7 Days A Skeptic Download LINK

The story is spread out over seven days in an identical fashion to 5 Days A Stranger. Dream sequences make a reappearance. According to Yahtzee in the author commentary of the special edition, seven days may have been stretching the plot a little thin. Overall length of the game is comparable to 5 Days A Stranger.

John informs the rest of the crew that the captain is dead, and shows them the machete he found, and informs them that the box is now open. Though John is quick to suspect that the box is somehow responsible for the captain's untimely death, the other crew members quickly dismiss this idea, as the idea of a lifeform capable of murder inside a box drifting about in space is absurd. William, overwhelmed by the idea that a killer is among them, angrily retreats to his room. Adam, still refusing joining John outside, suggests that someone retrieve Barry's body, as communication lines still need to be restored to send a distress signal. John volunteers to do so but then he finds that the captain's body has now mysteriously vanished. When he informs Serena over radio, he hears a brief noise of a struggle, then the radio cuts off. He returns to the operations deck, where he finds Angela looking for Serena. Angela is unconcerned, as she believes Serena to be in the bathroom, and asks John to locate the communication handbook, which has the information necessary in order to send a distress signal. Angela successfully radios for help, who tell them that help will arrive after 5 days. Suddenly, Adam barges in claiming that he saw the Captain walking around the engineering deck, though covered in blood. John is suspicious, but Angela believes this to be a hallucination, as Barry is already dead. John escorts Adam back to their room, where he agrees with Angela on the sheer impossibility of what Adam saw. Adam then ominously says that the captain is alive, but not as the same person. A figure wearing a bloody apron, welding a mask, and wielding a machete then enters the room and attacks them, though these last few sequences are shown to be just John's nightmare that evening again.

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The next morning, Serena is still missing at the group meeting. As John is the last person to have spoken with her, William is quick to suspect him, and tries to implicate him by stating that it was suspicious that John was the one to have found Barry's body as well. Adam, however, quickly shuts William down by providing evidence that John had most definitely been outside at the time of Serena's disappearance. William, clearly distressed, apologizes for being out of line while the group splits up to search for Serena. On the way out of the meeting room, John sees Serena enter the elevator shaft, seemingly alive, but Serena does not respond to any of John's attempts to speak with her. John then notes that he hasn't eaten in the last two days and goes to get lunch from the dispenser. He is then shocked to find that there is blood on the tray with his lunch. He then tries to find the cause by opening a panel on the dispenser console, and dislodges a severed human hand from the machine. Noting a lack of a blood trail, John takes the hand to William for advice. William tells John that, due to the ship's self cleaning walls, blood will not remain visible, but can be still be unveiled by a UV light. William provides John with a portable UV lamp for his investigation. John tracks the blood trail to the maintenance panel on the upper level, where he finds Serena's severed torso hidden within. Serena seemingly appears from the meeting room behind John but again quickly disappears, then Angela walks in on the confused John with the torso.

The next day, John rests in the maintenance shaft, lamenting how he's the only one left. He then exits the shaft to find William, who is now missing his eyes. William, now free from possession, says that John DeFoe took his eyes to complete the body, and apologizes for his role in the deaths of the others. He then pleads for John to destroy John DeFoe before help arrives and plagues more innocents, suggesting the use of the radio masts to disable the body of the wraith. John then uses a timed withdraw on the radio masts from the captain's quarters, and leads the wraith outside, where he is shocked to find out that the wraith has no trouble moving through empty space unprotected and unaffected by the lack of gravity. He then leads John DeFoe to where the radio masts are. The latter gets skewered and drops the cursed African idol. John takes the idol and drops it in the path of the ship's engine exhaust, incinerating it. A scout ship arrives, presumably the help requested 5 days earlier, but as John returns to the cargo bay, he finds that it is actually off-world security instead.

The player takes on the role Jonathan Somerset, a psychological counselor who is one of six members of the crew of the EFS Mephistopheles, a small scout ship on its maiden voyage through deep space. The crew intercept an object floating through space, and when they take it aboard they find it not to be a sign of alien life but just an old metal locker, on which a stern warning is described never to disturb the contents. Over the next few days, strange happenings and stranger disappearances take place, and Somerset attempts to determine the nature of the dark intelligence behind it all.

Every year, as I prepare the message for Sunday, I find myself feeling a bit anxious. To whom do I preach? The regular attender, there to celebrate the heart of the gospel message about Jesus? The inquisitive guest, listening cautiously? The reluctant and guarded ones, skeptical and needing convincing? My heart goes out to all three. But honestly, it goes mostly to the skeptic.

So, skeptic, I want you to know that this Sunday you are welcome. You are the guest of honor. Unbelief and all. No pressure, I promise. And maybe, just maybe, you will receive something transcendent. Something good, and true, and beautiful.

