Reviews by Andrew Schultz

In the author's forum, I had planned to start this review a different way. "This game's quite good, but the end was frustrating. I just couldn't figure how to beat the final boss. It was a lot of fun, but after a while, you just want to get through with it, you know?” I knocked off another shorter game or two, then came back to try just one more thing and, uh, wound up trying a few more after the final boss. I then wound up seeing if I could play through faster the second time through, and despite the shortcuts I'd learned, I spent about the same time overall, nailing down the quests I didn't quite solve before or maybe trying different reward options. Which will tell you how involving I found the game.

It's quite pretty impressive technically: a procedurally generated RPG where you bounce between sixteen islands on a grand quest that, itself, is randomly determined. There are thirty possibilities for each game: ten classes, based on a combination of two skills, and three big-picture quests. The Tragic Queen's Relics lead you to a randomly placed tomb you must ask the locals about. Another quest has four map pieces. A third has you ascend the Heavenly Spire to fix odd weather with black snow. There's variety in the classes, too. I started as an Explorer, which let me build up experience and silver by just talking to locals. My next time as a Battle Mage, I didn't have that quick start, but I had a lot of fun blasting enemies every which way. As of the end of IFComp, I had some clear favorites for winning quickly. I wound up playing 4x4 before games in genres I was unsure around. So, yes, I won with all ten and enjoyed the varying challenges. I was especially thrilled to find (Spoiler - click to show)a "bribe" sub-skill let me use that excess silver to get half-experience in combat, which saved real-world time. I tweaked my bribing strategy for a bit. And, as I replayed, I alternated between favorite non-fighting skills, or between ranged or melee weapons, each of which works better for different fights.

And this speaks to some pretty impressive balance in 4x4. You may have noticed "experience by talking to locals" above. Generally, when you think of information in an RPG, it's stuff you'll know the second time through, so why waste time clicking through the thought-bubbles? Well, a lot does carry over here, but more importantly, asking the right people for information gets you experience points, so you don't need to fight early on--and with some classes, fighting early is a bad option. You can barely beat Giant Rats. You can, however, drink repeatedly at the first inn you find to get enough advice/experience to get that first level-up.

You also can get experience solving nonviolent quests. This experience can be pumped into five minor skills that improve luck, HP, MP, strength and magic power. They start at zero, and the requirements for the next level double until you hit level 5, when it's capped. Or you can bump your main class skills up to the maximum of level 2, or you can also pay for a third skill. One really cool thing I noticed on replay is that you need a balance between quick improvement and saving your experience for level 2 main skills. And also after a few plays I enjoyed understanding the game well enough not to need a third main skill. At first I found these caps restrictive, but soon I realized they signpost how you don't need to grind too much.

That's not to say you should ignore good quick ways to grind. 4x4 allows you to make silver pretty quickly. Several islands have markets that sell one of food, luxury items and/or crafting materials and buy the other two, one at an extra markup. So establishing these trading routes early is good, and yes, the Trading skill makes things extra lucrative. I remember being so thrilled I could make any sort of profit that I missed a way to maximize. It involved, quite simply, having a small 4x4 grid of what market sold what. I expanded it to other things the useful in-game journal couldn't quite organize. It felt about right--I didn't want everything done for me, and I liked having my own shorthand to target where to go. The journal's a neat way to keep track of stuff, and while it wasn't too wordy, it was still neat to be able to search the text for what I needed, even something like whether a dungeon was cleared. Between it and the auto-saves when you moved between islands or visited a mine or dungeon, I was really happy I didn't need to backtrack or remember annoying details. It also lessened the intimidation of having a lot dumped on me as I explored islands.

Perhaps the neatest bit is something I didn't see until replay. You have a chance for quests and incidents when you travel between islands, and "explore the island" can also give random encounters. Some are one-time, which means experienced players have to decide what to buy and how much to save. While save-and-restore is a possibility if you get a quest you're not prepared for, micromanaging briefly ruined the game flow for me, and I had to decide what was worth retrying and what wasn't. But you also have rumor-quests, eight of them, from a pool of twenty-four. Every island has rumors to check. Some are random. Others lead to the quests. Many of these have several ways through: you can fight or expend equipment or use skills--noncombat ones are prominent here, which is great for balance, and using them also fleshes out storylines you don't see if you just clobber the baddies bothering the villagers. Some, you can buy your way through with the right materials. The tougher quests might require a lot to avoid a tough fight, but the random unique rewards for solving them makes each playthrough interesting. The easier quests often give you a choice: renown, silver or experience. The harder ones give renown, experience and a great unique item.

