Casebook 1899 – The Leipzig Murders is a retro pixel-art point-and-click adventure being developed by solo developer Gregor Müller. You control Detective Joseph Kreiser in 1899 Leipzig, Germany, solving four murder cases in an industrial city. The goal is to examine various scenes, interrogate suspects, and use a notebook and deduction board to uncover culprits.
Some of the game scenes are actual reconstructions of places you can still visit today, while others are faithful recreations of typical locations from that era, such as a newspaper editorial office, a writer’s study, or an industrialist’s private garden. But the love for historical accuracy goes much further: the way people speak, the objects the player can use, and even the murder cases themselves are all appropriate to the time and place.
With multiple endings that change based on your choices, this title blends historical atmosphere and classic adventure mechanics. In case you’re wondering how it all works, you can also try out the demo right now on Steam. We recently had a chance to chat with Gregor and dive deeper into the game. He told us all about the game mechanics, the meaning behind its name, why he chose pixel art, his Kickstarter campaign, and his experience working as a solo developer.
Additionally, Casebook 1899 – The Leipzig Murders is set for a 2025 PC release on Steam and GOG.
What inspired you to create Casebook 1899 – The Leipzig Murders, and why did you choose a detective adventure set in 1899 Leipzig?
Leipzig is the city I live in, and I’ve always been fascinated by its history. The period around the end of the 19th century is particularly compelling, as the city was undergoing rapid growth. Technological advancements and social upheavals during that time offer rich potential for conflict and complex moral dilemmas, perfect ingredients for crime fiction. It felt like the ideal setting for a detective story.
What’s the significance behind the game’s title, Casebook 1899?
The title Casebook 1899 – The Leipzig Murders is intentionally descriptive, giving players a clear idea of what to expect. The “casebook” is a central gameplay element, a notebook where players collect and combine clues. It’s the most-used tool in the game and essential to solving each case.
Is there a deeper philosophical meaning or theme woven into the game’s narrative?
Yes. As players progress, they’ll encounter themes centered around the nature of truth and the extent of free will. The game offers complete freedom in how each case is resolved, even allowing players to conclude that no crime occurred at all, attributing events to a series of strange coincidences. Ultimately, players must take responsibility for their interpretations and decisions.
The game is described as a “richly atmospheric” point-and-click adventure. How did you craft the late 19th-century Leipzig setting to immerse players?
I used a wealth of historical photographs and postcards from the late 19th century as references to recreate key locations. Some iconic landmarks still exist today, while others, lost during World War II or later, are brought back to life in the game. The postcards were especially helpful because they’re in color, unlike the black-and-white photos of the era. I also paid close attention to sound design, crafting a realistic soundscape for each location to help players feel as though they’re truly wandering through a bustling city at the turn of the century.
Did you conduct any historical research to ensure the settings and characters feel authentic to the period?
Absolutely. The characters speak in carefully crafted language appropriate to the time. For instance, I avoided using modern German terms that didn’t exist in 1899. Characters also interact with the protagonist in ways that reflect their social standing, whether above or below that of a police detective. Social status even affects gameplay: while the protagonist’s companion, a public prosecutor, may enter a stately villa through the front door, the detective must use the servants’ entrance, after solving a puzzle, of course.
Can you describe Detective Joseph Kreiser’s personality, motivations, and how players will connect with him?
Joseph Kreiser is a skilled conversationalist who excels at getting people to open up. He has a keen sense for detecting lies and genuinely understands people. He’s deeply committed to his work and values truth, which makes the moral decisions he faces later in the game especially difficult. His strengths in dialogue over investigation are reflected in gameplay – he can ask his companion to help spot clues. But relying too much on others can also become a limitation.
Could you provide a brief overview of the game’s core mechanics? How significant are player choices, and do they lead to multiple endings?
In Casebook 1899, each case typically unfolds like this: you investigate a crime scene or suspect’s location for clues, perform tasks to gain access to new conversations, and then question characters to uncover more information. All clues are recorded in your notebook. Eventually, you’ll piece together these clues on a “mind palace”-style case board. For each node, you must choose between two possible interpretations based on your intuition and reasoning. These choices lead to different outcomes, some players may even conclude that no crime occurred at all. But in every case, the player must own their conclusions.
Why did you choose a retro pixel-art style for Casebook 1899?
There are two main reasons. First, I love the classic LucasArts adventures of the 1990s – I grew up with Fate of Atlantis, Monkey Island, and others. The visual style also draws inspiration from Sherlock Holmes: The Case of the Serrated Scalpel. Second, I believe this aesthetic resonates with players in my age group who appreciate grounded, thoughtful adventures. Pixel art also appeals to fans of “cozy games,” and while Casebook 1899 isn’t strictly cozy, it’s definitely cozy-adjacent.
As a solo developer, what were the biggest challenges you faced during development?
Honestly, the biggest challenge was finding time. Despite the Kickstarter funding, this remains a hobby project, and balancing it with a full-time job is tough. I also faced personal setbacks, including job loss and family mournings, which caused delays. What kept me going was the supportive community of fans and fellow developers who encourage and inspire each other.
Working solo can be isolating. How did you stay motivated through the “countless late nights” of development?
I often say that Kickstarter is both a blessing and a curse. Without the nearly 500 backers eagerly awaiting the game, I might have abandoned the project, not because I didn’t believe in it, but because it’s so demanding. Knowing that so many people believe in me helps me push through even when I’m struggling. I also recommend regularly exhibiting your game, seeing people enjoy it at events and fairs is incredibly energizing and keeps me motivated for weeks afterward.
Your 2022 Kickstarter campaign was successful. Were you surprised by its reception, and how did the funding impact development?
The game wouldn’t exist without crowdfunding. I always envisioned it as fully voiced, and I needed funds for music, sound effects, and other assets. I initially planned the campaign for February 2022 but realized I needed to build an audience first, so I delayed it until July. I spent that time carefully planning the campaign, including livestreams and interviews. So while the success wasn’t entirely surprising, it was close, things only really took off when I added a physical boxed edition as a reward.
A free demo of the first case is available on Steam. How has player feedback been influencing the final version of the game?
The public demo has since been shortened, but many players tried it and provided valuable feedback. That feedback continues to shape the game, especially in terms of puzzle signposting, which can vary by language. Now that the game is fully voiced, the broader structure is largely set, but I’m still refining the experience based on what players share.
Looking back, is there anything you would have done differently in designing, crowdfunding, or managing Casebook 1899 as a solo developer?
I made the classic mistake that many first-time developers do: I massively overscoped. This project turned out to be far too ambitious for a solo debut. With 5 to 9 hours of playtime, depending on the player’s skill and style, it became much longer than I initially anticipated. That said, I didn’t include any filler. There are no repeated puzzles or mini-games; every challenge in the game serves a specific narrative or gameplay purpose. So in a way, the game had to become what it is. I just wish it had been my third or fourth project instead of my first.
But if I had done things differently, I wouldn’t have learned nearly as much. So in the end, no, I wouldn’t change a thing.
Hrvatski 
English (UK)