Galatea by Emily Short
Emily Short's description:
A conversation with a work of art. "47. Galatea. White Thasos marble. Non-commissioned work by the late Pygmalion of Cyprus. (The artist has since committed suicide.) Originally not an animate. The waking of this piece from its natural state remains unexplained."
Galatea is my first released foray into interactive fiction. It is a single conversation with a single character, which can end any of a number of ways depending on the player's decisions. Despite its age, I continue to get strong reactions to it in my email inbox on a fairly regular basis. Some people love it; some people find it annoying or distressing.
Galatea has what I call a multilinear plot: unlike traditional IF, it has no single path to victory. Instead there are a large number of endings, some more satisfactory than others, of which many could be considered "win" states. It takes only a few minutes of play to arrive at an ending, but considerably longer to find all of them.
The game also takes an ambitious approach to NPC (non-player character) conversation, both in terms of volume (Galatea has many hundreds of things to say) and complexity (she keeps track of the state of conversation and reacts differently according to what has already been said and done).
A conversation with a work of art. "47. Galatea. White Thasos marble. Non-commissioned work by the late Pygmalion of Cyprus. (The artist has since committed suicide.) Originally not an animate. The waking of this piece from its natural state remains unexplained."
Galatea is my first released foray into interactive fiction. It is a single conversation with a single character, which can end any of a number of ways depending on the player's decisions. Despite its age, I continue to get strong reactions to it in my email inbox on a fairly regular basis. Some people love it; some people find it annoying or distressing.
Galatea has what I call a multilinear plot: unlike traditional IF, it has no single path to victory. Instead there are a large number of endings, some more satisfactory than others, of which many could be considered "win" states. It takes only a few minutes of play to arrive at an ending, but considerably longer to find all of them.
The game also takes an ambitious approach to NPC (non-player character) conversation, both in terms of volume (Galatea has many hundreds of things to say) and complexity (she keeps track of the state of conversation and reacts differently according to what has already been said and done).
Information in this game listing is copyright Michael R. Bacon, Eriorg, Emily Boegheim, Emily Short, Edward Lacey, is taken from IFDB,
and is licensed under a Creative Commons Attribution 3.0 United States License.
Review
2theleft
20 Feb 2026
Happened on this one because I was looking in the Mystery category and the cover art caught my eye.
I've had many goes at it, and sometimes Galatea has ended it out of frustration with me, and sometimes I have ended it out of frustration with her.
To get at the many hundreds of things she has to say, you will have to try many thousands of shots in the dark. The hit rate is very low, but if you have the patience a picture will start to emerge.
It seems to be key word based, but as Weizenbaum's ELIZA showed, that is sufficient for an immersive experience in some.
I can't say I have bottomed out the ontology here at all, so I can't accidentally commit a spoiler. Galatea may be magical or golem-like, or she may be a work of mechatronic art with an AI that thinks it's magical. Or she may be a killer. Likewise, her 'artist' may be a figment. Everything is up for grabs.
The quality of the writing stood out enough for me to give it this amount of stars.
I've had many goes at it, and sometimes Galatea has ended it out of frustration with me, and sometimes I have ended it out of frustration with her.
To get at the many hundreds of things she has to say, you will have to try many thousands of shots in the dark. The hit rate is very low, but if you have the patience a picture will start to emerge.
It seems to be key word based, but as Weizenbaum's ELIZA showed, that is sufficient for an immersive experience in some.
I can't say I have bottomed out the ontology here at all, so I can't accidentally commit a spoiler. Galatea may be magical or golem-like, or she may be a work of mechatronic art with an AI that thinks it's magical. Or she may be a killer. Likewise, her 'artist' may be a figment. Everything is up for grabs.
The quality of the writing stood out enough for me to give it this amount of stars.
Comment
larrelle
14 Apr 2021
Review
theworldender
17 Mar 2021
Review
Savio
28 Feb 2021
Review
erana
01 Dec 2020
Most boring, most pretentious, and most railroaded piece of... fiction I've ever seen. And before someone brags about the reportedly 70 endings, defending that this is not railroaded, hint: just try to do something that would be BLATANTLY OBVIOUS (like, moving around the corner to check who is laughing, or moving around the statue to see its face you are told you can't see from where you stand) and see if the game lets you. Naaaah. You are railroaded into doing what the author feels interesting: exchanging pretentious banter with a piece of hamparte.
Review
Tundealion
19 Jun 2020
Review
Thecatofallcats
28 May 2020
Review
Rose Hale
14 Mar 2019
Review
mick green
02 Feb 2019
I gave this five stars because it's the first IF I've played that made me care about conversing with a character in a meaningful way. I always like it when story unfolds through dialogue as well. You have to ASK about or Tell about so its quite simple - listen to what she says and pick up on key words. There are nice little goals that flash up for future plays and an interesting development. I suppose what's happening in the game in many ways is what's happening in reality - your talking to a work of art. To enjoy it you need to feel empathy and be intrigued by her story. Now I shut up.
Comment
Tertiary
23 Oct 2018
Review
WarriorsSN
27 Jun 2018
Review
Disrupta
21 Jun 2018
This IF is remarkably phenomenal! I had a deep conversation with Galatea that offered me great insight on her creator and her thoughts of him. Her responses to your own flowed seamlessly with your interaction with the world and character. I think the writing for this is very well done, and I commend the creator on their philosophy and characters. I have seen several different routes and I must say, each one is golden.
Review
CheerfulMusical
21 Jun 2018
Review
airshipcity
16 Jun 2018
Perhaps my forever favorite IF in the world. Emily Short is a true genius of IF whose every work pushes the boundaries of the genre, and Galatea especially is an intriguing maze of conversations, careful listening, patience, and interpersonal engagement that feels deeply intimate and surprisingly intuitive. Whenever you think you've got this game figured out, you discover a path or order of actions you hadn't considered yet, and find yourself on a wildly different adventure that continues to spin a web of possibility. The game encourages exploration and creativity in your commands and your questions, reacting to a wild array of keywords and letting you approach subjects from many different angles; where other games have you guessing wildly for what will allow you to progress, Galatea is a one-room sandbox beyond simple description. Truly a must-play for anyone who enjoys IF, and for anyone who thinks text adventures sound boring and straightforward.
Review
By Crom
15 Apr 2018
Review
deadroses
23 Feb 2018
Review
taaaffeitedreams
02 Apr 2017
Review
Van
13 Mar 2017
Review
selentte
28 Jan 2017
Review
BeautyvsAshes
09 Jun 2014
Review
THEBanana316
07 Mar 2014
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Average rating
Written by
Emily Short
Plays
44503
External
English
Published 2000
Listing added 12 Jan 2014
IFDB listing
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