Ratings and Reviews by Andrew Schultz

So about two-thirds of the way through Present Quest, I was baffled as to how and why it had won the Adventuron 2020 Christmas Jam. The puzzles seemed facile and, quite bluntly, a few things didn't add up. Everything was clunky and empty. Did nice graphics really go so far? Were the busy-work puzzles more captivating than I thought? The first puzzle, I needed a hint on, and I double-checked, and yeah, it was too obscure and vague! Then they got unrealistic. And what's up with the short names? Was I off-base, or we the fifteen people who rated the game? Why did I need the food and energy gauge, when they were so easy to recharge? I mean, yeah, content warning and such, and maybe people emphasized with the author, but a pity vote seemed too much. It was a bit odd the author latched on to a meme that peaked in 2008.

Well, by the end my perspective had changed. And it forced me to reconsider certain things about my own life. It made me think about my own time-wasters and why I did them, and whether or not they really helped. My past is probably different enough from yours that you will get something very different from it. Let's just say that I read the content warning, assumed a certain incident in the game was the bit referred to, and said "okay, that's bad, but I don't feel affected by things."

What is PQ at its core? To me, it felt like Progress Quest, where you progress just by having the app open, though I think there's a better explanation for the name in the spoilers than you finding a sligtly cringey Christmas present for Pel. It certainly gave me that idea that minimal progress was inevitable, and you were going through the motions. Even though, well, you have little things to keep you excited. You, Terry, have a ho-hum job that's not well-described. Your wife, Pel, cooks breakfast and takes the car in to have snow tires put on. One day she drives you. One day you take the bus.

Everything has a small puzzle weaved in. On the first day, you need to find a password to your computer. If you want, you can call Pel for hints. It was a bit tortuous the first time, and then when I thought I had the answer, I thought, no, that's silly, it's too short. A fellow named Gord came by and talked to me. He has no effect on the story, and the game warns you against talking to him, and boy do you get an earful if you ignore the game and TALK GORD twice in a row. (I skipped the first time.) The next day, on the bus, you have a small puzzle to figure the route number you need, and the photocopier is broken. Then you have a puzzle with trivial UNIX commands to shut down George Michael's "Last Christmas" playing in the office. Work goes by.

I managed to get better at the puzzles. But I was very close to saying, geez, really? A my lousy apartment game AND a my lousy job game, with because-it-is-there puzzles on top? But PQ seemed inoffensive, much like Terry himself, so it couldn't hurt.

Then the incident happened, and things went to smash, but not in the way expected. And, well, the realization--it didn't hurt, but it tripped off a few things from my own life, of personal crutches I'd kept and thrown off. I was impressed enough by PQ that I want to spoiler-tag the critical bits, but again, I'd encourage you to play through it. As for a walkthrough? I was planning to write one for CASA, just to give Adventuron games more coverage. But since all you have to do is call Pel repeaetedly. You do feel a bit naggy, and that's the point.

(Spoiler - click to show)Hm. Okay. I don't want it to be that easy. ROT13.com will decode the next line below.

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Pdana sana okia reypkneao, pkk. Oawnydejc bkn khz huneyo wjz oknp kb ieo-naiaixanejc pdai wjz dwrejc Ckkcha pqnj pdai ql wjuswu--cnawp! Dawnejc pda okjc wcwej wjz nawhevejc E'z bknckppaj sdwp E hkkgaz ql, pdwp E oskna E'z naiaixan xaywqoa kb ykqnoa pda oejcan owez pdwp--kqyd! Xqp ep swo lnkcnaoo wjz hawnjejc. Wjz E dwz w ykskngan sdk odksaz ia w lnkfayp kb deo ej Y. Ep ykjranpaz w opnejc kb jqixano wjz klanwpkno pk w jqixan qoejc LAIZWO. E pdkqcdp E ykqhzj'p zk ep, E swoj'p jawnhu wzrwjyaz ajkqcd, wjz da owez E ykqhz, eb E ows ep necdp, wjz E dahlaz dei sepd okia kzz eilhaiajpwpekj zapweho. Da habp pda ykilwju odknphu wbpan, wjz bkn w sdeha, E skjzanaz "dks zez da zk pdwp," wjz kjya E becqnaz pdejco kqp, ep swo okiapdejc pk ck xwyg pk. Wjz ep dahlo pk pdeo zwu wo wj atanyeoa pk hawnj w jas lnkcnwiiejc hwjcqwca. Xqp ep swoj'p qjpeh E wllheaz ep pdwp ep dahlaz ia ikra bknswnz--pda ykjbezajya xkkop bnki owuejc "kd, pdwp'o dks da zez pda xwoeyo" skna kbb.

