Look/use/talk/push/pull interactions don't make an old-school adventure game. Good riddance, that system should stay dead.
Broken Age: the adventure game made for people like J_C who seem to actively hate adventure games and thinking.
Oh, look, we are trying to act edgy, while completly forgetting that many classic, Codex approved adventure games like Grim Fandango, Full Throotle, Longest Journey, Broken Sword etc are not using Talk/push/pull/view/take buttons as in the SCUMM games.
Yeah, just crawl back under your rock pal.
Most verbs on scumm games were very underutilized, and were more useful for comedic purposes than actually being useful on a puzzle. Just having one way of interaction isn't exactly the same thing of press a button and something awesome has to happen. Probably, it will use the same system as most adventure games, one button to look and another for interaction. The devil is on the details. If the puzzles are clever, the ammount of ways you interact with them is meaningless, if they are so obvious that a 8 years old knows the answer right away, doesn't matter if you have thousands of ways of interaction. While, it would be nice to have them, they are hardly necessary for a good adventure game.
I can't really believe how dense you people are being. You're basically arguing that it's fine to limit the number of ways a player can interact with a game world, that it's somehow better even to do so. Less interactivity means less variability in how to solve puzzles. It means less avenues to engage with the game developer's descriptive writing or witty humour or whatever else you enjoy about it. It means less chances to engage in the story, filling in details that make the character and the overall picture more detailed.
It doesn't matter if verbs are rarely useful, or only used for comedic purposes if that's what the designer wants to do: it's not like an RPG system where you're screwing players over for choosing to level up in smell. You have access to everything that the game and your mind has given you access to, so there's no necessity in balancing everything.
You don't have to take my word for it: check out Matt Barton's (the actual one's) interview with Josh Mandel, where he mentions how the switch from parser to set commands reduced their ability to be creative with puzzles. The switch from several to one interaction (two, if you're lucky) reduces this even further.
Now, you can get away with only one interaction: the Myst series of games manages it. But it's a deceptive example: most of the things you can interact with have many states, either in a logical mechanical set-up or with so many that simply brute forcing it is not worthwhile, and rely upon you observing and making notes and connections. It also had high-quality non-stylized art assets which makes making these observations far more natural than in third-person adventures, where we have to rely somewhat on the character's ability to observe things to know more about the world.
Most of the examples J_C gave are not really "old school" adventure games - which was the entire point of the fucking Kickstarter if memory serves - but more of the modern style that's been in vogue since the genre "died". The kind where you can just brute force your way through the entire game without thought when you get vaguely stuck on all of the blindingly obvious puzzle solutions so you can get your next story fix, or until there's a bad puzzle design that jars with the rest of the game, is annoying because of engine limitations, or is just illogical.
Far too fucking many modern adventure games are the
exact thing Hepler seemed to want in games: button-awesome story books for people to afraid to think; and it fucking pisses me off when people seem really gung-ho to turn the genre into interactive picture books for adults by being too focused on writing a story than on having a good game.