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Later text adventures, and modern interactive fiction, use natural language processing to enable more complex player commands like "take the key from the desk".Notable examples of advanced text adventures include most games developed by Infocom, including Zork and The Hitchhiker's Guide to the Galaxy.

With the onset of graphic adventures, the text adventure fell to the wayside, though the medium remains popular as a means of writing Interactive Fiction (IF), which tend to be focused more on the narrative through player exploration and discovery rather than puzzle solving.

Interactive fiction may include puzzles, but these tend to be incorporated as part of the narrative in comparison to being specifically added as gameplay that must be solved to continue within adventure games.

Within the Asian markets, adventure games continue to be popular in the form of visual novels, which make up nearly 70% of PC games released in Japan.

which pioneered a style of gameplay that was widely imitated and became a genre in its own right.

Porridge rather than marmalade looks set to be Paddington's new staple after he's framed for a robbery, unless the Brown family can help solve the mystery.

In this classic, broiling Australian thriller, an exasperated schoolteacher finds himself stranded in the dusty outback town of Bundanyabba, where the growing isolation and unhinged locals begin to eat away at his sanity.

Because it can be difficult for a player to know if they missed an important item, they will often scour every scene for items.

For games that utilize a point and click device, players will sometimes engage in a systematic search known as a "pixel hunt", trying to locate the small area on the graphic representation of the location on screen that the developers defined, which may not be obvious or only consist of a few on-screen pixels.

The video game genre is therefore defined by its gameplay, unlike the literary genre, which is defined by the subject it addresses, the activity of adventure.

In the book Andrew Rollings and Ernest Adams on Game Design, the authors state that "this [reduced emphasis on combat] doesn't mean that there is no conflict in adventure games ...

A notable example comes from the original Full Throttle by Lucas Arts, where one puzzle requires instructing the character to kick a wall at a small spot, which Tim Schafer, the game's lead designer, had admitted years later was a brute force measure; in the remastering of the game, Schafer and his team at Double Fine made this puzzle's solution more obvious.

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