Qdt jxuhu muhu xebbem lysjehyui qbedw jxu mqo. Veh ydijqdsu, yj'i fhujjo uqio je adem xem je wuj weet qj VhuuSubb, rkj Y mekbt iehj ev huluhj je yj, qdt ulud myddydw q vum wqcui yd q hem tytd'j vuub weet. Eh jxuhu qhu/muhu fqydj-ro-dkcruhi fkppbui mxuhu Y adum jxu rqiys ijhqjuwo qdt mqid'j fkixydw vehmqht. Y cqo'lu beeaut temd ed Juhho'i vehckbqjut fkppbui, rkj Y xqt co emd.

O makyy oz'y zngz cge cozn Zkxxe, zuu. Noy jksktzog sgjk oz ngxj zu xkskshkx znotmy, gtj znay zu ju noy cuxq vxuvkxre (vkxngvy Hkxz gtj Muxj mobk nos yorre zgyqy/vaffrky yu Zkxxe jukyt'z yzxgot nosykrl cozn xkvuxzy) haz yurbotm vaffrky mgbk nos g iutlojktik huuyz ux inkkxkj nos av, atzor znke jojt'z gtj iuarjt'z, hkigayk znke ckxk zuu lgx ot znk vgyz gtj nk tkbkx subkj luxcgxj. Oz'y yigxe nuc znoy ngvvkty kbkt coznuaz jksktzog--O'bk gryu ngj se uct Muxjy gz cuxq cnu jojt'z yzuv zgrqotm, gtj ngbotm urj vxuhrksy zu irkgx se nkgj ul znkox iutbkxygzouty cuxqkj, atzor znke jojt'z. Oz'y grr bkxe ixakr kbkt ol eua jut'z ngbk jksktzog--xkgjotm urj yzall eua cxuzk, gtj cutjkxotm nuc eua znuamnz ul zngz, znuamn znk grzkxtgzobk oy "O cgyt'z znotqotm ghuaz sain, cgy O?" Yuskzosky O'bk igamnz seykrl ruuqotm gz znk Cgehgiq Sginotk lux nuc O luatj g ikxzgot vokik ul tuyzgrmog zngz O luxmuz zu huuqsgxq, gtj oz lkkry muuj zu xkzxgik gtj lomaxk znotmy uaz, gtj ekz O qtuc oz cgy zosk cgyzkj tuz lomaxotm uznkx tkgz tkc znotmy. Ux O cutjkxkj cnu zngz yammkyzkj lxoktj cgy, yuskutk O ynuarj qtuc, gtj oz noz sk g lkc jgey rgzkx. O qtuc znkxk oy yzall cuxzn rkzzotm mu ul, haz grr znk ygsk, znk lkkrotm ul ruyy oy gclar.

Ylb ugrf Rcppw'q nsxxjcq qncagdgayjjw zsgjr ypmslb fgq nyqr ylb rfgleq rfyr kyic fgk fynnw, dpmk qmkcmlc cjqc, ucjj ... wms ayl dccj fmu fgq zmyr fyq zccl qgligle dmp y ufgjc. Wms umlbcp ufyr'q lcvr. Ylb rfcl, md amspqc, Npcqclr Oscqr bmcql'r kcyl y npcqclr, zsr rfc npcqclr. Ylb ufgjc Rcppw zmsefr fgq hsqr zcdmpc rfc qfmn ajmqcb, fc lctcp emr y epgn ml rfc npcqclr. Ylb rfc rpslayrcb lykcq dgr gl ucjj ugrf fmu Rcppw ayl mljw npmacqq qm ksaf.

