Gabriel Knight – Sins of the Fathers
Blending the best of yesterday and today, it re-imagines the 1993 original, voted one of the greatest games of all time, for an entirely new generation of fans. As struggling author and bookstore owner Gabriel Knight, players will investigate a series of savage ritual killings in New Orleans and their connection to voodoo’s sinister mysteries.

The deeper you dive into master storyteller Jane Jensen’s tale of terror and suspense, the closer you’ll come to discovering the secrets of Gabriel’s family history–and unfolding his destiny.


The soundtrack is well done. Each area has its different music and vibe, depending on the location and the mood of things. In fact, whenever I tabbed out to do something else, the game’s music would continue in the background. Something nice to listen to.

However, there is a section where the music randomly quits. Every time it did I thought the game died on me, but that wasn’t the case.


The main characters I minded, but the rest of them weren’t so bad. So I’ll talk below about the ones that irked me to no end.

Oh my lord, the innuendos that are thrown out in this game. They’ve made Gabriel out to be some sort of horny teenager, it seems, with all the lewd bits of conversation. He might not go into detail, but geez. Tone it down.

Another thing with Gabriel that I don’t like is his voice. The moment he spoke I internally groaned, because he just doesn’t look like he should have a voice that’s deep and drawls. The voice sounds older than him, maybe?

Obviously, scratch him off my to-be-liked list.

For some reason, they felt the need to add in another voice actor to do the narrative, which I found weird. Why not just use Gabriel’s internal monologue when you’re looking at items? Why does it have to be a disembodied voice of a person you don’t even know.

Granted, I’m writing this review pretty early in the gameplay, so maybe we learn who the voice belongs to? Because if not, I don’t see a reason for it.

Personally, I turned off the narrative speech.


Graphically speaking, they weren’t bad. Nothing amazing, but certainly not terrible. Nothing is truly hidden in a scene–nothing that you can’t really see that you’ll need to be able to see.

Even if you can’t find something, hitting the spacebar will illuminate all areas you can interact with.


The game throws you right into the midst of things where you have to find out clues about what’s going on with recent murders. I wasn’t a huge fan of that. No build-up or anything.

Then again, other games have done it and I’ve liked them, so maybe it’s something about Gabriel Knight – Sins of the Fathers that didn’t hook me. I was rather bored while playing it, and in no rush to complete it.

Perhaps there were just too many objects to click on and interact with that really didn’t do anything for the story, except to create a random piece of conversation that didn’t pertain to what was going on. Or maybe for world-building. Either way, it didn’t work.

Hidden objects games may have been a culprit in holding my hand when it came to “writing in my notebook.” You find something, it scribbles information down. While in this game, if you find something of interest, you’re going to actually need to use the notebook to jot the things down. (Sketchbook, notebook, same diff, right?)

The Verdict

If you can remember to do certain things when the days pass (I won’t tell you what these things are, of course), then Gabriel Knight – Sins of the Fathers isn’t a half bad game. It’s not something that I honestly have an interest in going back into and playing, but that doesn’t warrant it a kind of a brain-teasing, who-dunnit one-time play.

After finishing the game itself, I’d say the initial start was very slow with progress. But around the middle things picked up pace and that’s where I was drawn in a bit more.

Still, it was obnoxious trying to figure out how to do specific things to move the story forward.