Reviews by Andrew Schultz

I've seen the author's works before and always meant to get around to the stuff of hers I hadn't looked at. I'd like to see more of them, and I have to admit I'd also like to see more of this. It's a positive but short game about feeling socially trapped, which unfortunately has been a pretty big thing since 2020. But it's tough: too much positivity feels forced, and too little feels like it glosses over serious issues. And there's a third rail when trying to express getting stuck without getting the player stuck. That sweet spot is tough to find.

Your choices don't matter much. That's the way things are sometimes. Some days, no matter someone's good will, you don't want to put up with them, and others, no matter how nasty they are, you're willing to put up with it. A friend will still drop by and help you bounce back from social isolation, and it sort of feels like they might be forcing themselves on you, though you-the-character and you-the-player know it isn't enough and want to do more and know you need to do more. So Glimmer knows not to force itself on you. But I also think that we need things forced on us sometimes, but we just don't know how or why. And looking back we wish certain people we liked had forced more on us (and, of course, certain people had forced less on us. But Glimmer is not about that, thankfully.)

While I'd have liked to see things more fleshed out (the character's first try going out. I know for instance just going to the grocery store or athletic club once the COVID lockdowns was over were both big) I realized that, well, I'd had people bring me back to a forum (like here) with just a like on a comment, and I hoped I'd been able to do that in some way for others. So I think and hope I got what the author intended. I was able to look back without having to relive the fear.

I also saw a parallel between Glimmer's main character and reviewing IFComp. Getting into the swing of things, or back into it, is tricky, and you have to start small, sometimes, whether it's with your own writing or reviewing others'. I reviewed Glimmer early on, and it was welcoming, though I just wish it would've led somewhere bigger--perhaps there's a message here that after someone checks on you, you need to go find more stuff for yourself that you might like, and perhaps that might mean the author's other works.

This review may be more about what I believe Dorian Passer is trying to achieve in general, or tried to achieve, rather than the specific work, though I think in this case, a Chekov short story you might not be aware of works better than Cost of Living did for ParserComp 2022.

It feels like there should be a cottage industry for stateful narratives and their relatives, well beyond the Cliff's Notes my teachers warned me against in high school, and of course well above the synopses you can pull from websites that offer to write an essay for a fee. I always felt Cliff's notes got dragged down in symbolism, and anyway, the good teachers knew what was in the Cliff's Notes, so you could only really avoid bad grades that way. What did help (he said cynically) was knowing what the teachers liked, their unconscious biases. So I was always a bit suspicious of English class and the next great short story. I enjoyed nuance, sure, and figuring what could be. But it always felt that people who were working for that A were a step ahead of me. They knew what to say, and they knew how to say it without some pretty smart teachers detecting that they knew, or if the teachers knew, the students knew how to put in enough that you couldn't argue they didn't deserve the A. This doesn't discount that some people deserved an A, but there is some cynicism about studying a work and trying to interpret it that I still haven't shaken off.

And I don't mean "cottage industry" as a derogatory term or "this isn't high art." I'm well aware other people could turn that argument, or something more harsh, on my own stuff. It's that I think we need something that will require minimal effort for us to twiddle, to see changes based on a few things we try. The payoff will surely be better than, say, FreeCell where we've developed that strategy to win 90% of the time and sense it's useless to get to 95%, but darn if we don't keep doing it, because each card-shuffle feels different, you know.

TLT, or a replication of its idea, feels in the same vein as chess videos where, say, GothamChess or Agadmator, two Youtubers with over a million subscribers, go through a game or list of games. The basic presentation is formulated, and they even have catch phrases that have developed naturally, as a way to keep us involved. They analyze sidelines, some worthy and some boobytrapped. And it feels like there's room for more in that boat, which is good for knowledge and variety but bad for my free time. Agadmator is more likely to cover classic games, or lesser-known games from a grandmaster's simultaneous exhibition. GothamChess is far more current. Hikaru Nakamura, who needs less introduction, can discourse at length about his own game.

