Reviews by ccpost

I like ChoiceScript games a lot, though they can often be significant time commitments, containing a novel's length of text and many possible story paths to explore. This game, in contrast, is a quick romp centering around a pretty unusual food frying competition...These authors have also released, The Bread Must Rise, a full-length Choice of Games title set in this same universe that I'm eager to try, but I felt that One Does Not Simply Fry was a fun -- though far from perfect -- introduction to this world.

The setup of the game is certainly intriguing and quite different from a lot of other ChoiceScript games that I've played. The game bills itself as a humorous send-up of fantasy novels (Lord of the Rings in particular) and reality TV baking competitions -- not your typical mashup! The first part of the game does a good bit of world building to introduce the player to the overall domain of the game world, the Twelve Mostly Civilized Realms, and to the city of Godstone in particular, a baking-obsessed city that happens to be situated at the base of an apocalypse-inspiring active volcano.

While presenting a genuinely interesting and weird fantasy world, the first part of the game was also very information-dense, with exceedingly long passages that often lacked meaningful choices. Instead, I would have appreciated shorter descriptive passages of particular parts of Godstone that the player moves through as they are given options to interact with other citizens, make preparations for the competition, or undertake other activities that exposed them to details about the world.

The second part of the game, which centers around the actual fry-off competition, was totally driven by player choices and was quite inventive. The player essentially engages in a series of choice-based mini games: purchasing ingredients to make the perfect onion ring, setting up your kitchen, and then actually putting the ingredients together to make your onion ring. I haven't really played a ChoiceScript game that involves this sort of immediate, task-based string of choices. Typically, games will have you make a single choice at some important point and then, based on your stats or previous choices, determine an outcome that may lead to success, failure, or something else. This game design, where the player makes a string of task-based choices that accumulate and compound in real time (or in the time it takes for the player to read the passages) was very fitting for the fry-off competition.

I found parts of the game to be pretty funny and the satire often worked for me. There's an interesting underlying commentary here about people who put their heads in the sand and distract themselves with escapist entertainment while a black magic-powered volcano threatens eternal doom. I found the running gag of (Spoiler - click to show)the stadium seating built up over the caldera of the volcano, with fans of the baking competition continually falling into the molten lava, to be darkly funny. However, other jokes and aspects of the satire just did not work for me. Much of the game's humor relies on pretty obvious and groan-worthy jokey references to LotR, like the villain of the baking competition being named 'Sour Ron' (get it?!!). The LotR-specific references typically felt very forced and not really in service of the game's bigger satirical project. The points when the game successfully blends fantasy and reality TV tropes felt fresh and fun, and I wish those had been the main focus of the game's humor.

While this game was pretty inconsistent, it's compact enough to weather the not-so-good parts and get to the engaging and funny parts. I wonder if there was some rush to get this into the IF Comp that contributed to the inconsistencies in the writing and design. The good parts of this game have got me interested in the authors' full-length ChoiceScript game set in this universe. I'm eager to see how the satire and baking competitions work in what's likely a more polished game.

Choice-based games lend themselves really well to romance simulators -- and this is of course a very popular genre for this style of IF -- the idea being that our choices in our interactions with other people add up positively (toward attraction), negatively (toward repulsion), or just don't register (toward neutrality). It's easy to quantify these interactions and to add in enough additional variables to make things interesting. Xanthippe's Last Night with Socrates bills itself as a romance simulator, but indicates from the jump that this game is going to do something quite different with the genre...

There are several things going on with the premise that make this an incredibly compelling -- and also very strange -- romance game. First, this is a work of historical fiction, exploring the romantic relationship between two real people from history. The ancient Greek setting, with very different ideas about relationships and sexuality and far removed in time from the contemporary moment, adds a good deal of ambiguity and uncertainty about what to expect. More notably, though, are the particular people involved and the point in time at which the romantic encounter is occurring: Xanthippe, Socrate's second wife, has bribed her way into the jail cell where the philosopher sits captive the night before his execution. Sex is probably on the menu for a last night rendezvous...along with some other not so happy thoughts.