Renown? Well, it seems useless but is key to the game, although silver and experience are more important and accessible early. You get renown for, well, actually acting like a hero, or defeating very tough enemies. Some random adventures give it. For instance, if you have crafting materials and run across a stranded boat, you can demand payment, or you can just give what you've got for renown. First-time players probably should just take the more tangible rewards, because they can't get going that early, but more experienced players will want renown in order to get quick access to the adventurers' guild on the main island. It can sometimes be quite random how much you get, based on your rumor-quests and when certain quests show up, but there's a way to prepare, and more importantly there are two cute ways to buy renown. They are (Spoiler - click to show)donating to the Academy, which is a heck of a quid pro quo, and paying minstrels to write a song about you, which is self-promotional in its own way. One thing I find amusing about renown and solving quests in general is that 10+ renown lets you rest free at inns--this isn't a game-breaker, but combined with one-offs where people recognize you and give you powerful items for (for instance) defeating a mist-monster at sea, the attention is almost slightly embarrassing, especially once you have more silver than you could ever spend.

But it takes a while to get there, and in the meantime, I liked how 4x4 made it so it was hard to be fully busted. As you travel between islands, you may gain or lose MP or HP, or tradeable items may get washed out from your boat or onto it. Your fortune stat (aka luck) controls this a bit--I think. You may also find NPC (mer-folk when sailing, hunters on the island) willing to sell you special armor or goods to trade for a profit or buy at a discount, and sometimes you just get small experience boosts for avoiding traps in the small dungeons. With all the random quests, you also have places that reliably give fights, though exploring may give experience and good items quicker. There are three such places (bandits, beasts and undead) placed on random isles, and you can visit the easy or hard sector, so they keep their value without screaming "GRIND HERE."

The procedurally generated text works well, too. There are possibilities for all sorts of contradictions if you try for less generic text, but they don't really pop up. The island descriptions are fun, as are the stories you can get from locals, and having them around really complements the strategic parts. The quests have a lot of hidden jokes, too. One random rumor quest has an arm-wrestling contest, and if you have maximum brawn, the organizers bribe you to let their son win in the final. Another lets you bribe a Red Knight's squire to find the knight's weakness before a fight. I forgot to mention that you can acquire allies who help (marginally) and one of them knows a bit about the history of the Archipelago and informs you when someone is telling a lie. This is all very vague, but I don't want to spoil the fun of discovery.

What encapsulated 4x4 for me, though, was finding ways to go faster and enjoying them despite missing out on side-quests I enjoyed. You see, it's possible to win the main quest without doing nearly everything. A sea serpent has more HP than two final bosses. One quest in particular involves a Wanderer who visits all sixteen isles. She tells you the terrain of her next isle, and you can consult the journal or the main page that displays them all--the islands are attractively drawn, clearly similar by terrain but not identical. So it's a fun mini-game of chance. It's rewarding to try and solve a bit quicker than you expected, and the choice of items she gives you at the end is very powerful. It helped me before I really figured how to get epic weapons and skills early. I also miss the Coral City, a place you can only find by luck until you have access to the Academy. It's a maze with nonreciprocal paths, but it works very well, and I don't want to spoil more.

Add all this up, and you can guess I really enjoyed 4x4A, both as a player and someone who enjoys learning about design, and both for the novelty of the first couple playthroughs and the enjoyment of honing strategy later. Strictly by the rules, it was probably a bit long for IFComp, but I was glad it was in there--it boosted me between games that weren't in my genre. I felt almost a bit guilty reporting bugs I only saw because I was really paying attention. So I really recommend it. It's quite well-balanced, and the randomization makes each playthrough different enough that 4x4 never quite get old. Each time I've sat down to play, it's fun to uncover quests and islands I've seen before, as something always pops up that I'd half-forgotten.

The whole "writing an Emily Dickinson poem as IF/text adventure" thing has been done before--just completely differently. It was a (since withdrawn) entry in Ryan Veeder's competition for good Interactive Fiction, and it focused on Emily Dickinson's "There Is No Frigate Like a Book" as opposed to more death-related poems. I was sad to see Reverie go, and I'd be sad to see this entry ever disappear. While I knew of Frigate, I was maybe aware of only one of the poems in Four Acts.