Why the heck can't we have those options with literature? Well, one problem is, literature doesn't have the equivalent of a programmable chess engine, and it's even harder to say "that phrase is good" or "that paragraph is bad." Understanding is more organic. Sometimes it's based on realizing that, say, that poem of Robert Frost's means the opposite of what it means from a cursory glance and seeing why it goes beyond "simple sincerity." And it's just more fun to look at a chessboard than a bunch of words or to say "hey, look what the engine is saying, this is something the presenter couldn't have fit in to a fifteen minute video. I'd like to do my own exploration." For me, it was tough to find that exploration. There were simple what-ifs to ask. Sure, I enjoyed a story with a surprise twist, or where it wasn't clear what the narrator meant, or what the character did after (either option seemed equally likely,) but even there I could picture Mister I-Know-How-To-Get-A's dropping his two cents in, over my shoulder. Even if I hadn't seen him for a while.

TLT inverts that for me, and that seems both due to the subject matter as well the author's general intent. Chekov's story is relatively simple. Someone thinks he's won the lottery. Suspicions pop up. Could and should he hide the news? Windfalls going bad have been done before and will be done again, but there's always a new perspective. Chekov really Gets It, and in a more visceral way than Cost of Living did. I mean, Cost of Living was prescient, but when it starts talking about debt and interest rates, it potentially loses some zing, even though the issues (keeping up with the Joneses, being in debt over items you didn't want to buy, and so forth) are very relevant. So I can see why I might not have heard of the author but I still enjoyed CoL as well as their other stuff, though I was glad to be exposed to the story. The main thrust, though, is this: change a few things that may seem fixed or obvious, and we can reinterpret or reimagine it in a more modern vein. What do certain words mean if we ascribe different intent? Sometimes, it's obvious, but with the right stories, it gives us insight into human nature, and maybe even times where we ourselves have been fooled or confused and don't want that to happen again.

Chekov's story is ancient but in parallel with something more modern-day. It's odd to remember that a much smaller amount of money was once paid out in lotteries, but certain things remain. The administrators get their cut, so the expected value of a lottery ticket is less than its purchase value. I know that even if the lottery ticket paid out more than you spent, after taxes, there's a concept called marginal utility. (In plain English, that second million is a lot less useful than the first.) People have no idea how to manage money and go into debt. It's sad. I read a book by a person who negotiated lump-sum settlements for lotteries paid out over 20 years (and yes, the lotto winnings don't mention this payout, and that $1 million 20 years from now has less value, because inflation.) The person eventually felt awful about their job, and I remember how they noted starving horses at the farm of one lotto winner. This is all relatively technical.

Modernizing TLT feels like it would be a trivial jump, and maybe it is, but it's one worth making. In Passer's remake, you get to choose a few adjectives. Is someone genuinely happy they might win the lotto? How willing are they to actually share? How much of friends' sharing via instant messaging is actually altruistic? Anything seems possible.

You can play through a few times, and if the game text doesn't change, the text still has a different flavor based on what you say. Well, to me. Your friends' accusations (eating the sauce you're cooking raw, thus depriving your friends of a bit of it, is contrasted well with how much of your lottery winnings you might share) are constant, and I didn't keep very rigorous notes, but acting with bravado or standoffishness does change things. And at the end you seem to want to buy one more lotto ticket, despite having UBI and so forth. Which brings up a lot of questions–the lotto is about more than just having more money, it's about dreams, and yet on the other hand, those dreams, once realized, are ruined. And there have to be better ways to bring people together than the lotto, but it's sort of taken over, because it's the easiest way to find something in common.

Now, a writing like TLT clearly seems to have limited range for any particular story it may cover. But on the other hand, it feels like it could be applied to many other writings I always wanted to read but never did, when I'm not quite ready to read passively. I like that it doesn't pretend to be an exciting, sweeping new modernization of a famous old tale. It simply reminds us that things are, in many ways, as they were, despite technology creeping up and the size of a lottery growing astronomical. Chekov's summer villa we'll never use becomes timeshares or a yacht we can't use often. There is only so much to say about this subject, and that's okay, because there have to be others, from stories by authors famous or not.