Set nearly four hundred years after the events of the original game, 7 Days puts the player in the shoes of Dr. Jonathan Somerset, counsellor on board the spaceship Mephistopheles. Upon discovering an unknown artifact floating in deep space, the plucky crew brings the questionable item onboard. Seven days of murder - and puzzles - naturally follow.

There are also several problems with the plot. Just why, for example, would a ship possess an escape pod that required twenty-four hours to prepare for use? There also seems to be an unusual, and uncharacteristic sense of rush in the final stages of the game. One day, notably, takes just a minute or two to complete. The ending, complete with obligatory plot twist, is also short, and leaves one wondering why the change was attempted. Even the title raises design questions. In 5 Days a Stranger the main character, Trilby, was at least an outcast from the group and therefore a "stranger", but in 7 Days the main character never comes across as being particularly skeptical.

The setting is four hundred years after the "DeFoe Manor Incident" depicted in the first game. You play Dr. Jonathan Somerset, psychiatrist aboard a scouting spacecraft assigned to map out the Caracus galaxy. The game begins "...just a few days into the assignment, [when] the crew... discover an unknown artefact floating unprotected in deep space: an ancient metal locker. Ignoring advice from the Federation to leave it for a research vessel, the captain brings it aboard and prepares to lift the lid..."

Anyone who has played 5 Days a Stranger will know what to expect from this sequel: a gripping tale of horror that escalates in intensity over several days. Although it is set hundreds of years after the first game, I recommend that you finish 5 Days a Stranger first to understand the full story behind the tormented, scary perpetrator. True to the author Ben Croshaw's track record, the writing in 7 Days a Skeptic is excellent: well-written dialogues bring out the unique character of each of the six crew members, and the pace of the game is well scripted. The focus is on thrilling action rather than plot this time around, though - you will spend a lot more time running away from possessed crewmates and worse than reading the story. This is not necessarily a bad thing - it makes the game better as a "survival horror adventure" - although I wish the designer had added some new revelations and plot twists to make the mythos more complex. Fortuately, the excellend ending does hint at several exciting possibilities regarding... well, play the game to find out ;)

Then, last month, I was sent the Neutrogena Light Therapy Mask that came out at the end of last year and has been filling the internet with Tron-esque selfies ever since. I was plenty skeptical, of course. What do red and blue lights have to do with zapping zits? A lot, as it turns out.

7 Days a Skeptic is a Jason X tribute. That's one genre for which life is simply too short. It was produced by Ben Croshaw, maestro of the AGS adventure game-creation program, and as such boasts many admirable technical achievements. They just don't come packaged in a very enjoyable game.

The story: in the year 2385, a clutch of space cadets wander a distant galaxy in a small cruiser christened, I am afraid, the Mephistopheles. (Oh, for the days when sailors considered mere cormorants or church bells to be inauspicious.) You might wonder what this scenario has to do at all with the previous game, set in the present day in an old English manor. Soon, however, the ship happens across a derelict iron coffin with inscriptions on its lid. The inscriptions, it turns out, were wrought by Trilby, the hero of the preceding 5 Days a Stranger, who warns, albeit through uselessly opaque language, against opening the coffin. Does it stay closed? Don't make me laugh.

First off, I'm pleased to report that Croshaw's dialogue-writing skills have improved. The frequent awkwardness of 5 Days a Stranger's lines has almost vanished here. The dialogue (particularly Adam's later lines) is, to use an oxymoron, strikingly natural; it's not the content, which is rather perfunctory info relay and chit-chat, but the style.

Graphics go both ways. On one hand, the resolution and detail is improved from the previous game. Croshaw still knows how to animate characters; he's aware of when a little bow of the head, pause, or check of an item just received will make a conversation seem all the more real. He boasts an excellent sense of pacing, and the overall production seems more polished. On the other hand, the ship's so visually monotonous - nothing but dreary grays and slate blue. The choice is conscious, but it makes trudging back and forth across your environs all the more a chore; 5 Days understood how the early VGA efforts compensated for their blockiness with a bright palette. (I do like, though, the small close-up stills on the game-over screens that illustrate the specific demise you suffered; it's one of those little details that tells of care and craftsmanship.)

Interface has taken a turn for the worse. In 5 Days, the cursor could switch between several different modes - an eye for "look"ing, a hand for physical interaction, a voice balloon for talking with others - and it would stay switched until shifted to another function. The system proved remarkably efficient. Here, though, you click on an item and then sift through a small icon-based pop-up menu for your option, which results in a lot of awkward fumbling; adventure gamers, I think, are used to verb-object commands ("LOOK at MACHETE"), and the inverse short-circuits our King's Quest lobe. (Also frustrating: the method for inspecting items in your inventory is unintuitive (you right-click twice) and never mentioned by the in-game help, and if you choose to "look" at an item across the room, you have to wait until the character clip-clops over to it for a description.)

