Josef climbs to the top of the tower, where he finds who is colloquially known as the Royal Robot. Machinarium effectively marries its setting to its puzzle design, but Josef’s interaction with the little gray robot places the game in a broader, darker context. In a way, the game is about restoring order, about creating verifiable, reproducible outputs from very specific inputs. As the name suggests, the world of Machinarium is populated exclusively by robots, their city a collection of pipes and cogs and levers and dials and cranks.Īs such, most of Machinarium’s puzzles involve fixing things: completing electrical circuits, repairing clogged drains, untangling wires. Machinarium emerged in 2009 as Amanita Design’s breakout point-and-click adventure game, noted for its minimalist story, lush, pencil-drawn art direction and moody, evocative atmosphere. Perhaps he is a slave, a victim of robot imperialism. This robot seems to be imprisoned in the tower. If Josef interacts with the robot on the shelf, the poor thing tells a piteous story: a group of soldiers – the same type of soldiers guarding the gates of the city – colonized his radish-shaped home planet and carted him to this tower in pieces.
But this tower is relatively posh: red carpets, crystal chandeliers, big game animals stuffed and mounted on the walls, signifiers meant to remind us of stately Victorian gentlemen. He is, like most things in Machinarium, dingy and decrepit. In the foyer of the tower, at the foot of a grand staircase, a small, grey, destitute robot sits on a perch in the wall, his head bowed, his eyes closed. He uses a roll of toilet paper – why do robots need toilet paper? – to rappel down the tower and defuse the bomb before continuing on his way. At the end of Machinarium, the mechanical protagonist Josef climbs a large tower to which the Black Hat Gang has strapped a bomb.
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