I really do wish I had something like this in my inbox every day, or even a couple times a week, to poke through, because it would be time far more well spent than clickbait. Maybe that "it does what it can, and that's good" seems faint praise compared to "well, this is soaring art," but it's good and needed and if more of us did this for favorite authors or stories the rest of the world didn't know about or should, the Internet would be closer to the repository of ideas or questions that people dreamed TV would be in the '50s. There's enough great stuff, of course. It can soar, if you know where to look (e.g. the Daily Show gives news and asks questions and reminds us that some people in power or the public spotlight, or constantly seeking that sort of thing are, in fact, those who least deserve it.) You don't need to write a thesis in a 300-level college class to have access to it, either. There's a snappy trade of ideas that leads you into a hall with a lot of doors. Perhaps a lot of those doors leave you disappointed to know you're not so original to have thought of X before, but then you realize others have given you a boost to where you can start with the real ideas.

I think we've reached that self-sustaining point for more concrete stuff. Math, chess, etc., are some examples. I'm saturated with videos there, along with Youtube channels on psychology and building social skills. But videos don't seem to work as well for written words as, well, this sort of thing does. And I recognize it might lose something in mass-production. But I remember being awed by a library as a kid and thinking "I never could read all this" but I would so love to make a dent, and works like this give me confidence I still can. (Of course, this may already be out there in some form. I'd be glad to be wrong. But we can always use more, in quantity, quality, and tone.)

Oh my. Putting GameBoy-style graphics with a narrative where you've just finished having gay sex. That's a heck of a contrast, for sure, given attitudes towards homosexuality when the GameBoy came out. And my main quibble with all this is that you have to keep pushing "Z" to see relatively little text, some of which repeated. I've gone all old man yelling at cloud about this sort of thing before, but in this case, it was more that I'd like to see what's going on, and I'd like to piece things together better, and I wish there'd at least be an option to get the game to cooperate more after, say, three or four endings. There also was some worry I'd get impatient and start button-bashing and miss some of the text. I'm also not sure why the title is what it is. I found a lot of other creative and interesting ways to die, and there was lightning, but I didn't find the ending where you died by lightning. Perhaps it was the "best" one?

Unfortunately my enduring aesthetic memory is of the text chopped up like the timed text from Twine, and it backs up even one playthrough. This is okay at first when you're getting your bearings, but DbL seems meant to be replayed, and a lack of UNDO hurts this. This may be a feature for some. But in IFComp, with my goal to get through a lot of entries, I find it to be a bug. The work simply stops once you've reached a conclusion, too. Nevertheless, I took several diverging paths through and had a general idea what was going on, and overall what was there seemed good. So it's not a "waiter, the food is terrible! And such small portions!" sort of thing.

There was also a neat feature where the screen flashed, but it we assume all the threads are continuous, lightning kept striking at different times. I wasn't able to determine whether the player should be coming to a realization I missed, but I thought the screen flashing worked well with the low-resulution graphics. With more detail, or the game taking more of the browser, all the technical stuff might feel like it was trying too hard to call attention to itself. I fortunately don't have any physical reaction a flashing screen, but nonetheless, it was nice it wasn't overdone.

From what I saw, you're trying to betray your lover, but you're wanted, yourself. They have a truck outside the mountain lodge where you are both staying, and you, for reasons not immediately obvious, cannot let them leave. So do you take the truck or try to convince your lover to stay? Taking the truck risks accidents and meeting the local (very) wildlife, but staying in the cabin risks a fight, as they have a past that's not clear, too. Whatever your web of double-crossing and intrigue, you're pretty much, well, screwed.

The gimmick of a GameBoy-style game is clever, and I've generally enjoyed entries that give this retro feel. But unfortunately, with this entry having no exploration components, the design choice probably backfired in terms of placement in IFComp. I just wish there'd been more latitude to explore without having to repeat myself so much, or at least a way to increase screen size to see more at once, because there were some branches I didn't look into and wanted to, and without UNDO it was hard to keep track. Perhaps labeling a branch yellow or red based on how much you'd seen (some/all) would work, even if it violated the GameBoy aesthetic? The writing seems fast-paced and I was disappointed that certain design choices slowed it down, not to give us more chances to think about things, but to say, no, you can't quite move ahead.

