan narrativas y ambientes más profundos que arranquen un sentimiento deseado. 'Samorost' ya no está disponible en su versión original, pero en 2021 fue rescatado y publicado de manera gratuita por Amanita en PC y smartphones. Dos secuelas le siguieron más tarde.

The chad Jakub Dvorsky and the virgin Doug TenNapel—not that I actually have anything against The Neverhood so much as its asshole director, but it's nice to know the "funny guys on forested rocks in space" sub-genre found life elsewhere. Amanita Design's first entry in the "self rust" trilogy promised, and delivered, a smaller-scale successor to the bizarre scenes and ambling of a certain mid'-90s cult classic. And unlike that bust, Samorost led to tangible influence and prestige for the bourgeoning indie games scene. This was exactly the kind of Flash-era, outsider art game happy to just invite you into its odd little world, where every screen our gnome reaches has miniature delights and obstacles to overcome. Right as the very notion of "indie game" was coming into being—a reaction against a decline in shareware and rise of industry consolidation—this became an unlikely herald for things to come.

Actually playing the original 2003 game is a bit of a task. Internet Archive's in-browser version breaks after the intro, meaning I had to run the game in Ruffle offline via command line! Otherwise it's as simple as clicking around the screen, presented first to players as a beguiling, fantastic planetoid defying physics and graphical consistency. As I watched our protagonist scope around the void before panicking at the sight of an oncoming world just like theirs, I couldn't help but notice the odd juxtaposition of, well, everything here. Low-res nature photos blown up into scenery; flat-colored munchkins living in and out of more shaded structures; very short music loops, seemingly pulled from anonymous sources and libraries like junk in orbit! Many multimedia CD-based adventures from years before this used far more space to achieve this kind of uncanny valley, yet Dvorsky triumphs in a far stricter filesize.

Our white-frocked fellow's journey from home to hell and back hardly lasts longer than 15 or 20 minutes. Patience, observing the environment, and learning each inhabitants' patterns makes for an engaging time despite its simplicity. An itinerant laborer smokes the herb before throwing away the pipe-key needed to activate a ski lift. The fisherman tosses out a skeleton which the hawk snatches, proudly exhibiting it long enough for us to climb aboard and reach the badlands. What few scenarios Samorost offers feel like forgotten or mangled tall tales, making it fun to solve each puzzle in hopes of something cool. I'll admit that the last couple of screens are less interesting, though. Dvorsky and co-creator Tomas Dvorak wring most of the potential possible from this simple click-action paradigm a bit before the game ends. I hope the sequels introduce just enough verbs and structural changes to freshen things up. Still, this remains as elegant and intuitive as it must have been back in the early-2000s, a pared-down gallery installation in LucasArts form. (Compared to The Neverhood's often overdone riddles and backtracking, something this linear isn't too unwelcome.)

Later stories by the Amanita team(s) would delve into less enigmatic, more overt themes and messaging. Here, the focus is squarely on how one can both explore and interact with alien environments without corrupting or exploiting them in the process. This little world has no prince, yet bears the burden of its own ecosystem and hierarchies which we must acknowledge and work around to save our own land. Yes, one could say it's just a whimsical avoid-the-collision plot with lots of oddities and sight gags, but there's an optimism hiding in plain sight too. Accidents will happen, but a courageous and respectful response to natural disasters like this can work out in the end. As an invisible hand of fate guiding the gnome, we play the most important part in continuing the circle of life, perpetuating predation, survival, and creation in turn.

That's a lot of words to say that I had a good laugh watching the disgruntled man-squirrel finally getting peace of mind after the worms burrowing around him fall prey to a blobby bird. Or how about spooking the goats into the chasm, over and over again, waiting for the angler and some lizards to finish their meal? Samorost indulges maybe a bit too much in these clickpoints at the expense of a meatier adventure, but the commitment to displaying this world's arch antics and irreverence is very endearing. Coupled with unsettling yet comforting library music, the lounge jazz you'd hope to hear in any Eastern European animated film, this clash of styles makes the experience unforgettable. I was sad to leave the suddenly eventful lives of this lil' fella, and everything and everything they chanced upon, but this was one surreal trip I'll think back on fondly.

Seeing as this was one of his college projects, Dvorsky likely had no reason to expect Samorost would win a Webby Award. This led to Internet advertising work, the start of a career making similarly weird but wholly considered interactive media. Amanita Design would eventually ride the wave of indie games popularity via storefronts like Steam and the Wii Shop, plus enthusiastic press coverage, driving this kind of entertainment onto peoples' screens. Machinarium and later point-and-click odysseys shared the limelight with oh so many other author-driven darlings up through the turn of the 2010s, and the rest is history. It's fun to revisit the origins of these big cultural movements, back when games like this, Seiklus, and Strange Adventures in Infinite Space were innovators and standouts in an age of crowded big-box gaming. The era of bedroom coders never truly died, transitioning into browser games and then the digital distribution market we know today. Whether we call it "homebrew", "indie", "doujin", or whatever makes more sense in context, that ineffable David vs. Goliath effort of making one's own interactive art shines through in Samorost. Labor of love indeed.

Through digital collage of photos and drawings, Dvorsky lands on a spacey, alien, surprisingly captivating cliff overlooking the uncanny valley. Samorost is 10 minutes of lightning in a bottle, the exact kind of medium-bending project that Adobe Flash hoped to materialize. It may not shake everyone's world today - the singular goal is to meander and click about, after all - but when approached in earnest, the player's expectations are consistently subverted to the point where they completely disappear. That's a powerful display of spectacle, even if it's mostly just a video with extra steps.

L2AGO #1

Coming back to the first Samorost game and Amanita's first work, it's now dawning upon me that the first Samorost has this aesthetic of the early internet, with these low fidelity photos juxtaposed across these roughly hand-drawn and distinctly odd backgrounds. I'll still prefer their fully realized ambient and voiceless works in the future of course (really looking forward to playing Botanicula someday), but it's interesting peering back upon this as an early relic of the flash games era.