Mzp iuft Fqddk'e bgllxqe ebqouruomxxk nguxf mdagzp tue bmef mzp ftuzse ftmf ymwq tuy tmbbk, rday eayqazq qxeq, iqxx ... kag omz rqqx tai tue namf tme nqqz euzwuzs rad m ituxq. Kag iazpqd itmf'e zqjf. Mzp ftqz, ar oagdeq, Bdqeqzf Cgqef paqez'f yqmz m bdqeqzf, ngf ftq bdqeqzf. Mzp ituxq Fqddk nagstf tue vgef nqradq ftq etab oxaeqp, tq zqhqd saf m sdub az ftq bdqeqzf. Mzp ftq fdgzomfqp zmyqe ruf uz iqxx iuft tai Fqddk omz azxk bdaoqee ea ygot.

(Ghmx: rhn vhnew ybznkx patm mh khmtmx ur ybznkbgz patm max exmmxk B fnlm ux. Xoxg by B inm bm bg ehpxk-vtlx, rhn'w atox t tgw b tl lbgzex phkwl. Matm'l fr vhgmkbunmbhg mh max pahex insser ubm.)

Nose Bleed was my clear favorite of the Texture games I played in IFComp, and I feel it is likely very worth the relatively little time to play through it. The bits that necessitate the content warning are not just there for street cred, too--they provide the right sort of discomfort, not "look how I can gross people out" but more "yeah, I've been there, even if I couldn't have admitted it before I started." The metaphor for the gore is pretty clear. Or, well, the main one I saw.

NB starts off as a "my lousy job" entry (an upper-class one, perhaps, but still lousy) which quickly aims for meaningful absurdism which, from my perspective, hits the mark. There are graphics at the right places, with some sort of vector-ish effect. Given the game's title, it's not too much of a spoiler to mention there are small blood splashes and lines of blood running down. Gritty realism in the blood trails is absent but unnecessary: the trailing line is straight, and the splashes are perfect circles.

This all leads to a puzzle at the end which may feel old hat or a cop-out once Texture is more mature, perhaps the Twine version of "pick the right link in a whoe maze of them." However, since I haven't played many Texture games, it's extremely effective, and if it does become a cliche, I'm glad it wasn't when I played NB. You feel as though you're fumbling in the dark for an escape, and it's the reason a walkthrough is included in the game. Even if you know what to do at the end, you don't quite know what to do.

This makes NB as much more than a "my lousy job" or "I hate my co-workers" fly-by. Details are left out on purpose. You have spontaneous nosebleeds. You try to ignore them. You fail. They stop, soon enough, but the damage is done. Someone notices. They pin you down a bit. They may be a competitor, or a supervisor. There's a flashback. Expensive fabrics are involved. No matter what you do, it feels like you did the wrong thing. You'd like to run away or explain yourself or feel too cool to, but "you are too cowardly to be cowardly."

I've had few nosebleeds in real life, but I've picked a zit at the wrong time and not noticed I'd cut myself shaving until I got to work. Okay, I noticed before, but I thought I'd stopped the blood. But of course the blood in NB isn't just blood. I think we all have that area where we feel completely socially incapable, and we can't shake it, and the narrator does, too. There's that awful secret we don't want revealed, but if we take deliberate steps to cover it, someone could play detective and eventually figure what we were trying to cover. We worry we might be embarrassing others. Or ourselves. And yet, the people most likely to mention we are embarrassing them, well, they seem to be embarrassing us back, right? For me the story built to a very plausible "embarrass or be embarrassed" scenario. It brought to mind a lot of people who could on the one hand say "this hurts me more than it hurts you" and "you're embarrassing yourself more than you're embarrassing me, but it's still too much."

The ending may be open to interpretation, and perhaps it's the sort of surprise twist that isn't a surprise if you've read or played enough, but one part is very clear: the final person berating you spontaneously gets nosebleeds, too. This reminded me of people who said "Oh, X who is mocking you has their problems, too, you know, so don't judge them too harshly." It isn't clear how harshly we should judge X. But certainly there's latitude for saying, enough, already. Some people can't, or they can't point out others' obvious flaws, or don't want to, or it isn't in good taste. Or perhaps X had seemed to learn to deal with their own phobias, with jokes. Or perhaps X was someone on an Internet forum or twitter or wherever who was up front about their social anxiety, so up front they'd note other people didn't have nearly the barriers they did, so you all really need to stop whining for your own good. In any case, the big reveal allowed me to dislike my antagonist without judgment. On replay, I realized that was the sort of person I'd like to be indifferent to, and I've gotten better over the years.