The opening screen promises a lot: a well-done background, effective and non-intrusive sound, and a request to pick your name and a color that corresponds to you. There's a list of stats (health, thirst, hunger.) It's for, well, an escape through a forest, to a place where people with the same Mark you have can be safe.

We get a fast-paced story, too, but it goes by too quickly without really knowing what the protagonist is like. One vulnerability in particular wasn't mentioned. There aren't many locations in the forest, and you can find shelter in both hostile and friendly locations. There's food and water, but if you're already too full or not thirsty, it does more bad than good. You're also vulnerable to rain, which I didn't pick up on until I ran into a bad ending.

I played through a few times. There were a few random deaths, but beyond them, escaping is not too hard, if you're suspicious of everyone who seems remotely harmful. Perhaps most interesting was my final play-through when someone offered me clothes in their one-room hut in the middle of a downpour. Removing the clothes would reveal my mark, but going into the rain meant death. This was one of the more concrete choices in the story, beyond going forward and back, and with more like this the story would be very strong indeed, but then again, it was never explained in the over-general beginning.

A lot of the action is scattershot, too, and the stats aren't really used as much as they could be. Why marked people were viewed suspiciously was hidden beyond a general assumption that marks are bad. And I wish I could've undone stuff. As it was, I had to open up a new tab for each play through the story. It all feels a bit too earnest, often introducing something you should've known mid-story. The world's been built, and it feels like it has the standard features, but the author doesn't have control of it, and they never fully commit to using the statistics, or building a story, so it never fully gels beyond being a quick affair where you maybe find a couple ways to make it out and move on. Things like penalties for eating when full were interesting and showed good general understanding, but TTFWTB never really sang to me in quite the way that, say, Under the Bridge did from the '22 comp.

HOURS certainly jumps right in: you're a soldier who has had a mortal wound, and an apparition tells you, hey, come with me and kill the evil Shogun who's been controlling your mind. Hey, you're going to die anyway. A compelling start!

You have that choice of staying at home or actually going for revenge. And I think early on, the work established it would be a bit too on the nose: "stay in your room and die" is, well, direct, as is much of the dialogue. That said, I think it provides, relatively speaking, the best writing. It doesn't feel like it's trying too hard to induce excitement. This part is linear, where you have a different thought in each of your final hour. It seems quite focused, maybe because the author didn't have to worry about game states or branches or whatever. And of course the player can just undo things.

Once they do, the on-the-nose dialogue does come into play. We've all done it, where we've forced in where we need to. I like to refer to Stephen Fry and Hugh Laurie's very polite spies, Tony and Control, for guidance. They spell things out a bit too much and are a bit too formal and still always getting to know each other. It's sort of sweet but also a reminder that we can often say things that don't need to be said, both in life and in literature, and that can ruin the mood. For instance, "poor soul... you've seen so many horrors in this battle... if only the kings, sitting in their ivory towers, understood what the common folk like you went through..."

As for the story? I'll bring up something else: the movie Streets of Fire. Things seemed to sprawl until they sort of clicked at the end. Like that movie, there appear to be a lot of anachronisms and cliches, and I think they're deliberate. The Shogun is 300 years old and still youthful, so something is going on here. You are Jack, and he is Charlie. You have swords alongside suits and communications devices, along with an old-fashioned slave auction. The chaos seems deliberate, but it quickly feels uncontrolled, even if everything is tied up at the end. And the ending I got with reaching the Shogun certainly brought things together--my guess is (Spoiler - click to show)the character is not the only person the spirit gave this offer to, and perhaps that is part of how the Shogun has retained their energy. Which is pretty heavy stuff! But sometimes with the helter-skelter writing, it felt more like you were in an express grocery line that suddenly shut down once the cashier had to go on a two-hour-overdue break.

Certainly the ending, along with the small detours I could take (talking to people versus immediately getting to the point) made me wonder if there was any way I could save time and avoid falling at the final hurdle. I did not find it. Nevertheless, the dialogues in the tavern helped bring out some of the story I didn't see when speed running so I didn't waste a single minute. There's obviously something supernaturally weird about the Shogun, and the story of how his henchmen pronounced him as blame-free was effective to me.