There are no puzzles. In fact, pedestrian actions may push you through a bit quicker than you intended. You must basically roll with the poem's punches, and each poem is included in-game to reference as you wish--so, paradoxically, paying attention to the poems will help you look around at all the mystic entites around you before accessing the one that pushes things along.

Four Acts proceeds from your death to your funeral to a ride with death and immortality to, well, something not worth spoiling. I enjoyed trying to subvert the poem and its responses--for instance, doing the wrong thing with my inventory, or trying to hang with Immortality instead of Death. And I appreciate this sort of thing, as someone stuck feeling quite hopeless during the poetry parts of English classes, while better-informed people around me somehow knew what the poems were about but would probably let anyone they caught reading poetry that, well, that was a bit weird and impractical. I guess I like to be able to poke around and not worry if I'd missed anything.

The author was disappointed she couldn't fit in everything she wanted for EctoComp, and while I liked the original Your Death in Two Acts, the new bits make everything even nicer. Perhaps I'm the gullible sort who says "gee, okay, either way works great" when asked to just choose one, already. But here, I'll go in for the equally squishy "gee, more poems are better."

Most post-comp editions are worth playing to see what the author tweaked and maybe see a clearer way through, or they're an excellent exercise for the author to nail down things they didn't quite have time for. But Four Acts is a completely new offering, and I don't blame the author for wanting to share it as soon as EctoComp was over. If you enjoyed Two Acts during EctoComp, then I think you'll want to check this out. There's double the poems and some nice fixes to implementation.

The Deer Trail may not be perfect, but it certainly left a good impression on me despite some technical flaws. It starts out as a deer hunt but then turns into a lot more. This is both bad and good; the motivation for finding the next item struck me as because-it-is-there, the game was organized so as to reveal secrets in the form of letters, up until the conclusion. But despite my criticisms below, I was impressed overall. Sometimes knowing what pitfalls to expect can help a person enjoy a work's strong points. That is this review's goal, because I think The Deer Trail deserves it. I suspect my major concerns will be obsolete if the author creates a post-comp version.

It starts as you manage to shoot a huge deer with your bow and arrow to start, but it's only wounded. So it flees. Early on, The Deer Trail gives you instructions of what verbs to use to hunt and track the deer, and eventually you wind up by a house. Somehow, the deer made it in, despite a locked door. You will need to follow. There are places to the side of the deer's trail of blood that hold tools and such.

Once you're in the house, things get a bit surreal, which isn't necessarily bad, but fetching the items for later does feel a bit arbitrary. Through the house, there are three journals which give the deer's backstory. Along the way you find items you have to combine together, which makes sense once you figure what to do, but you do have to pay attention to the scenery. And perhaps one is a bit too heavy-handed, since it's called chemical compound A.

This dents the emotional impact of the story. As do the achievements, which seem like a good idea to nudge you to explore everything. Perhaps "discovery" would be better? This is sort of quibbling, but word choices do matter. And some achievements seem more like thanks for paying attention than tension building. But it could build to more, in a post-comp release--maybe at the end the author could cue you to what you missed. I also found some nuisance in having to "use stairs" instead of going up or explicitly look in a cabinet after opening it.

The Deer Trail feels like it really sprawls, and it could be cut down (the three letters you find could be, in particular--maybe break them into four or five? Though maybe the trivial fix of throwing in a few "press and key" commands would work. Also, it would be nice to be able to read them separately, once you have more than one.) But I was interested and captivated and have no concrete suggestions what to leave out. Speaking as a horror novice, it seemed to avoid cliches and (oops, cliche alert) cover a lot of bases. Enough to clearly overcome minor technical issues, for me.

A Ghost Story is a relatively simple eight-room game where you may have to cycle around everywhere a bit before you find what's going on. It's the sort of thing Speed-IF was meant for, and I think the author chose the material and scope well.

As in The Libonotus Cup, the interface and appearance are quite attractive. Here you have white text on a black background, and when you're clued to the exits, they're orange, so hooray for Halloween colors. The directions appear nonreciprocal at first, but (Spoiler - click to show)if you map things out, they form a sort of octagon which makes sense later. There's a white tower in the middle you can't get to or pull away from, as well as an Igor (that's deliberate,) a poultrygeist, a Sphinx and a locked gate. What to feed the poultrygeist was a neat lateral thinking puzzle.

