In Margrave: The Blacksmith’s Daughter review, you’ll step into the town of Cyclops, which appears only one day every 300 years. You, as Edwina Margrave, must rescue your kidnapped boyfriend, Tom, and give hope to the town’s only remaining resident. Can you locate the items you need and your lover through puzzles and hidden object areas before the sun sets on this city for another three centuries?

As a Margrave novice, one who had never played any of the three preceding games, I didn’t know what to expect from this edition of the popular series. And, the synopsis provided by the game developers didn’t do much to clarify the situation.
 

The description sounded strangely like the old Hollywood movie, Brigadoon, sans Gene Kelly. Yet, the whole "Town of Cyclops" thing implied this musical's visual effects would be courtesy of Ray Harryhausen. Confused? I was, but a little confusion never hurt anyone, and I leapt into the fray with high hopes.

Margrave: The Blacksmith’s Daughter launches and the female folkie background music sounded as if it were supplied by one of the opening acts at Lilith Fair. Hmmm. I’m not getting any less mystified. The scene opens on you and your boyfriend, Tom, hiking through the hills headed toward a rendezvous with Miss Thorn.

Miss Thorn promises to show you something quite amazing. Tom whines and complains during the entire hike, and (knowing from the synopsis that a major part of the plot involves rescuing said boyfriend) I already begin considering the advantages of dumping the guy and leaving him to fend for himself.
 

You arrive at the appointed meeting spot and Miss Thorn turns your attention to the west where the first fingers of sunlight reaching from the east are beginning to illuminate the horizon.As the first rays touch, an island city begins to miraculously appear before your eyes. The effect is, in a word, spectacular.
 

Then, as you watch the city take shape, still standing in the shadows yourself, a hideous Cyclopean beast rises from behind Tom and snatches him. It’s as chilling a scene as I’ve experienced in any game. I have to hand it to Inertia Game Studios. With a beginning like this, confused or not, I’m captivated, and I think you will be, too.
 

The visuals are completely stunning, including the human representations, which, frankly, Olan Mills couldn’t improve upon. However, no one’s lips move during the voiceover scenes. The effect is incredibly disconcerting. You see this ultra-realistic person on screen and hear the dialogue, all while they keep their lips zipped.
 

For me, the integrated strategy guide was a must, not because the game was super hard, but the plot was so convoluted I wouldn’t have known where to go or what to do without it. (Actually, this one calls for a full CGG walkthrough, I think! Hint, Tracy!) 

As you proceed through the game, you are aided by these disembodied Cyclopean heads. (See what I mean about convoluted?) You “wake” each with your divination cards and rune stones. The runes are employed in a sort of bizarre three card monte game. But then, most of the games in this one are unique to the point of utter wackiness. I mean, how often are you asked to recreate Cyclopean ex-husbands by recalling their hair, facial and “eye” characteristics?
 

Margrave: The Blacksmith’s Daughter is one wild ride. Strange, confusing, unique and totally enthralling. If you can suspend disbelief and accept all the inconsistent plot twists thrown at you (be ready for Puritans and robots), you’ll have the time of your life. Thankfully, great games like this come along slightly more often than once every 300 years.