These are my somewhat filtered-for-review thoughts. Nose Bleed's crisp presentation brought moments of where adults may even have told me "X has problems too!" I felt guilty wanting to call these people out and failing, mean at how I wanted to lash out, and cowardly because I didn't. The author isn't explicit about their sympathies, though I suspect they lean towards the player. You do have to note people like your assailant have their own problems, but they also have to fix them, and if they assert power over you, why should you help them?

Given all this, NB was much better than someone very, very well-meaning saying "oh you know bullies are empty inside" or "they only pick on you out of insecurity" or even "I understand, but don't let it get you down!" And I realized something else: it doesn't resort to ALL CAPS, which is such a temptation when discussing social anxiety and, I'd guess, a metaphoric nosebleed on its own.

I had several short reflections mid-game of saying oh geez yes it can be horrible like this. But then I had a much quicker bounce-back than I might have had ten years ago. There were people from my past the antagonist reminded me of. I didn't have things like NB to help me take a step back and see through their charades. It's too late to push back at them, but at least NB helps me push them further out of my mind. Looking back on the blurb, it's hard not to laugh at the experience of playing NB and, yes, at some people who said something similar years ago.

Lost Sheep entered in the first IFComp where I judged. I was kind of shocked to see that, yes, a lot of IFComp games could be both relatively simple and satisfying.

In this case, there was a simple game where you needed to find your one lost sheep of a hundred. The sheep's a bit reticent, as while it's pretty clear where it went (the game is not big,) it bounces between locations. The puzzle was a bit of a trick--fortunately there aren't too many items, and the puzzle is more about ancient history and progress than the Bible. Then there's a fun part where you are blocked by water buffalo.

But what stuck with me was that, well, you could type WALKTHROUGH not just for a walkthrough but for the commands remaining! I thought about this trick a lot. How did they do it? After some thinking, I realize it wasn't terribly esoteric, but it was a neat bit of engineering I'm a bit disappointed more games haven't implemented. Perhaps it would only get the player so far, so the text didn't scroll off the screen.

This doesn't make BRLS a blockbuster, but it provides a niche. It's all very pleasant, even with funny things to try once you've won. They don't bring the house down, but together, they add light-hearted deaths and even some odd fourth-wall stuff. Perhaps I'm biased favorably because I remember the puzzle to get through, but I still find BRLS something neat to go back to just to poke around. I'm on the fence about if that's mainly due to the WALKTHROUGH response, but either way, it's a short fun time.

The cover art biased me early. It was obviously a train on the front cover but not quite like one I'd ever seen. Quirky the right way. But there was more than cover art–the in-game pictures reminded me of Tove Jansson, and so did the writing. (If you don't know who Tove Jansson is, please do stop by your local library and read all the Moomintroll books as soon as possible!) The plot and puzzles and layout are great, too. And though I didn't get through OWT, I loved what I saw, and given how well put together it is, I sense I'm missing something silly. Somehow, between the end of IFComp and posting this review, I didn't figure it, either. I need to fix that. But I saw enough even getting halfway through!

OWT is set in a nonsense land in its own rules, where you take a train, but your trip is derailed halfway through. It's unclear why, but you debark in front of a very, very odd town. The mayor seems very uninterested in greeting you, so off you go to explore a store with legs (it walks away after dark) and visit some very odd characters indeed. But it's the best sort of oddity that never feels forced, and the translation gives a unique voice native English speakers would sound very artificial mimicing. For me it reinforced how far-away this place must be.

I'm still fuzzy on some aspects of why things are happening, but I suspect things will be revealed once I find my way through. It's been fun to learn the town's history and how it wouldn't fly in the real world, but it would clearly make sense to those living there for a while. A key mechanic is changing your free room at the tavern from day to night based on the puzzles. You switch out a moon and sun in a painting. This was reassuring to me–I didn't need to worry about messing up or taking too long–and it also fit in with "look! The natives are helpless!" Townspeople have bizarre reasons for not transporting you palces you need to go, and there are jackals who appear at night. One very fun scene has an NPC scare some of them away so you have a few more places to visit. It's even legitimately creepy to explore at night!