I was stuck with what to do for a while, because I was trying to coast through, and I can't say I missed a puzzle per se, but I was glad to find the next items that led to me getting to the tower. (I don't think it's a spoiler to explain that, yes, you need to get there.) Each was a small fetch quest, and (Spoiler - click to show)each room has a purpose of sorts.

A Ghost Story isn't especially deep, and you've probably seen all the elements before, but it is well done. I quite enjoyed how it corrected some misspellings I made. For four hours' work, it's quite good.

Hercules! raised some warning flags that I'm happy to say were just flags. First, it drew heavily from mythology, not the first IFComp game to do so. Second, it promised yucks, specifically yucks with a main character who's less than cool (eczema, asthma, lack of strength in general, perhaps mild OCD that is used to help Hercules know which task on the list is next.) Third, I was worried it might play a bit too dumb about Hercules or make the twelve tasks trivial. There's also the general possibility it would either force you to know too much mythology, or it would imagine all the wrong thing.

However, overall, knowing a bit of mythology helps the puzzles go down easier. And Hercules may be more brain than brawn, but not in the "look at all the weird stuff you know, you dork you" sort of way. He uses his wit to solve impossible-seeming tasks given to him by his cruel cousin, Eurystheus. Twelve total, just as in the mythology. Yes, the list says ten, but if you remember your mythology, you'll know why this is faithful, and it may even provide a hint. (Spoiler - click to show)Hercules got dinged for enlisting help on two of the original ten. So that was well-played. And while some of the puzzles feel like a stretch, the game's supposed to be the clever side of silly, and overall it works. The payoff in laughs is more than good enough. However, since there are twelve diverse puzzles that really all should work, there's a good chance one could be a stopper. So don't feel guilty consulting a walkthrough to keep the fun going.

Hercules is the sort of game that could fall apart at any time, because it's a farce, and "wait, it got TOO corny" is always a step away. But then I looked back once done and it never did. There's some suspension of disbelief I am a-okay with. Trick guns did not exist B.C., and neither did asthma inhalers. So if you're the sort of person who thinks a clever obvious anachronism invalidates a piece of work, well, you will miss out. Also, I like how Hercules, so bad at physical stuff, bounces from isle to isle. It reminds me of The Adventures of the President of the United States, an IFComp entry from way back when, where you were the President and did very silly things as you traveled to rooms labeled Canada and Mexico and whatever. That game's jokes landed but never quite came together. Hercules does better. The puzzles are a bit deeper, and they were a lot more fun than the times I was assigned mythology for an English class. I felt undedicated because I had trouble moving up from D'Aulaires. I wanted it still to be fun! Well, now I've had some fun mythology. That showed those adults from my distant past whose names I don't even remember!

The first quest with the lion establishes the sorts of jokes you're going to see: your cousin gives you a gun to shoot the lion, but it's a stage prop. You want to cut the lion's fur, but you're allergic. And so on. You enlist the help of your troublemaker nephew Iolaus for another task. Some areas are closed, because you panic if you do tasks out of order, and you don't want to visit certain scary places without a good reason. This is a creative way to help the player not wander too much, and certainly my big-picture fear starting out was "what if I go on completely the wrong tangent when discovering where to go?" While this whole ordering-the-tasks restriction may leave you stuck, overall I think it helps prevent sprawl. Though really, the game's not very big. At twenty room-countries, with at most one thing to do in each, you can cross them off and move on. But if you don't know your ancient Greek geography, it's a bit hard to envision, so I appreciated all the bumpers I could get.

The gags (and in-game hints) all held up well enough to get me through the maze on Crete (of course there's one! Every big text adventure that pokes at conventions needs a maze and a few cool ways to subvert it.) There were a few joke solutions, a few trivial solutions, and a few slightly odd ones, like what to do with a frozen ham. I admit to using the walkthrough a bit, but everything was sensible enough that on playing again in a few weeks to revisit the fun, I was able to logic everything out. The backstory with how Hera hates you is amusing, too. I forgot why this is the case in actual mythology until I googled afterwords, but I like how it's covered here. Hercules genuinely has no clue why Hera hates him or could hate him. He assumes it's because he's just clumsy and such. It reminds me of adults I was probably smarter than, hiding stuff from me as a kid, and not figuring the secrets is less shameful now. Hercules doesn't think of that sort of thing--and, as a side point, I'm glad the game doesn't play the "HA HA HERCULES IS BAD WITH GIRLS" angle, which would've made me cringe.

