I commissioned some snails

I commissioned some snails is a meditative 2D hidden object puzzle game where players explore 15 unique, commissioned fantasy artworks. The core task involves meticulously searching these vibrant visual pieces to locate a multitude of hidden snails and lettuce, totaling over 1500 objects, with unlimited hints available to aid in completing each level.

I commissioned some snails: Review

In the sprawling, often chaotic tapestry of modern video gaming, where ever-increasing fidelity and narrative ambition often dominate the discourse, a peculiar, unassuming series has quietly cultivated its own distinct niche. Among its many charming iterations, ‘I commissioned some snails,’ released in early 2024 by the aptly named studio Follow The Fun, stands as a testament to the enduring appeal of simplicity, observation, and idiosyncratic artistry. This review will delve into the meticulously detailed, yet delightfully minimalistic, world of “I commissioned some snails,” exploring its origins, unique thematic underpinnings, core mechanics, and its surprisingly robust position within a rapidly expanding franchise, ultimately concluding that it represents a thoughtful, if niche, contribution to the meditative hidden object genre.

Development History & Context

‘I commissioned some snails’ emerges from the creative stable of Follow The Fun, a developer and publisher known for its prolific “I commissioned some…” series. Released on January 26, 2024, for Windows, this title is not an isolated experiment but rather a continuation and refinement of a consistent design philosophy that began in 2023 with predecessors like ‘I commissioned some dogs,’ ‘I commissioned some mice,’ and ‘I commissioned some butterflies,’ and continued with sequels for many of these, including ‘I commissioned some snails 2, 3, and 4.’ This rapid release schedule and dedication to the format suggest a successful formula that resonates with a particular audience.

The genesis of ‘I commissioned some snails’ is disarmingly straightforward, as outlined in its official description: “The brief was simple. I commissioned artists to create a fantasy world, and hide as many snails and lettuce as they can inside it. Now it’s your job to find them all!” This vision, to essentially turn bespoke abstract art into interactive hidden object puzzles, is both the game’s core concept and its explicit development directive. The choice of the GameMaker engine speaks to a lean, efficient development process, emphasizing accessible design over cutting-edge technology. The game’s minimal system requirements—Windows 7, 1 GB RAM, and 100 MB storage—further underscore its commitment to broad accessibility, ensuring almost any modern PC can run it.

At its release, the gaming landscape was, as ever, diverse. While AAA blockbusters pushed graphical boundaries, a parallel movement of indie developers championed focused, often relaxing, experiences. ‘I commissioned some snails’ slots perfectly into this latter category. Marketed with a “Warning: Relaxing” tag and featuring “Meditative / Zen” pacing, it deliberately positions itself as an antidote to the high-stress, action-packed titles prevalent in the industry. Its $3.99 price point and availability in numerous bundles on Steam reflect a strategy aimed at volume and appeal to budget-conscious players seeking a tranquil, engaging pastime. The game’s multi-language titles (e.g., Am cerut niște melci, Ich beauftragte ein paar Schnecken, 私は、何匹かカタツムリを依頼しました。) also hint at a global reach, suggesting the universal appeal of its simple premise and relaxing aesthetic.

Narrative & Thematic Deep Dive

The narrative of ‘I commissioned some snails’ is, by design, almost non-existent in a conventional sense, yet deeply embedded in its premise. There is no overarching plot, no evolving story, and certainly no traditional characters. Instead, the “narrative” is the meta-story of the game’s creation: “I paid artists to hide snails and lettuce in 15 artworks. Can you find them all?” The player embodies the role of the diligent observer, the commissioned detective tasked with fulfilling the original “brief.” The snails and lettuce, far from being mere objects, become the focal points of this abstract quest, the elusive protagonists in 15 visually dense canvases.