I got stuck trying to find golden sand and trying to help a man with four right arms get his pedicab going. (Just walking didn't work, due to some existential woes.) Then there was the gambling game I knew was rigged. These barriers and frustrations amused me immensely, and I don't know if any other comp entry has hit this nerve so well, and I'm eager to see more.

One word about the interface. It's not immediately obvious, but once you see how it works, it makes sense. The text for each location has clicky bits that either lose all their links (a compass appears below to show a big picture map to pick your next location) or just let you cycle between the scenery--this gets a bit awkward as you open more locations, and it would be nice to jump, but this is quibbling. A notepad in the upper left, when highlighted, lets you remember clues you picked up, and a knapsack in the upper right lets you use items. Clicking on the location lets you save a game. At first I panicked when I didn't see how or when to save (it's quite possible I skimmed the instructions) but quickly I acclimated–and I was glad not to have even the hint of a save/restart menu tarnishing the fantasy world I was in! TLDR: the visual design is very effective, and maybe it can't be used everywhere, but I hope OWT inspires others to improve their own.

OWT feels like it might not get the attention it deserves because 1) it has a custom format (I think) and is hosted outside IFComp and 2) it is translated. And there is one instance where the translation misleads the player–the "say goodbye" option in the tavern actually means "don't talk to the owner this time," and there's one instance where being called "buddy" feels jarring and too condescending and "friend" would've worked. These are very subtle degrees of connotation, though, and if something was lost in translation, well, what's left is very special, and we have more than enough. I've never been as disappointed in myself for not finishing a game as I have for OWT. It's legitimately, organically odd, the sort of oddness that won't jump in our face and beg us to experience it fully now for our own good or be stuffy squares for eternity. In other words, the kind our souls need more of.

The author of the Peter Patzer series decided, after a long hiatus, to switch things up a bit. The Chesstopia series is a bit more serious, focusing on actual improvement and spreading appreciation of chess, and it doesn't have some of the parser bugs and helter-skelter feel that made Peter Patzer charming in its own way. The whole series shouldn't be very intimidating. I felt C2 was probably the most substantial of the three, but it should not take more than a half-hour.

The plot is this: Caissa, the chess Goddess who set you on the path to chess enlightenment in Chesstopia, has informed you that nobody can play chess because a bishop from her personal collection of sets is missing. Harsh, but she makes the rules.

Your quest consists of poking around the area. You have three stats: happiness, a chess rating, and strength. (Spoiler - click to show)None of these matter, and, in fact, they seem to increase or decrease your stats randomly. The time machine is the main attraction here. With it you visit historical figures and play chess with them--or not. Figuring whom to challenge and whom to evade is the main mechanical crux of C2. You have a few moral decisions, and once that's over, you report back to Caissa. You can actually fetch the missing bishop but lose.

This doesn't make C2 very replayable, beyond the slightly harsh but amusing insteadeaths. The first time through, though, it is fun to poke around, and it appears to be a lot less on rails than C1 or C3. Given how quickly the game ended once I found the bishop, I'd have hoped for more interaction with the NPCs crowded around Caissa at your home base, when mostly. There were all kinds of ideas I wish had been developed.

The other two entries are worth playing if you are a fan of chess, but the choices are a bit too obvious at times. Here there's imagination and conflict and a bit of loss, and you don't feel like being asked "Come on, you want to win, here, right?" C2 is fun for what it is, and it seems like the author had much more to offer, especially since they hosted a correspondence chess website. The conflicts of long games versus short games, tricks versus general knowledge, and so forth, seem like fertile ground that could keep non-chessplayers interested, stuff that might even be natural to the author but they might blow off as "but everybody knows that." (They don't! Experienced chess players forget that, yes, the Opera game or even Scholar's Mate was neat when we first saw it.) Instead C2 feels just a bit like wish fulfillment, though it's a wish I might not mind, either. Maybe Chess Limbo is where it's really at.