So Hercules! does a good job of playing slightly dumb without veering off into stupid territory or abusing its protagonist. Its easy targets are about silly laughs, which may seem unambitious, but it just hits so many of them. It reminded me of an Internet study done where people seemed to think mean people knew more. Hercules is definitely not a mean game, whether to its main character or you, the player who may not remember their mythology. It doesn't seem to know much, because it doesn't force anything in your face. There are enough jokes to distract you along the way that you never feel lectured to. Maybe it's the amusing ranks you gain for each quest you solve. Or perhaps it reminds you of your own physical or emotional weaknesses without cutting you down. It had a lot more heart than I thought it would, and the jokes that made me roll my eyes also made me smile.

It also reminds me of the quote from Amadeus where Mozart asks "Come on now, be honest! Which one of you wouldn't rather listen to his hairdresser than Hercules? Or Horatius, or Orpheus?" Well, here, we are Hercules, and we'd rather be him than the other mythological characters who sit on thrones or what-have you.

Oh, and on the self-indulgent side, I was thrilled to see someone with a last name of "Weinreb" enter IFComp. I considered Bernie Weinreb as a pen name for Ailihphilia, but I went with N.Y. Llewellyn and, in the second version, Sir Apollo Paris (mythology tie-in, sort of!) I commented on this and wasn't surprised the author himself was aware of, and enjoyed, that sort of speculation.

I don't think you're supposed to get what's going on right away, here. It seems like just an escape-the-spaceship puzzle with other terrain thrown in later. We've sort of seen the puzzles on offer, too, but in a different context. Each has enough of a twist to make Starbreakers a much bigger game even before the big reveal.

Certainly, when the authors throw a Zebra Puzzle/Einstein's Logic type puzzle at you, along with other puzzles (filling and emptying buckets) you hope there's a bit more. The authors themselves are experienced enough. The writing is good. So you feel there should be. And there is. The mystery unravels as you become privy to instant messages around you that don't seem to be relevant. And as someone who's just trying to get through all the IFComp entries I didn't write, I cut corners and missed a few clues I didn't see until I hit the game's end, where it helpfully recaps said messages, and you see how they fit. For the record, I recommend going with the flow of puzzles you've seen before. There's a strong enough story to complement the puzzles. Let's just say after playing this, I'm definitely interested in the authors' other collaboration(s), as well. I hope that's enough of an endorsement.

Part of the twist is that it'd be wrong for you the character NOT to be oblivious, though you the reader may see something clearly up. Fatal and non-fatal mistakes are punished in roughly the same way, with the game cycling back to the last point you were safe. The game asks you for your name with "You should probably report in too. You search for the words; your mind feels terribly foggy. Your name is... it's..." Typing in actual words is then reserved only for specific puzzles, such as breaking a code, which is less intimidating than it sounds. First, you get an easy one, then you get a variation on the theme. For others, such as Towers of Hanoi or the Zebra-style puzzle or even shifting water between buckets, clicking works and works well. Apparently, there's hard mode, but I didn't want to risk messing up and having to restart. I made enough mistakes in the name of expedience (I'll call it expedience and not mental limitations) and the "oops you died" message should have provided me with more clues.

Because you're trying to figure who the traitor is who sabotaged the spaceship, and weird things happen. Someone else dies and pops up again. There's subtler stuff, like the companion named Andrew who got too crossed up in various logic puzzles instead of actually doing something. (Err, no comment there! The authors assured me this wasn't intentional.) Everyone else seems to have their hang-ups, too. You seemed to be the one really doing stuff, figuring stuff out. All the while you were being watched by others. The game does some fourth-wall stuff like "this sure is a weird way to unlock a chest" but things probably won't be clear until the game's over, and you can read what's happening outside your spaceship.

As I mentioned above, the logic puzzles aren't just "look what I can code." The bucket-balancing one where you had seven total units of water to throw around required 3-2-2 distributions in buckets of size 7, 4 and 3. This is a nice twist that doesn't drown the players in complexities. For the Zebra logic puzzle, the clues are less brute-force than "person X was not in room Y" without getting too conditional. The first letter-replacement cryptogram--well, a solution can be written quickly in Python. What is all this leading to, though? And why are certain details not quite right?

