Samorost game series: detailed review of all parts

Visual parables without words, organic music, magical worlds made up of photographs and moss — all come together in the Samorost series of games, which brought fame to the Czech studio Amanita Design. The project has become the hallmark of the developers and one of the most recognizable representatives of the indie game genre. Since its inception, the puzzle has firmly established itself among the best quests, where meaning is conveyed not through dialogues, but through images and sound.

In this article, we will review the trilogy, from Jakub Dvorský’s debut to the ambitious third part, covering several amazing planets at once.

The Evolution of the Samorost Game Series: From Flash Game to Art Installation

The project originated from Jakub Dvorský’s graduation project as a student at the Prague Academy of Arts. The first chapter was released in 2003 as a flash game but quickly became an internet hit. A simple yet incredibly atmospheric story about a gnome in a white hat saving his planet from a collision instantly won the hearts of players. At its core was the “point-and-click” mechanic, with an emphasis on intuition and experimentation.

Samorost 1

It served as the starting point for the entire series and a vivid example of how a small student project can influence an entire industry. The application was released in 2003 and was distributed for free in the browser, quickly becoming viral in the world of flash games. Despite its minimalist nature, the future strengths of the series were already evident: an absurd fairytale world, a visual collage of photo objects, absence of text, and expressive music. At the center of the story is a gnome who, through intuition and logic, saves his planet from a collision with an asteroid. Thanks to its compactness and unconventional approach, the first part became a true art sketch, setting the tone for the entire subsequent trilogy.

Samorost 2

Released in 2005, it was a logical continuation of the original in terms of style and content. The graphics became cleaner, the musical design more elaborate, and the game design more enriched. This time, the main character faces an alien invasion and embarks on an interplanetary journey to save his dog. The game is divided into two chapters, each unfolding on different planets. There was greater variability in interactions, puzzles became more complex, animations and effects became deeper. The second part solidified the success of the Amanita Design studio, demonstrating that their style was not a one-time success but a coherent direction in design and storytelling.

Samorost 3

In contrast to the previous installments, the game offered not just one planet, but a whole cosmic map with nine unique worlds filled with mysteries, creatures, and musical mini-quests. The main character receives a magical flute with which they can interact with the environment — listening to sounds, activating mechanisms, and communicating with life forms. The process is an audiovisual adventure where gameplay is based on attention to sounds and reactions to events. Samorost 3 is not just a product but a full-fledged art piece approaching the format of interactive animation. It concluded the entire Samorost game series, combining the best elements of the previous parts with a new level of execution and artistic maturity.

What Makes Samorost Special: Visuals and Structure

All three parts share a visual language unlike any other project. The puzzle does not rely on traditional dialogues or text — only images, melodies, and reactions, turning gameplay into a meditative experience closer to interactive art than a classic quest.

Despite their uniqueness, the puzzles do not require knowledge of language or complex formulas. They are based on observation, associative thinking, and attention to detail. This approach makes Samorost intuitively understandable — even without explanations.

Visually, the application is a mix of real photo objects, scanned materials, and 2D animation. The combination of digital textures with hand-drawn elements makes each scene unique. The music and sounds not only create atmosphere but also become part of the puzzle logic, as implemented in the third part.

How Jakub Dvorský’s Creativity Influenced the Genre

Together with other Amanita Design projects such as Machinarium and Botanicula, the Samorost game series set a new standard of quality in the indie quest niche. The products became an inspiration for other developers wanting to create atmospheric projects without dialogues, aggression, or intrusive interfaces.

Let’s examine the contribution in more detail:

• Genre influence — the application opened up a niche for meditative quests without text;
• Recognizable style — the atypical visuals became a benchmark for art games;
• Balanced puzzles — not overloaded but engaging critical thinking;
• Sound emphasis — a rare case where music is not just background but part of gameplay;
• Absence of violence — the entire trilogy is based on interaction, not conflicts.

Dvorský’s worlds are an example of how a story can be told without a single word, creating a rich emotional response through visual and auditory language.

Why Is the Samorost Game Series Still Relevant?

Years later, the puzzle continues to inspire and amaze. The project proved that in indie RPGs, a grand idea can be realized without words, interfaces, or conventional plot structures. All that is needed is sound, imagery, and the right atmosphere.

The Samorost game series is not just three products but a story of the evolution of an idea, a tale of attention to detail, and how the creativity of one artist can influence an entire industry. And though each click may be a small action, together they form one big feeling: admiration!