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Not that Calypso is entirely of this Earth. The story begins in Calypso, Colorado, our hero’s hometown, and I was sad when it blasted free of the place, and, indeed, of the planet. In fairness, we do get quite a show a guitar materialises in Francis’s hands, and he erupts into, well, into “Eruption”-the solo by Eddie Van Halen, which made it sound as though his guitar were soliloquising as fretfully as Hamlet-or, at least, into an “Eruption”-style sound, like an anxious orgasm, all flit and flail as the notes come together. It wants to mine the depths and difficulties of finding-of synthesising-your own artistic voice, but it doesn’t show us the toil. The trouble with The Artful Escape is ease. It is a subject that Dylan himself dug into with relish. This is not a bad premise, the steel-strung airiness of the older generation, both solid and beyond reach, versus the plugged-in anxiety of youth. As someone points out, “You dress like a drifter but you sound like a space opera.” In other words, Francis is going electric. Francis has a lot to live up to, then, and he is due to play a gig celebrating the anniversary of “Pines.” But there is a problem, brought on by a simple twist of fate.

Whippy, he is clearly modelled after a young Bob Dylan. With his black sunglasses his harmonica, fixed within a neck brace and his dark tangle of hair, like a mound of chocolate Mr.

The hero is Francis Vendetti, a young musician whose uncle, Johnson Vendetti, was a folk legend-his album “Pines” adorns the pause screen. A few minutes later, another command pops up: “To shred a sci-fi guitar odyssey, hold X.” And there you have it: the plot, the appeal, and the perils of this strumming-of-age tale. “To strum a folk ballad about the toil of a miner’s life, hold X.” So begins The Artful Escape, a side-scrolling adventure with a pinch of mild platforming.

Download the artful escape physical release