Even without the twist ending I would have tipped my hat to the successful efforts to give old logic problems new life in unexpected ways. And I in fact misunderstood the plot and had a laugh, then another one when the authors said "this is what we meant." I was pretty close, and I won't spoil it fully, but it made me laugh because (Spoiler - click to show)a coffee machine is part of why everything goes haywire, and as someone who does not like coffee, coffee machines, people talking about how they need coffee in the morning, or people talking about what coffee is good coffee and bad coffee, or people who have had their morning coffee and suddenly switched to "why can't you be as perky as me" mode, or seeing coffee beans in a filter in the wastebasket, I was glad to see it as a quasi-villain. (Okay, I don't hate the stuff THAT much. But I sure have fun hating it. As hates go, I hope it's harmless. And my apologies to the authors if they actually like, well, that.)

If an entry in IFComp is going to have one word (articles don't count,) then "Library" has to be up there near the top for me. I enjoy searching libraries, hanging out in them, or just finding a new city library branch to visit when, okay, I could've pulled an intralibrary loan, but I wanted some minimal adventure. And I wasn't disappointed. It's quite a fun game, and the writing is smooth, no small feat when English is not the writer's first language.

After meeting with an odd librarian and given a red pill (don't worry, here a pill is just a pill,) you're sent into a maze of twelve rooms, each named after a famed author, to rescue Edmond Dantes. Yes, a maze of twelve rooms–each has three others adjacent, and instead of compass directions, you can go back, left and right. Left (or right) then back from one room always leads you to that room.

TLDR for the comp release: the map is the trickiest part of the game, and I want to mention it up front, because it's well worth having a map by your side to subvert this, so the actual fun bits flow. Don't map it yourself, unless you really enjoy that sort of thing. Crib off someone else so the story doesn't get buried. The author originally meant to have 20 rooms in a Hunt the Wumpus sort of dodecahedron structure but cut it to twelve, leaving a few odd loops. The numbers just don't work out to make things symmetrical. Left and right looping in the first room gives two tidy pentagons, but then the map gets stickier. However, for the post-comp release, everything may be more symmetrical.

That said, the interface overall provides a good deal of innovative convenience. It's text at the top, and you can click on the important things to examine them. Books are the big one. In each library room, clicking on a book opens it, where you open it to enter the book itself. Then you find a bookmark to read the relevant passage that helps you understand what to do. Then you can drag and drop one item onto another to see if they work together. You can, of course, escape with no penalty if you're missing an item from another book. So the game has a parser feel without, well, fighting the parser.

So it helps to make a relatively smooth game once you enter the book in the actual room. Which is pretty cool, because though the idea of book crossovers has been done before, often in other books, having twelve to choose from is quite a task! In a linear book, it might be a bit messy, but here, there's a lot of fun. It may be tough to figure what to do first, as there's a lot of randomness involved, and there's no really logical way to say "Hey, I have to read this book first." It's not chronological. But I really enjoyed how some items linked up. You need to use Alice's cake to make someone grow. You need a way to kill Dracula. Dr. Frankenstein repairs someone's body with surgery. Edmond Dantes gets swallowed by the whale as in Pinocchio, with a crossover to Moby Dick. The connections are whimsical and quickly make sense most of the time. For me it was a bit odd to see Ulysses do something to get himself killed, until I realized, given the authors, where the action would lead. This all was a bit of a stretch–taking one step back to take two forward–but it was still entertaining.

The only thing I disliked about the interface was how left/back/right, for navigation, seemed to change order arbitrarily, making the maze even trickier. So when I wanted to try to loop to the left, or to the right, I had to pay more attention. And sometimes the page-turning special-effect, while a nice surprise in the introduction, wasn't what I wanted when I was trying to figure a puzzle. The author knows of this, and they were really receptive to feedback in-comp, so if there is a post-comp version, this may not be a problem for you.

But the puzzles are fun, and you really only need a passing familiarity with any of the books in the game. We all know the story of Gulliver being the giant, or Ulysses and the cyclops, and The Library weaves them together quite well. It kept me entertained and then some.

Sticklers will point to the map, or how some of the book scenarios are a bit off. Or how you have to take one step backwards to take two forward, e.g. by getting Ulysses killed. This may not be peak narrative and puzzles, but it's more than good enough, and it's still a lot of fun. If the rest of the game weren't very smooth, this wouldn't have stood out. Because combining books isn't a shoo-in. For instance, Edward Eager's children's stories are quite fun, as they go poking into other books, but there's a bit too much fourth-wall stuff and overt self-awareness and "ooh what a mess we made," and not enough getting on with it. Sierra's Mixed Up Mother Goose had its own simplistic charm, but it was mostly a fetch quest that just made sure younger gamers knew heir nursery rhymes, some of which made me cringe even when I was young.

