In addition to the storyline, the game consists of a good mix of standalone and inventory-based puzzles, mostly involving exploration and collecting items to be used in the appropriate place. There are very few push-pull lever puzzles, or other puzzles I have become so used to finding in adventure games that I kept expecting to pop up but never did. How refreshing. One of the most difficult puzzles in the game, however, is a locked box fronted by coloured squares that require a correct sequence for opening. It takes a fair amount of sleuthing to get all the pieces together to ultimately solve this one.

Interactive hotspots, including objects to be picked up and places where inventory items can be used, are highlighted by a smart cursor. Some items are easily found, while others require a little more detective work. Almost all of the objects collected are used in way that makes complete sense. Keys are used for doors, a head lamp lights your way in the dark, rubber boats help cross creeks. Some inventory objects can be combined, however, and this might be where gamers get stumped at times. There are a few combinations that didn’t jump out at me right away. Luckily, the game usually provides ample hints from Carol or Stina to keep a gamer on track with what to do. I did run into one hitch when I didn’t complete a phone call at the right time, but once I revisited a few places I realized what I needed to do. Otherwise, I found the game easy to understand and navigate through.

When using the in-game map to jump to a different location, your destination is represented by a sepia-toned snapshot of the locale before becoming active. These snapshots seem to serve as a type of chapter cover to let you know you have entered a new environment. I did wish you could jump from place to place directly from any point within each location, as some areas require backtracking to get to an exit before you can access the map.

Though the dialogue in the game is spartan, it is effective. No characters are overly chatty and most of what is said is direct and to the point, providing any necessary information without being too formal or too familiar in tone. I found the voice work very good as well, especially from Carol. No histrionics or weird discourse for this protagonist. Writing for games seems to be becoming a bit of a lost art, so it was nice to see solid work in this area. There is a fair bit of reading to do in the game as well, but everything is written clearly and correctly. Having played many games with poor translations from an original language, this is a notable achievement, particularly from such a small team.

I loved the ambient sounds throughout the game, like birds chirping lightly over the music. The soundtrack itself is very subtle, just there for emphasis, not overload. The music consists of a number of standalone pieces that are tied to the environment you are in. Certain tracks succeed better than others at being more atmospheric. None are very complex, mostly comprised of just a few instruments, but they are better than the average looped background music.

Overall, this latest mystery is very similar to other games in the series, and yet an improvement over the last one I played, mainly due to its intriguing story that keeps things moving at a great pace. The game does have its shortcomings, particularly the older slideshow technology that shortchanges the beautiful environments somewhat. And the game itself is very short, as it only took me about five hours to play all the way through. But even with these issues, I think most players will find it a bracing and fun mystery to solve. As with the earlier games, it is available for purchase directly from the developer’s website, where you can also find a playable demo to try it out personally. Ultimately, I think it will mostly appeal to series veterans, though anyone could pick this game up without having played any previous titles in the series, so if you’re considering your first Carol Reed adventure, The Colour of Murder certainly isn’t a bad place to start.