Perhaps HOURS wished to make the point that there was nothing you could do, or it went for the "it was all a dream"/Incident at Owl Creek angle. Perhaps it meant, deliberately, that pulling an arrow out of your flesh and not having it hurt was a sign things were already on the paranormal end, or you were already half-dead. That seems even likely. The contrast of reflecting on your family in your room and being forced to see the Shogun's past works well. But the less-than-tight dialogue and sometimes over-earnest narration got in the way of that. While you needed to be in a rush, unnecessary description that sprawled jumped back to where the narrative skipped a bit. That cut down both the urgency and any idea of how close I was, and it's a place where having a "you are here" style map, in the status bar or one click away, seems the sort of thing IFComp is built to allow and encourage. Even posting the time outside of the "go to your room and doe" ending or saying "you've lost track of time--you can only judge it by the sun/stars" would add to this. As-is, I felt hurried along, so the tension didn't build as it should have.

The Tower of Plargh is a short puzzle game where you must do stuff and then push a big button in a center room to advance, once you’ve done what you needed. There are jokey bits in here, too. The room names made me laugh a bit but also wonder if there was a fifth room, since the initial 4 rooms differed by which vowel was in the 3rd position. I spent time wondering if there was some head-fake ending where I'd missed a clever detail, though disassembling the gblorb changes nothing.

Also there’s a bit of trickery with the game map--the tower is bigger than it seems at first glance. The jokes may be a bit flippant to stick in your memory, but on the other hand, there are no mind-reading puzzles. There are a few items and you can figure what to do just because the author didn’t try to overwhelm you with details. Apparently the author wrote it for his daughter, so there were serious limits on how complex he wanted to make it, but then these limits ran up against IFComp expectations.

The puzzles feel relatively straightforward, though the final bit in level 4 was kind of tricky, and a "why" is missing beyond "because it is there." In level 4 it took me a while to realize an NPC left right after you saw them, even though they pretty clearly were a jumpy sort, so there was a lack of description. With minimal verb-guessing, I figured what to do. There’s a small bug where the NPC from level 4 is wandering around in level 5, so I chased a red herring there. Perhaps ToP was simple enough I was sort of hoping for one.

The rooms didn't change names as I went up the tower, I suspect as an attempt to reuse code. However, the end result is that it feels like a programming exercise more than a game. So although there’s no walkthrough, you’re probably not going to get stuck if you resort to trial and error, likely the sort that needs only minimal knowledge of parsers. This made Plargh a nice whimsical diversion before playing far darker games with content warnings, although since its focus is simple-to-trivial puzzles, it doesn't establish a super-strong identity. So it sunk to the lower end of IFComp. But as a first work it is nothing to be ashamed of.

One of the things you have to face when you are writing a SpeedIF is, what should I leave out? It's stuff you'd rightly get destroyed for leaving out in a more robust piece. ToToT makes the right choice here, as what it leaves out only adds to the brief timed puzzle. (Plus, UNDO blocking is left out. Strictly speaking, it should not be, but for me, it added to the feeling of being stuck.)

It can't be the first Groundhog Day style game, and I've probably played one and forgot, but it fits the format well. You're knocking at the door of Old Man McGuffin, because your friends dared you, and when he answers, he sticks you with a weird-science item that sticks you in a temporal loop. You need to dump it on some poor unsuspecting soul. You have a fixed amount of turns, or you'll wind up having to do things over again.

And here's where the puzzle gets interesting. Stuff like directions to exit and so forth aren't revealed, because this game was written in 4 hours. So you wind up bumping around a lot, and in fact it's probably more efficient to avoid finding the items you might need first to make a map! This would be a poor design choice for IFComp, but here, it reinforces you're a little kid who's walked out well past where they should, and you're pretty lost. (My technical side notes it'd be neat to have a post-comp release that slowly fleshes out the directions you tried. That could be a programming exercise that takes well over four hours!)

There aren't many items, and if there were too many, things would be a mess. However, I always enjoy a good candy joke and seeing the box of L&L's (REAL candy! But you don't have time to eat it!) reminded me of the box of W&W's that the Suspicious-Looking Guy gave you every Halloween in Kingdom of Loathing, back when I played that game too much and enjoyed it.