The Library throws stuff together without saying "Ha ha, oops, I'm a bit disorganized, and that's part of the joke." While I think there's work worth doing for a post-comp release, it certainly made my gaming side assume a crossover among my favorite books would be easy. My programming and designing side knows better, and I'm glad The Library made it in, and I think if The Library 2 appeared in a future IFComp, I'd bump it up in the random order the website gave me.

Kidney Kwest is a short game aimed at kids who need to take medication for chronic kidney disease. I admit I couldn't find details on the condition, but fortunately, you (and kids who need something uplifting) aren't going to be quizzed on the biochemistry at work here. Your task is far less technical: you want to find a costume for a school play. There are plenty of props around. But you also have an inventory limit. You also are very hungry, and after you eat, you need to take a phosphate binder, to get rid of phosphate crystals your kidneys have trouble breaking down. For that, you go inside your body and explore your intestines.

It's pretty simple in the big picture, but it's slowed down by the parser. I realize there's a lot of criticism below, but it's the sort where I had fun despite having these suggestions and despite, thankfully, not having kidney problems. I think back to how I wish I'd had something like this as a kid for health stuff in general. It would have worked so much better than a video or in-person lecture featuring an adult telling you how you'd better take care of your body, because they wish they did.

It's very cheery (both text and graphics) and helpful for the holes you need to fill in with a non-standard parser, though (small warning) I had trouble taking my medicine even when I knew what to do, to the point where I lost and had to restart the game because I didn't get the syntax right. So not penalizing the player for good (I hope) guesses would go a long way. This seems easily fixable, though. TAKE A PHOSPHATE BINDER works.

The nonstandard (and slow) parser also takes a bit of getting used to (I for inventory and X for examine don't work–you have to spell them out) because you also get a warning if you forget to use "THE." The irony here is that the authors are using something that parses natural language, and it in fact brings back the inconveniences modern parsers short-circuited long ago. While the authors make clear their intentions and the software they're using, I think it's a case of maybe pulling something needlessly high-tech.

At the end of the game I had a chance to restart and get another costume. It would be neat if there were an expanded adventure, or some assurance of it. Perhaps more areas inside your body to explore. The first try had five rooms outside your body, and there was only one puzzle.

But I liked what I saw and hope this game, and this sort of project in general (teaching through parser games) continues to grow, and people try combinations they hadn't thought of before. Pure language parsing doesn't seem to be the way to go here, but this could be rectified in a sequel, if the authors chose to branch out, because sadly there are a lot of diseases, and it may not make sense to kids why they have to do things and all the other kids don't, and "because adults said so," no matter how kindly stated, gets a bit annoying.

I feel like a bum poking holes in a game with so much potential to do good. But I know the authors have taken the feedback they've gotten well and made some adjustments to the parser since I played this. I hope they continue to tweak things for this and other educational endeavors.

This is a relatively short game that explores what happens when machines take over humanity for their own good. It starts with a questionnaire, asking you various interesting ethical questions about people's purposes and machines'. Your responses will help to pass human traits on to machines, as technology and space exploration evolve.

Then it flashes forward to 2065, when robots have determined that, well, humans aren't going to fulfill their moral obligation to leave the planet a better place than they found it. In a shutdown that puts Y2K, if it had actually been a thing, to shame, machines shut off and rebel. And you're the one to stop it!

This is all quite exciting, as you zip off into space and, as you try to deactivate the robots gone bad (or at least not very good for humans,) you get calls from two entities claiming to be Dr. Ayer, who questioned you about people's purpose in the first part. I was excited to get this correct and get the good ending, but I was also curious about the bad one, which is an eerily nifty artificial "everything is great."

But the problem is, as I looked through the source, I realized this is the only choice that matters. Frequently two choices go to the same next page without setting any variables. This may seem a bit hacker-y, but hey, I am playing a game about robots and such and trying to understand their inner workings, and them trying to understand ours. I guess I was looking forward to a replay where I answered differently, whether it was the survey or other parts. There isn't much. The doctor's responses when you answer the game's initial quiz are, in fact, ELIZA-like.

TURING gets us interested in important and absorbing issues but sadly only touches on them. I have the feeling the author could have done more or will do more in their next effort. The action sequences are well put together, so it's enjoyable, but it seemed to promise a lot more.