Loop-til-you-win Twine entries always interest me. They feel efficient and tidy. You have some feedback on what you're doing right, and you will have to lawnmower a bit, but there are places to skip. The gold standard of loop-til-you-win may be Spider and Web, but we don't have to scale those heights. "Keep poking until you get it right" works, if there are enough tries, and you are told–hey, this part isn't useful yet, or that other part is. Lucid has the added advantage of remembering critical things you did, so if you die, you don't start entirely from scratch. It seems to combine the best parts of save points and also giving you the freedom to do things wrong. This may not be perfectly realistic without an explanation. Lucid gives none, because it's trying to invoke surreal supernatural darkness, and I think it does so–it's also a small enough world that the lack of undo makes you feel helpless but not frustrated. I wound up feeling uneasy with the knowledge and powers I'd gained, and the main character seems blown away by the writing on a cereal box underscores that nicely. I prefer this sort of thing to physical descriptions of gore.

You're not told who you are, as you explore a dark city, but the false branches (it's easy to get killed or escape, neither of which is meant to seem satisfactory) make it pretty clear you're here to do something, to sit and fight. But what are you fighting against, and what are you fighting for? That's what you discover. And Lucid , written in poetry form, hides certain things and makes others clear. The part mentioned in the walkthrough–that you stack progress even after a death–doesn't seem to appear in-game, until there's something clear. Then, I felt like I was off to the races. There were some places that should be inert but weren't. Some deaths were of the "don't bother again" sort, others of the "it's not time yet." And there were in-game shortcuts too. There's a high-rise apartment you have to climb the first couple times, which set atmosphere, but all the same I was glad I didn't have to repeat that once I'd figured things out. There's a man on a park bench who'll help you out. It's not idyllic.

With each power or item you acquire, Lucid feels more constricting, and this makes sense, given the ultimate ending. You have a destiny, of sorts. Your character is slightly aware of their changes, but you the reader may be even more aware.

I can't speak to precisely how good the poetry is, but given that it had definite high points for me (the grocery store and the residential tower) I think it's more than just "hey, look, I decided to make a line break after every 6 words and give the finger to strict capitalization!" I think reviewers more competent at that than I addressed details elsewhere, but they found a lot to like (so to speak–the game is not lovable.) So did I. I found it a bit rough around the edges, but that seemed more due to ambition than inattention. So it was a very worthwhile experience for me. That first bit may seem forbidding, and you may wonder what you're doing here, but it's worth holding tight until you find that first clue.

In Darkiss 2, you're still Martin Voigt, the vampire. You've taken revenge on all the peons. So who's left? Well, the people you're fighting for power in the lowerarchy. The object? Acquire immunity from sunlight, no small task or boon. If all goes well, you'll meet Lilith, your creator and dream woman of sorts. Talk about moving up in the netherworld!

There's no direct violence, but malicious gift-giving fits just right in with a text adventure about bad people, and that's what happens. Oh, and every single room suggests physical, moral or emotional darkness. It's really gothic, but fortunately, it's not goth-kid.

The puzzles are a bit different, too. You have a few powers. You can become different things, such as the fog, a wolf, or a bat. Each has obvious restrictions but also abilities you need to find the very evil relics that you need to kill the very evil people who also like to kill and torture innocent people, though that's where your solidarity ends. Power-sharing and consensus-building aren't their way.

It's about twenty-five rooms all told, and many are just there for one puzzle, so it's not a huge game. And I'm impressed with the variety of puzzles and artifacts. For instance, at the start, there's a mountain, and it's pretty clear you'll have to change form to get to the top. Along the way you learn lore of the next horrible person to summon and how they'll probably kill you unless you're able to fool them. You even resurrect your old love, Sabrina, which is not particularly sappy. It's all part of the business of revenge. There's someone else to manipulate, and I'm impressed with how I was alternately disturbed and engrossed. The climax is a sequence of horrible acts that make perfect sense and tie some loose ends together.

This is all very well done. Part of me was disappointed you didn't use some forms more, or you only really hypnotized (your other power) one person. But I also realize that for this sort of chaos and evil-person-doing-evil-things, there's a point where it becomes too much. So much turns regular stories on its head--Martin finds a sword in a lake, which is like Excalibur except the opposite. And other puzzles are genuinely neat, such as bringing an item I wouldn't touch as a mortal down a mountain. And the NPCs make Darkiss 2 feel a bit fuller--even the brief bit with the vengeful Reverend Bauer left an impression on me, when I both killed him and let him kill me. Other deaths are worth visiting, too.

