Ratings and Reviews by kqr

The premise is mundane but somewhat relatable. The narrative is just enough to motivate continuing play for a few more minutes, but not much more than that.

The world is larger than I expected for such an unpolished game. I would have appreciated a slightly smaller world and more effort spent on fixing bugs and making synonyms and the like. I would also have appreciated more hints when I'm barking up the wrong tree, rather than just letting me stand there and bark!

I disliked being forced to be the first one to shoot in an early scene. Instead of the game telling me "you think by walking past these they will shoot you" I would have wanted to be given the opportunity to walk past them and get shot. But then again, I am also somewhat of a pacifist.

Other than that, the action is surprisingly tight. Once one understands roughly how to get past an obstacle, the loop of taking cover, looking at stuff, and shooting it reminds me a lot of more graphical shooters. What robs the experience is not immediately knowing what to shoot. I have a feeling the game could have been more forgiving in terms of shooting the wrong thing, and not making that an instant failure, as it is in some cases.

Narrative and world-building are not great. This is a shooter, pure and clean, in the style of the original Doom.

I didn't have a lot of fun though, mainly due to how it took me out of the shooting to have to figure out puzzles. (The puzzled are easy, but at least one was more difficult than the others unless you happened to shoot the right thing first to get the clue needed.)

Despite that, it's a clear three stars for a novel concept well executed!

I agree with the porter that this version with explicit choices is less janky than the original, although it does lose some of it's magical qualities too.

The early bits where decisions concerned the fates of individual people and the mood on the ship were much more interesting than deciding whether or not to attack other ships -- mostly because I felt more in control at those points. I had a specific plan in mind for how to approach ship-on-ship interactions but the choices were too coarse grained to allow anything close to those plans.

Many decisions felt meaningless, or unrealistically consequential. Information pertinent for decisions was sometimes revealed only after the decision was made.

I was not impressed by the writing, but I'm unsure if that was because the writing was not engaging, or because I just didn't like the style personally.

Maybe it was because of the choices I made, but the game was very short. I'll play it again, making different choices, but either way I feel like branch in the narrative ought to be of similar length, so there is something for every play style.

Update a few minutes later: having tried other choices, it was indeed very short whatever I did.

After learning about text adventures (through Aaron Reed's excellent book), the one I've looked forward to playing the most is Plundered Hearts. Boy was I right to be excited about this title! Despite technical limitations of the time, it just about manages to tell a very intriguing story about a time where individuals with a history of getting tangled up in each others' businesses were... well, tangled up in each other's businesses once more.

Had I reviewed this game back in 1990, I would easily have given it five stars for its bold narrative, well-integrated, practical puzzles, atmosphere, and environments.

I love the variety of environments: ship, jungle, luxurious house, etc. – it's got it all, without being particularly large. I loved the logical structure to the environments that did not necessitate drawing a map. I love the variety of the order in which one can approach puzzles (although I didn't realise it on my first playthrough.) I love that despite accidentally locking myself out of the "Happy Forever After" ending, I was allowed to get to a reasonable ending anyway – one which turned out to be my favourite anyway. I loved replaying the game while taking a slightly different approach to see the "Happy Forever After" ending – a second play session that lasted maybe 30 minutes at most!

The one major flaw of this game are the multitude of timed puzzles. They add to the atmosphere, but they are also mechanically annoying when one gets stuck in a move-move-restore-move-move-restore loop. Another remark is about the the technical limitations that prevented growing the size and depth of the game beyond the shallow. Oh and I disliked the presence of a puzzle that cannot reasonably be solved without first having studied the physical feelies that came with the game originally.

Although these sound like many complaints, they are all artifacts of the age of the game – they were necessary choices at the time. They are not the authors' fault, but they are still worth considering before picking the game up. As tempted as I am to give this game five stars, I'm deducting one star for those reasons.

For over a week I managed to get through this game without consulting a walkthrough. As long as one is extremely methodical in examning everything, and makes sure to restore back before what looks like accidental permanent changes to world or inventory, it's rather hard to get stuck. I had a great time.

The story is minimal and somewhat abstract, as I have come to expect from Plotkin. The environments are sparsely described and still manage to evoke a feeling of really being there. Exploring the foreign environments was fun.

Then about halfway through the game came a location which I just couldn't get out of. Not even with a walkthrough did I manage to solve it. I've played this game for more than a week, fitting it into periods of downtime, and it felt unfair to get so thoroughly stuck on what I consider to be puzzle of not-very-good design.

This prompted me to evaluate what I really got out So Far and I realise... it wasn't very much. The story didn't move me. The puzzles were mostly systematic examining followed by systematically trying verbs with nouns. I might come back to this game in a few years, and maybe then I will appreciate it on another level, but right now, I didn't think of it as that great.