I admit I disassembled to see the text of what happened at the end. I'd come up one move short, and I had trouble actually finding the person to give it to, though I knew they must be around. One feels sorry for the poor schlep.

ToToT reminded me of Ray Bradbury's The Halloween Tree by sort of being its opposite in many big choices. You're alone in ToToT, but HT has a whole group of kids. In ToToT, you're in essence getting free time as a kid and extending your Halloween beyond what you thought possible, while HT takes a year off the end of each kid's life. But I think each, if it actually happened, would provide a kid with a bunch of neat weird stuff to share for years. As for the end, I enjoyed thinking about why your friends may've poked you to see Mr. McGuffin. The possible motivations can vary greatly depending on how much they actually know about him.

There are spoilers I want to add and spoiler-fy, because they gave me a good chuckle going down some mental back-roads, but I don't want to add them into the review until after EctoComp, if at all. Part of the fun is being in that area of optimal confusion-versus-progress I think ToToT hits well.

Long titles always give me pause. Will they indicate a long, sprawling game? Or will the game have a tight focus, as sort of a reversal joke, so tight you think they overdid it with the super long title? In the case of Midnight (spelling the acronym would take more keystrokes,) thankfully, there's little to worry about. It's short and tidy and subverts the "pointless task in lousy weird job" genre without overusing the zany or "lousy jobs are lousy" angles. It's well-organized. I replayed it quickly after ParserComp, and though there's only one tricky puzzle, I still fluffed it at first and then felt happy once it was fixed.

You start out with an undemanding task left by your mysterious manager: find three boxes and bring them to the loading dock to the north. The first requires little more than exploration. The second requires fiddling with locks on an elevator. Some may find this tiresome, but it made me recall bad experiences with a frieght elevators and padlocks (not together, thankfully) which the passage of time had healed. The constraints are tongue-in-cheek, as you can't leave the basement if you are even carrying a mere task list. While it's busy work and meant to be, I enjoyed seeing something different than the Towers of Hanoi and the 3-, 4- and 5-liter jugs, and it underscored how badly managed your rental shop was.

Things get interesting after you place the second box on the loading dock. The weather changes. The place shakes enough that you can carry not just a task list into the basement but everything in the game that's not nailed down! This was an exhilarating moment of freedom. Not only that, but a previously-locked door is now open! This was a relief, considering all the futzing with keys and padlocks I'd done earlier.

On your way to finding the third box, you have visions. They contribute to why your place of employment is weird, and you have something to set right. It's not very hard, but it's satisfying, and it ended too soon, with the promise of a sequel I will be glad to enjoy.

Midnight certainly is economical in design if not in its title. And its brevity and oddness make its wit stay. And if the sequel takes a while, I will have stuff to tide me over. I hadn't realized this was the author's third work.

Gent Stickman stood out immediately for me, not just for its title, but for its stick-figure drawings. My relationship with drawing is a thorny one. I'd like to be more realistic, but I do enjoy the humor a well-done stick-figure drawing can do. It just has to be thoughtful, and yet, stick figures can help take an edge off serious subjects so you can cope with them. This is the case with Gent Stickman, a small game with relatively few rooms and a simple parser. All the responses are in graphics, including the error messages, which is nice because sometimes the default messages are annoying even when they don't try to be.

This is a successful design choice as I see it. If I'm correct, The author's first language is not English, and the game does have a universal feel. I wasn't surprised to see they'd won the Spanish version of EctoComp, based on this effort. They could certainly write in English. I mean, GS is definitely one of the most fun and creative titles I've seen in my gaming exploits. So they could definitely hammer something respectable out in English. But what they did was slick. They know what they're doing, and they never need to drill it in your head how clever they are. There are hints and death scenes, and the hints are particularly nice because, well, you still have a bit to figure from some of them--but nothing unfair!

And they do form a nice story of where you've been and where you're going. I've certainly had instances where I saw one hint too many and felt like I was just taking transcription, and that didn't happen here. The graphics cut through the "push X for next hint" instructions, only revealing one additional hint per room per hint request. This left GS feeling quite welcoming. They also pushed back on one of my pet-peeve straw-men in web-based games: timed text. After a certain amount of that, I always picture someone pausing pompously for dramatic effect, but here it's like a small funny YouTube clip you could watch several times.