This minimalist approach allows several potent thematic elements to rise to the forefront.
Observation and Mindfulness are paramount. The game demands a keen eye and sustained focus, transforming the act of searching into a meditative practice. It’s a digital Where’s Waldo reimagined through the lens of surrealist art.
Art Appreciation and Surrealism form the game’s aesthetic and conceptual backbone. The artworks are described as “abstract and hypnotizing,” “absurdly complex,” and relying heavily “upon surrealism and illogical assumptions.” They are “fever dream-like art,” a “feast for the eyes” that eschew conventional focal points for a “cascading waterfall of multiple static pieces.” This means the game isn’t just a hidden object finder; it’s an interactive gallery, inviting players to immerse themselves in and decipher intricate, often bizarre, visual landscapes. The “unnatural fixation on phylum mollusca” (snails) within these “unorthodox paintings” adds a layer of whimsical eccentricity.
Quantity over Quality emerges as a deliberate design choice, particularly noted in the review of its sequel, ‘I Commissioned Some Snails 3’. With “1500+ hidden objects total” across just “15 Unique artworks”—specifically “750+ Snails” and “750+ Lettuces”—the game leans into sheer volume. While this might sound like a “slog” to some, it aligns with the “Meditation / Zen” pacing, offering extended engagement within each piece.
Finally, Relaxation and Anti-stress are explicit themes. The game’s self-proclaimed “Warning: Relaxing” and “play at your own pace” ethos positions it as a sanctuary from the pressures of daily life and more demanding games. The absence of penalties for using hints and the lack of a strict scoring system reinforce this theme, allowing players to simply be in the art, searching at their leisure. The overall experience cultivates a sense of tranquil discovery rather than competitive achievement.

Gameplay Mechanics & Systems

‘I commissioned some snails’ adheres to a classic hidden object genre formula, executed with a deliberate emphasis on user comfort and replayability. The core gameplay loop is elegantly simple: explore an image, identify a hidden object (either a snail or a piece of lettuce), and click it to make it disappear. This process repeats until all 1,500+ objects across 15 distinct artworks have been found.

There is no combat, no complex character progression, and no intricate skill trees. Progression is tracked via a “Game completion percentage” and through the unlocking of “16 Steam Achievements,” which provide external motivators for completionists. The interface is intuitive: “Point and select” using the mouse for movement and zooming, with optional keyboard support (WASD for movement, arrow keys for zoom) catering to players without a scroll wheel.

The game distinguishes itself with several thoughtful mechanics designed to enhance player experience and address common frustrations of the genre:
* Unlimited Hints: Crucially, players have access to “∞ Unlimited hints if you get stuck.” Unlike many hidden object games, using these hints “will not ruin your score, or affect your ability to unlock achievements,” ensuring a truly stress-free experience where assistance is always available without penalty.
* Customizable Difficulty & Replayability: A unique feature allows players to “Restore a small number of hidden objects to a painting so you can find them again!” This ingenious system extends the game’s lifespan and allows for self-imposed challenges, particularly when only a few objects remain, as their random re-placement makes them “much harder” to find.
* Flexible Progression: All “15 Unique artworks” start unlocked, offering players the freedom to tackle levels in any order they choose. The game supports “3x save slots,” permitting multiple playthroughs or shared progress without conflict, and also provides an option to “Reset progress entirely and play again.”
* Pacing and Immersion: While a “Timer included to show how long you took to complete each level” caters to those who enjoy tracking their speed, the overall “Meditative / Zen” pacing encourages players to “Play at your own pace!” This design philosophy is central to the game’s appeal, prioritizing relaxation over rush.

The primary potential “flaw,” as identified in the review of its sequel, is the sheer repetitiveness of finding only two types of objects (snails and lettuce) across all levels. While the quantity is impressive, the limited variety might lead to a feeling of “slog” for some players, despite the helpful hint system. However, for those who embrace the meditative aspect, this consistency can be a strength, fostering a deep immersion in the visual details rather than a constant re-learning of new object types.

World-Building, Art & Sound

The “world” of ‘I commissioned some snails’ is not a contiguous geographical space but rather a collection of “15 Unique artworks,” each an independent “fantasy world” in its own right. This approach to world-building is purely visual, abstract, and deeply integrated with the game’s central premise. The atmosphere cultivated by these settings is consistently “Relaxing” and “Meditative / Zen,” punctuated by an underlying current of “quirky” and “fever dream-like” whimsy.

The visual direction is the game’s most defining characteristic. Described as “2D scrolling,” the artwork is “abstract and hypnotizing,” often “absurdly complex” and relying on “surrealism and illogical assumptions.” User-defined tags further elaborate on this style, highlighting “Hand-drawn,” “Colorful,” “Stylized,” “Psychedelic,” “Cute,” “Comic Book,” and “Fantasy” aesthetics. Each painting is intentionally busy, lacking a single “centerpiece” but instead presenting a “cascading waterfall of multiple static pieces,” each designed to challenge the player’s powers of observation. This “feast for the eyes,” as one review noted, makes the act of searching an immersive journey through bizarre and beautiful landscapes, where the boundaries of reality are playfully blurred.