The Spirit Within Us, by Alessandro Ielo

TSWU, with a relatively simple custom parser, is an interesting effort, for all the required fiddling to get through it. I've read nightmares about homebrew parsers from earlier versions of the comp, but I haven't seen any disasters this year. It's probably a good combination of the soft rules of “have this tested,” better technology, and also better guidelines out there for testing in general. Maybe people are just better connected in order to swap testing as well. Whatever the case, TSWU clearly passes the technical threshold, though there are some shortcuts I wish it had implemented. The ABOUT text says it's based on a tutorial, from which the programmer got a lot of mileage. That a game this solid placed so lowly in IFComp suggests judging standards, and the general quality of an average IFComp game, have risen over the years.

And while the text may be a bit bland for what should be a psychological thriller, and the title seems more like an uplifting rags-to-riches lets-pull-together story than it is ("us" seems to imply there will be friendly NPCs–there aren't,) there are certainly clues as to what is going on, and how it might be disturbing. I think certainly it is best kept as a text adventure, without graphics.

You wake up seeming to have amnesia. You learn you haven't had a drink in a while, but you face something worse than alcoholism. Unsigned notes suggest to you that someone is trying to help you but has had just about enough. Enough of what? That's the story, and the handwritten notes and books left behind provide clues. I found it wasn't too bad to hack my way through to find stuff, although I required the slightly unusual commands X NORTH (or another direction) to turn up some important items.

And it's all quite serviceable. There's a trail of bread-crumb clues to follow. They make sense. There is a final confrontation where the time and health you saved matters, because you have a status meter that drops throughout the game, and it seems you'll have more than enough to win. Well, until that final fight. Also, searching around will reward you–the more food you find, the higher your health will be, though in my notes I see cases where different sorts of berries might take stamina away, and certainly when I saw mushrooms, which are on average deadlier than berries, I saved before eating. The writing also does the job. English is not the writer's main language, so I don't want to jump on them for it, because I wouldn't have the guts to write in a second language OR make my own custom parser, and besides, too much description would probably be a bad thing. Though the descriptions are a bit flat. I think the biggest offender is here:

"You see a lot of boxes and some winter clothes, a torch lays on a shelf.
an empty shelf."

I wouldn't be surprised if the technical hurdles the author had to clear meant they had less time to punch up the game text. It may also have cost them time with design choices. Inventory-fiddling was sadly enough of the game to be a legitimate distraction. You can't just READ PAPER. You have to take it, and you may need to drop something else to get it, and then you need to remember to take that something else again. I (and other viewers) had quite a struggle trying to eat some expired vitamins, but at least they regained me 3 health for my efforts. Some things are too heavy, and it's not clear why e.g. autumn jackets which might be important given the weather. The default rejects seem a bit distracting, so maybe some custom messages would help a post-release. I'd also like to use “it” for the last noun you used, but again, post-comp. And the blue text should be made light-blue so it is easier to see. I checked if other reviewers noticed this and felt it worthy to comment on, and they did.

And I think more detail or flashbacks, or less generic flashbacks, would've highlighted the moral choices more carefully. I wound up pretty much saying "okay, forest maze" and wondering just why the third piece of paper WAS located in the maze and wondering why a branch would be worth taking, since the game's good about not letting you take useless stuff.

For all that, though, there is a buildup to the final fight. Whether or not winning the final fight is the right thing to do is the moral dilemma the author hoped to push. One can't particularly blame the protagonist for going through with it, but apparently you can back out.

This is verifiable. However, the save-game feature was harsh, and that, combined with UNDO saying "you can't change the past" is also slightly annoying. The save files are presented as a list of text commands, which the parser than runs through before. That looks like a problem because some random events happen, e.g. the fight at the end or where and when the fox and dog appear. So you need the forethought to 1) be able to copy a backup save file and 2) set it to read-only to make sure you don't write it over. And this is the only serious technical pitfall of the homebrew parser. It's a tough one to tease out as a programmer or tester, but it illustrates how things can go wrong.

This is all a lot of kvetching, but I think overall the author did well to create such a relatively stable parser to write a coherent, logical game in what was not their language, especially when that executable clocks in at a mere 160KB. So as a technical project it's a success, even if some design choices seemed odd, and it doesn't hit the mark aesthetically. My guess is the author focused on the technical bit to make sure it worked, which was the right first choice, but with more months of preparation and a few more testers, they could have ironed out the other bits. So I hope my criticisms add up to "these are the technical pitfalls to know ahead of time and avoid, and once you do, I think the experience will be satisfying enough."