The story ends with a promise of Darkiss 3, where apparently Professor Anderson may get his revenge. This seems fitting, and I think the change of persepctive would fill in some holes nicely. Martin has been horrible enough, and I'm not sure what's left to do except maybe tackle Beelzebub himself. I'd be interested to see how Professor Anderson navigates Martin's immunity to sunlight, and how Martin plans to seize the day(light). Darkiss 2 doesn't have the obvious laughs Darkiss did, but I found it more involving, and if Darkiss 3, whenever it's published, matches up to either, it'll be worth the wait. The Darkiss games, being in text, have given me a sort of horror I couldn't take in movie form and even given me some surprising new angles on evil, how different types cooperate, and how to fight it.

I was glad to discover a chess game of sorts. Peter Patzer isn't particularly enlightened, but it has a few good jokes, and it's self-contained enough that certain places where I had to guess ran out of possibilities quickly. It feels like there were opportunities missed, but that's to be expected since AGT was relatively new when the author wrote this. Oh, and the author did a lot of work on AGT himself. It's tough to write both core code and stories at once.

PP isn't a huge game. It has fourteen rooms, ten of which are traps that force you to answer general-knowledge questions. Along the way, you will find the ghost of Alekhine, as well as actual people in Johnnie the janitor and a shady postman/operator and Slimy Harry the Hustler. He will beat you on the board if you play him, and also, he will kill you within nine moves whether or not you play him. The solution to make him disappear is a bit of a stretch, but it got a laugh out of me once I saw what to do. Also, I was amused you lost points if you played him in blitz chess. You can keep playing him for $10 even though you only have $10 on you.

Harry's aggression is one of two deaths--in fact, PP is polite on the Zarfian cruelty scale, as you can undo, for one move at least. (A limitation of AGT.) The other is on the sidewalk outside the chess club. You can walk into traffic, which is very Leisure Suit Larry, but without the theme song you can whistle along to.

PP certainly has its oddities. It's funny, in retrospect, the hidden room where the real people play (away from patzers like you,) even though none of them are implemented, which is a pity, because the room description offers so many possibilities. And certainly the concept of improving in chess does, too--how do you find adequate openings? Can you learn to mate with king and queen, or king and rook? Maybe you can learn a few middlegame tricks, not just so you can catch others, but so you avoid getting caught.

It really just boils down to a few quizzes, though. Get enough right, and the ghost boots you to the next area. Some are covered in a red book you find early on. Another is odd trivia I don't know as a pretty good chess player. And others bowdlerize the concept a bit: for instance, it's cool to know a knight can mate against a pawn, but here it's a yes/no question you can answer again without penalty, and you never see how.

That said, it was entertainment, if more thana bit rickety. The opponent you finally beat brought a chuckle out of me, especially considering the strides in technology since PP was written. Alas, the promised sequel never materialized. At least not with Peter Patzer along. I noticed the author wrote a Chesstopia series in Twine, and perhaps I should look into that. It's been a while since the author wrote PP, so they probably have a clearer vision of what they really want by now.

I love a good sneaky reference to a popular work I liked, and I love getting the reference–or even forgetting the reference and saying "gee, of course." The title indicated something more idyllic to me than what I got. Because, indeed, one of the endings is very dark indeed and makes a play on the original title. There are several, and since YFL is a tidy little game, you can explore it to see them all without too much trouble. I wound up almost missing one because of my eternal nemesis, timed text. (Note: it's used effectively somewhere else, and I also appreciated the use of colored text.) But I got them all, with help from the walkthrough, and enjoyed it. I'm not ashamed to admit I push ahead a bit, and if I have to look a couple times, I chalk that up to my own haste and obtuseness.