Complementing the visual splendor is the game’s thoughtful sound design. “Music for each artwork (optional)” is a key feature, indicating that each of the 15 unique paintings possesses its own distinct auditory landscape. This “music and ambiance” is carefully chosen “to help you connect with the world” and enhance the overall “immersed” experience. While the details of specific sound effects for interactions are not provided, the emphasis on a unique musical score for each piece suggests a strong commitment to creating a cohesive, relaxing, and atmospheric environment. The option to toggle music off also caters to player preference, allowing for a truly personalized meditative experience.

Together, the idiosyncratic art and tailored soundscapes are not mere embellishments; they are fundamental to the game’s identity. They transform a simple hidden object task into an engaging journey of discovery within captivating, often bewildering, visual realms, fulfilling the “relaxing” and “immersive” promise of the game.

Reception & Legacy

Given its relatively recent release on January 26, 2024, ‘I commissioned some snails’ is still in the nascent stages of establishing a long-term legacy. However, initial indicators point towards a strong, albeit niche, reception, particularly within its dedicated player base.

Critical Reception: As of the provided data, ‘I commissioned some snails’ has not garnered any official critic reviews on platforms like MobyGames. This is common for smaller indie titles, especially those within a prolific series. However, the review for its sequel, ‘I Commissioned Some Snails 3’ by Gaming.net, offers valuable insight into the critical perspective on the franchise’s core experience. Scoring it a respectable 7.5, the reviewer acknowledged its “solid contribution” to the hidden object genre, appreciating the “generous collection of fresh artworks and abstract designs.” While noting it wasn’t “massively different from its predecessor,” it was still lauded as “a commendable work of art that deserves some recognition, if not as a game-game, then as a thought-provoking art installation of some varying degrees.” This suggests that critics appreciate the game’s artistic ambition and its effectiveness as a meditative experience.

Commercial Reception: On Steam, the game has received an overwhelmingly positive user response, boasting “100% of the 15 user reviews for this game are positive,” resulting in a “Steambase Player Score of 100 / 100.” While the number of reviews is small, their unanimity speaks to a highly satisfied player base who found the game delivered precisely what it promised: a relaxing, engaging hidden object experience. The game’s inclusion in multiple bundles (e.g., “Series 1 – Hidden Object Games,” “Hidden Snails,” “All Hidden Object Games”) and its affordable $3.99 price point likely contribute to its commercial viability and ability to attract players within its target demographic.

Evolution of Reputation & Influence: It’s too early for ‘I commissioned some snails’ itself to have an evolved reputation, but its place within the broader “I commissioned some…” series is crucial for understanding its long-term impact. The rapid succession of games in the series, and the swift development of sequels specifically for ‘snails’ (up to ‘I commissioned some snails 4’), demonstrates a clear and consistent market demand. The series as a whole has carved out a unique identity as a purveyor of “relaxing” and art-driven hidden object games. Its influence, while not industry-wide, is significant within its sub-genre, encouraging other indie developers to explore similarly focused, art-centric, and accessible gameplay loops. It champions a design philosophy that prioritizes player comfort, artistic immersion, and a low-stress environment, subtly pushing back against the prevailing trends of complexity and urgency in gaming.

Conclusion

‘I commissioned some snails’ is a deceptively simple game that, through its unwavering commitment to a singular vision, carves out a remarkably distinctive and effective experience. It is not a game designed to rewrite the rules of interactive entertainment, nor does it aim for expansive narratives or cutting-edge graphics. Instead, its genius lies in its deliberate restraint and its celebration of the abstract.

As a hidden object game, it provides ample challenge with its “1500+ hidden objects” spread across “15 Unique artworks,” while simultaneously offering unparalleled player comfort through “unlimited hints,” flexible progression, and replayability features. The true stars of the show, however, are the “fever dream-like” and “absurdly complex” commissioned artworks themselves. These visually arresting pieces, coupled with their individual musical ambiance, transform the act of searching into a genuinely meditative and immersive journey.

‘I commissioned some snails’ stands as a commendable testament to the power of niche appeal and artistic vision. It might be, as one reviewer noted for its sequel, “a fever dream I would soon rather forget about, but it’s also the slithery such-and-such that I can’t help but feel strangely drawn to.” It delivers precisely what it promises: a profoundly relaxing, artistically engaging, and surprisingly replayable experience. For those seeking respite from the demanding pace of the modern gaming landscape, or simply an opportunity to bathe in “ludicrously complex paintings” while exercising their observational skills, ‘I commissioned some snails’ is not just a game; it’s a tranquil retreat, solidifying its place as a charming and effective entry in the growing library of meditative interactive art.