In contrast to many others, I did not go in with very high expectations of Photopia. What I did know was that (a) it's very different; (b) at the time, it changed what people thought text adventure meant; and (c) it's best to play it without knowing much about it. I grew tired of trying to avoid spoilers, and decided to just play it instead of continuing to live in fear.

It was indeed different from most of what I have played before. Each vignette progresses linearly, and rarely am I getting stuck looking for what to do. The parser is forgiving, and in many instances just waiting or walking in any direction will progress the story for you. I liked this approach, even though it does feel less interactive than a full-on simulation.

I don't really get the meaning of the colours and I had trouble keeping track of which character was which, which made the vignettes particularly disjointed. However, after repeatedly instructing the PC to hug and kiss baby Alley in this game, I realised the game was fairly moving. More importantly, I should go and repeatedly hug and kiss my children now while they are young. Bye!

I had a delightful time in the Dreamhold and its surroundings. The pacing is slow and the game rewards methodical exploration. At first the geography was confusing enough that I had trouble mapping it, but then once it fell into place it made complete sense. My spoilerful map here: https://i.xkqr.org/dreamhold_map_spoilers.png

The game lets you finish once the main puzzles are solved, even with many side-puzzles left hanging. I think I must have missed a few portions of the game, because I didn't get a good grasp of the narrative. However, the puzzles and environment made up for most of the weak narrative. I am impressed by how much character the author manages to give the varied environments of the Dreamhold using rather few words. I truly feel like I've been there, explored the paths, and looked out over the mountain sides.

I'm not a huge fan of big maps (because when I get stuck, there's so much to explore) but it didn't bother me all that much in the Dreamhold, because the rooms had so much character, and the connections between rooms felt so natural. I quickly learned to type out a path from one room to any other with my eyes closed.

There are plenty of red herrings around which had the effect of slightly discouraging my explorations, but I suppose someone with more patience than I would find the uncertain reward for exploration more appealing.

In the end: fun puzzles, probably with many more hidden secrets than I uncovered, maybe a so-so narrative, but excellent environmental immersion. If you've ever wanted to explore a wizard's home in an isolated place, this is where you can do that.

This might be the longest parser game I've played so far, although that does not say much since I can still count the number of parser games I've played on both my hands.

I know the author has stated that they intentionally wanted to convey a vast castle that is empty, and I know the convenience command GO TO was implemented to help not make that annoying, but the problem was not going to known locations – the problem was when I didn't know where to go next, and had to blindly search for clues. Then suddenly having nearly 40 rooms, mostly with just flavour text, to explore became a chore.

Maybe all this flailing about the big empty map is just my lack of problem-solving skills. It is possible there were obvious hints about where exactly to go, only I missed them. But that sort of makes me wonder whether this is really a good beginners' game, or if it ought to be more of an intermediate players' game? (Similar concerns with a large number of items that do not fulfill a function. Beginner me felt the need to carry them with me in case they become important, because I don't trust my memory with all the items I've seen lying around. But that gave me a huge inventory to try to sift through when I vaguely remembered some item I had seen.)

That said, the castle does really convey its castliness very well and it was a joy to map all parts of it, even before I had access to a light source and I could only label many of the rooms "darkness", "darkness", "dry sifting", "dripping", "darkness", "open space", "darkness"! To see a spoilerful map from when I had managed to lift the darkness, go to https://i.xkqr.org/bronze_map_spoilers.png

The narrative itself was interesting and very well presented. I have no idea how the Beauty and the Beast is traditionally told, but I don't mind making Bronze my canonical version of it going forward. It is rich, personal, and makes sense.

In total, I'm trying to figure out whether I will give this game three or four stars. Part of me think I'm inclined to give it four stars only because I'm worried of deviating too much from the crowd consensus. I think three stars is my honest rating.

I don't even know where to begin. This is an extended puzzle with multiple steps in a limited geography. But boy does it make me invest in it, emotionally and cognitively. The puzzles are difficult but – except for one where I missed the hint entirely – not too difficult. The main characters (narrator and PC) are eminently relatable and lovable.

I found the destructive behaviour of both narrator and PC so off-putting that I at times wanted to quit just on principle. But then they were also somewhat supportive, maybe? And I had invested a lot in their relationship, and I really wanted to see how it all would end. It's a glimpse into what appears to be an unhealthy relationship dynamic but which truly, really engages.

The author of this game really committed to the theme to a degree few authors do. The game is solid, detailed, and fleshed out in almost every corner, and the narrative seals it as one of the best games I've played in many years, any category. I highly recommend you play Violet.

I enjoyed the first half of this game, but then it became very samey but with tedious sweeps of the geography to find all the triggers for progression. There is a system for diegetic hints which probably would have made the game more enjoyable, but I didn't understand it until closer to the end.

I suppose maybe the narrative could have been interesting in some sense, but I don't think it worked very well for an interactive format. Or possibly it would have worked better with less repetition.

In the end, I'm left mostly confused and wondering if I should get better at abandoning games shortly after they've stopped captivating me.