Victor Gijsbers states in the introduction to the game some of his intent behind this premise: to complicate the figure of Xanthippe, of whom we know little about and the little we do know does not cast her in a favorable light. It's impossible to judge someone from a few lines in the annals of history (it's hard enough to judge contemporaneous personages!), and this is the utility of interactive fiction: to carve out an alternative imaginary, our own illuminated cave. Gijsbers depiction of Xanthippe (and Socrates for that matter) is rich and nuanced. Xanthippe has her problems, for sure, but she is presented as a powerful, intelligent, and really funny woman.

It's this woman that Socrates has fallen in love with and married, and through the course of the game, we learn about the complexity and depth of their relationship. So, yeah, the game starts with Xanthippe trying to seduce Socrates,(Spoiler - click to show) (and ultimately succeeding! at least in my playthrough, though I'd be curious to know if it's possible for the attempt at romance to flame out) but the conversation that develops touches on all aspects of their life together. There are so many beautiful, poignant moments that communicate the timelessness of love -- as well as the inescapable contingency of love.

There are just a couple minor aspects of the game that didn't work for me. First, I felt that the tone and diction of the game shifted in some jarring ways at times, from a somber and restrained tone to an upbeat, almost slapstick tone. The purpose of the tonal shifts is clear, in that the game has some powerful emotional extremes and contrasts, but this was not always done subtly in the text. It almost felt like the writing would go between different styles of translating ancient Greek literature: from Chapman's Homer to a retelling of the Odyssey in contemporary tongue. Xanthippe and Socrates would at times talk in quite quippy exchanges that just felt kind of out of place. I'll be clear that this was not the case on the whole, as the writing in general was strong, but Gijsbers didn't always land these shifts in emotionality.

The other issue was one of design. This is a choice-based game, though long stretches of the game did not present momentous choices. In fact, for much of the game, I didn't feel -- as the player -- that I had a real stake in determining how Xanthippe was directing the conversation (or her seduction attempts). I still very much enjoyed the ride, but a lot of the game felt like a shadow play being carried out before my eyes. There were definitely some key decision points,(Spoiler - click to show) (like when Xanthippe comes clean about her affair with Plato and confesses to Socrates whether this was just a fling or a serious relationship for her) but these typically were chances for the player to register their thoughts about the situation and not make choices that would initiate drastically different paths in the game itself.

This game has a really interesting premise -- you wake up and you're falling toward a void in the middle of cyclone, and you make sense of your predicament by grabbing onto a Fellow Faller and chatting about life, the afterlife (?), and your regrets. The game begins with the promise of a surreal short interactive story, but the interesting bits flatten out pretty quickly.

There are two aspects that could have been addressed that would have really livened up this game to make it the weird and engaging experience that I was hoping for. First, there's very little in the way of interesting characterization of either the protagonist or the Fellow Faller. This FF is described as Rock Star, and fits the bill pretty stereotypically (leather jacket, etc.). There's really just one time that the protagonist shares something about themself, and it's a memory without concrete details. We learn something about the Rock Star's regrets and his motivations for wanting to escape the terminal fall, but this (Spoiler - click to show)(feeling bad about leaving his partner) is also kind of bland and not developed with any specificity. Some distinctive characterization through interesting conversations that push beyond cliches would have made me care much more about these characters and their fates.

The other aspect that could have been addressed was the limited range of interactions and branching options. For most passages, there are a couple of the same interactions: to grab (onto your Fellow Faller), to dive, or to look. In most cases, these actions have the same kind of results. I get that the point of the game is to (Spoiler - click to show)dive into the unknown of the cyclone-void, perhaps dying or perhaps escaping back into life but these actions felt constrained and without real stakes. A game with a limited set of actions or a mostly linear trajectory can work well, but only if other aspects of the game are sufficiently robust to motivate the player -- perhaps if sometimes these actions led to unexpected results, or if the 'morale of the story' was not telegraphed so early on.