As for the story? Well, you, Gent Stickman, are--well, the guy people see on a bathroom sign. Your beloved is your female counterpart. She has been kidnapped and locked up in a high castle guided by a pit. There aren't many rooms, and the game establishes early that compass directions are Not a Thing. One error graphic shows an X'd out compass with left and right replacing it. The main verb to figure is -- well, you have to guess it, but it's not a blind guess, and (Spoiler - click to show)this game gets away with it where others wouldn't.

And solving the puzzles gives some nice cut scenes that remind me of the sort of flip-books I used to make in second grade, though this is clearly more clever than that. It left me wondering why someone didn't think of this-all before, and I hope to see more of it. Jumping over the pit has a lot more drama than "PUSH SPACE TO CONTINUE." There's doubt if you'll make it over. And yes, there are a few surprise instadeaths that make you want to restart, but once you know what to do, it doesn't take too long to get back. They're all worth seeing.

GS has some interesting innovations in streamlining the player experience, which makes for a lot of fun that's over a bit too soon. I'm certainly glad to see it's marked as one of a series. It's one of those games you can just enjoy, and on reflection, you realize the author did a bit more than throw out silly yet satisfying jokes. While obviously "ha ha ha this game is meant to be a simple satire/joke" can be overdone, it definitely isn't here, and I really enjoy these quick booster games that remind you you don't need anything super complex to have reasonably clever fun.

Uncle Mortimer's Secret intimidated me, but at the same time, I wanted to play it. Details leak out from a game's reviews even if nobody means to spoil anything. And that worked both to draw me in and push me away. It was obviously a big game with a custom (and old-school) parser, replete with scoring, but it was also well-organized, by someone who knew what they were doing. It probably got fewer ParserComp votes than average because of the custom parser. It's got its oddness, but that's not a cover for the author's laziness or inability to put a story together. It feels more focused and assured than Somewhere, Somewhen, which the author submitted to the previous ParserComp, which had That Something. UMS had a lot more, maybe because the author didn't need to focus as much energy on the parser itself. It was the first ParserComp game I came back to post-judging, and I was surprised how quickly I did so. I'm grateful to the people who pushed others to play this game, and I hope I can do for so beyond ParserComp.

Your eccentric uncle Mortimer has disappeared and left you a letter. He's gotten involved in magic and alchemy, and he's probably been captured by someone quite evil. To rescue him, you need to visit several important time periods and events, and you may not have to do much, but when you do, you'll gain the trust of historical figures Mortimer meant and get the next piece of the puzzle. You travel through time by twiddling four numbers on a bracelet while in Mortimer's machine, and for me, it was nice to be able to get something right before doing what I had to.

I did so in all cases except the (Spoiler - click to show)Whitechapel murders in 1888, I was clueless as I never connected them to Jack the Ripper. This isn't all bad; for me, it was nice to know a lot without knowing everything, and also there was enough of a new spin on (Spoiler - click to show)Kennedy's assassination in 1963. I think with this sort of buffet-line approach to important historical events there's always going to be something you wished to see more or less of, and nobody's pleased perfectly, so your tastes may differ from mine, but overall it should work out right. For me the funniest puzzle was finding (Spoiler - click to show)Sir Francis Drake's bowling ball in 1588.

Eventually you do find Uncle Mortimer with a weird tesseract puzzle. The journey is worth it to me, though you will have to dedicate a lot of time. But it's the sort of game you can blow by with a walkthrough, if you have to, and you will get a lot out of it, and maybe in a few weeks you'll find yourself coming back to it, too, to see how much you remember. I found, briefly poking around, I enjoyed both what I remembered and what I forgot.

A few things still slow it up a bit, though. I'd still like to see a more understanding parser--the disambiguation isn't great, and there are some abbreviations, but maybe I'm spoiled with Inform. I'm pretty confident that the author will tweak what they want and need, though, given how they've honed a lot from the promise shown in Somwhere, Somewhen.