The plot is this: you wake up with a case of amnesia, only knowing there's a neurotoxin in your brain due to explode in 24 hours unless you find a $50000 ransom. That one day's enough, in game time (fixed number of clicks, plus there's that handy undo arrow) to look around quite a bit, but it also indicates bumpers so that the world is not too big. And what do you find? Well, you find your own apartment, and you find you're rich, though you never learn why. A lot of details are left unfilled, which I found a bit favorably creepy. You can also find or steal stuff to sell to the local pawn shop. You can get away with two straight-out profitable activities (your bank account gets you close to the magic number) but there are several things well worth finding and selling. Morality doesn't matter, here, and perhaps the item you get the least money selling would be priceless in any hypothetical black market of famous items found in books. Not only that, I don't believe buying it could ever push you over the $50000 mark. If indeed the author worked the numbers so this happened, congratulations to them!

There are a few ways to end. You can die, you can perform a ritual to get cured, or you can even visit a hospital as long as you get injured other ways. The hospital only takes the neediest patients, so you need to find a way to get injured more than once. The second way was a bit tricky since it required a bit of a walk around the map, which only had ten rooms, but with the repetition involved it wouldn't be surprising if some people had the right idea but then backed off.

This all gives a much more different impression than you'd expect from the title. I expected high fantasy or absurdism. I got a bit of a thriller-mystery. And that doesn't quite match up with the book allusions for me, even with how I saw they were supposed to work against your amnesia. Some do feel a bit shoehorned in, and the game is left feeling mechanical and generic for that part, though--of course you want to see all the references, once you've read a few! I can also see some people not quite getting that different things can happen at different times, even though the world should be small enough you can traverse it more than once before dying. I didn't recognize one or two of the books, too. My lazy side would also have preferred the undo/redo arrows be closer to the bottom where I did most of the clicking, though of course there's always tabs. None of this is fatal, but it certainly let me feeling needlessly slowed. But I liked what I saw, and based on YFL, I have a couple more books to add to my list.

I still don't particularly "get" Texture as a development system, as opposed to others: Ink, Twine, parser. However, it seems to produce a certain sort of effort I might otherwise ignore but for IFComp, and overall, I've enjoyed them. The GUI is just too fiddly for me, on a desktop or on a phone. But it does tamp down some of the special-effect excesses that can occur in Twine and ambiguities of the parser. You need to keep stuff tidy on one screen. It doesn't seem built for long works. GS felt like the most technically substantial of the IFComp texture entries, and it didn't feel too long.

My expectations certainly swerved through GS. Early on, you have a lot of player deaths, as you'd expect from a game named Graveyard Strolls. Whether you flee or not, you can get killed, unless you thread the needle. Most of the time, you'll figure what to do, but there are enough forks you will probably slip once later. Then, later, there are ghosts you have to face, which I assumed would be as lethal as the ones that struck from the blue to kill me. With a lack of undo feature, this was stressful indeed. Not just that my character would die, but I'd have to retrace my steps with a lot of mouse-tinkering!

So I don't know if this was fair, or if it was intentional, but it worked well in the end. It's possible I missed things in the introduction and what you were going to the graveyard to do. But suffice it to say chickening out is a bad idea.

After the death-trap gauntlet, you wind up meeting spirits who need help. They're disappointed. They may even believe bizarre things. Talking with them is not so tough, and perhaps just having two options, one that feels contrary to the spirit of investigating stuff, cuts across what I already mentioned with the quick deaths. It feels either too easy or too tough to make the right choice.

But that's just the mechanics. The stories are rather good, with ghosts unable to quite remember things, or even believing wrong things, and there's a nice pet, too, because why not?

Even without any potential player deaths near the end (I didn't have the heart to check) it was a surprisingly harrrowing experience, but nothing to leave me permanently freaked out. Certainly I needed time between finishing and writing a review to think of things. There's a feeling of helping people who most say can't be helped, and how much can we do for them? And is it worth it? And if there is an afterlife, can we change, and how much? It's been asked before, but there's always a new way. Most times, a living person brings back a talisman to put a spirit at rest. Here, there's a bit more dialogue. As a dedicated source-checker, my not seeing how much you could've done immediately is a positive suggestion of immersion.

The final ghost you help does feel like a good one to end on, too, even though the progression to them feels like it has some holes. I didn't mind that jump much. Perhaps adding one more ghost would work here. You dealt with stuff and helped others deal with things finally. That's a good feeling and an unexpected one given the deaths early on, and it had more suspense than I thought it would. So GS is a bit bumpy, especially early on, but I enjoyed the fantastical elements combined with just trying to connect.