Croshaw has also included a couple Clock Tower-esque sequences where your comparatively-helpless character is being chased about the ship by a murderous pursuer and, upon discovery, can elude death only through split-second action. The point-and-click system is particularly ill-suited to the quick reaction this gameplay demands, though; at one scripted showdown, I knew what to do and when to do it but died about seven times in a row due to the clumsy interface. Worse, a) the hotspots are minuscule, often only a few pixels wide, and b) during the dialogue scenes that often precede the chases, your cursor disappears, meaning you have to spot where it's resurfaced once the frenzy begins and hunt out an eensy little target in the space of a few seconds while under a madman's gun. (If you haven't figured out exactly which hotspot you should be clicking, or what to do, then Dagon help you; the game leaves no time to act in these scenarios, let alone puzzle-solve.)

Otherwise, there're a couple nice multi-part puzzles, but much is either too straightforward and busyworkish or obtuse. One, the primary puzzle on Day 4, has apparently proved a complete roadblock for most players; I didn't escape the hue and cry and went in informed of the solution, but I agree that the game doesn't provide enough direction. The gamespace is unevenly used, as well; I liked how the ductwork repeatedly figured into the plot, but entire rooms serve no purpose in the storyline and are completely wasted. The story is also flat. 5 Days gave us an unusual puzzle, a murder of which all the suspects seemed genuinely incapable. (Yes, one of the guests was an antisocial loudmouth, but the kind who gets bumped off in the second reel as comeuppance, not the kind who kills people.) Here, though, yes, everything is as it seems, the guilty parties announcing themselves with nervous and atypical behavior. (I should give 7 Days credit, though, for bumping off the cast in a somewhat unexpected order.) A couple memorable scenes are very noticeably copied and pasted in from 5 Days, with only the characters changed. Then there's the gore; there's a lot more here. (As another reviewer noted, where 5 Days was mystery-horror, 7 Days is pure slasher.) While it didn't excessively horrify me, it did turn me off as in bad taste. 5 Days had horror, yes, but it was primarily interested in being an adventure game, not in showing us other people's spleens.

Also: I complained about its predecessor's plot holes, but 7 Days a Skeptic far exceeds any game's quota of stoopid. Nice that the laws of gravity apply in such strict indirect proportion to dramatic necessity, relaxing to allow blood to stick artistically to the sides of the ship instead of floating away and bad guys to walk normally all over deep space. (The latter phenomenon exists despite a multi-part safety procedure the character must studiously follow on every spacewalk to avoid floating away.) What's the use of an escape pod that takes twenty-four hours to prepare? A crewman's missing; another's acting oddly and won't open his cabin. Well, if someone's AWOL and there're only about ten rooms to search, then I think that door's coming down, don't you? Didn't some of the material for that abominable science project go tumbling down an antimatter chamber, utterly irretrievable? How CAN we see someone in the hallway, seemingly alive and intact, if we've just discovered their butchered remains, anyway? (No, it's not a ghost; the ship's automatic doors open and close in the character's wake, as if detecting a physical presence.) And about that iron coffin - Trilby sends it away on a twentieth-century spacecraft, but it resurfaces in the faraway galaxy the Mephistopheles is surveying four centuries later. Consider that the nearest neighboring galaxy, the Andromeda, is 2.5 million light-years away. That means that this metal box adrift in space is traveling at least...let's see, over 6,000 times the speed of light. (Trilby hardly needed to go outside the Milky Way for his solution, anyhow. My suggestion: send that mother to Venus and see how it withstands the 90x Earth's atmospheric pressure and sulfuric acid clouds.)

I generally do not play Comic Book Guy with my entertainment and can sit by happily while, say, Jeff Goldblum disables an alien fleet with a mid-'90's PowerBook. C'mon, though - this is third-grade stuff. It's way too much dumb to ask a player to swallow.

Yeah, I've done nothing but complain about a game that's free and took a lot of time to make. Croshaw responds to kvetching by offering "a refund on the exorbitant price you paid for [the game]" - but, dude, you are spending a player's time as well. It seems odd to decry a horror game as "unpleasant", but for the most part, 7 Days a Skeptic wasn't spooky or scary or thrilling or any of the experiences I seek from a horror game - just a seamy experience that left a bad taste. I doubt I'll be returning to it.

The Special Edition of 7 Days a Skeptic, available for $5 from , features a few "outtakes" and an Easter Egg, all more entertaining than the actual game, plus a running commentary from Croshaw containing too many variations on "I know [x] was wrong, but I was too lazy to fix it". It also includes an early warning system for the chase sequences that makes them a bit less cheap without eliminating the challenge.

Note: Much has been made of the twist at the end of the game, perceived as a downer. I thought it was subtly hilarious, though. 17dc91bb1f