Ratings and Reviews by Andrew Schultz

This review was moved from the authors' forum, where the author helpfully pointed out some oversights: most notably, hints are written into the game text, and I missed some places to mine credits. But I want it up here so people will have an idea how to approach a worthwhile game that may feel intimidating. The TLDR is, even if you miss some of its neat features, it's still a smooth, rewarding effort.

Cygnet Committee is a big download at 140MB, and I admit I was intimidated by the size and 2-hour playtime suggestion, which was accurate, but I’m glad I pushed through with it in the end. The concept is intriguing: infiltrate a cult that worships Joan of Arc’s AI and destroy it. There’s a good deal of backstory here, which is shown as you get further into the base, where you reach save-points that give you small videos. You learn why Joan of Arc is so appealing and why she rose to prominence. You have a map at the game’s main screen, which is useful to show you how far you’ve gotten. It’s tidy and well-organized and purposeful.

The map’s not intimidatingly big, and the main mechanic is this: you move your mouse to detect sounds. There are four ranges on the screen, and one of them gives the right sound, and the others give the wrong one. Sometimes it’s no sound that’s right, as when you’re crossing a minefield or rotted bridge, and sometimes you want a sound, when you’re fighting a drone or guiding your helicopter. Other times, you’ll start with the same sound, but it changes at the end–punching in a keycode, for instance, or listening for a robot patarol. And in some cases, the same sound in all four sectors means you probably need to solve a puzzle so things quiet down.

This is something that isn’t nearly as dramatic with text. Any sort of typing would drag things out. It’s a neat streamlined way to give you a feel for the game and the mechanics without having instructions, which is handy, because having to remember controls and such would get in the way of the big-picture instructions as you weave your way through the base. Overall, the tension worked well, though I’m not sure if it was fatigue or anticipation that had me anxious at the end. I do think the timed puzzles were ultimately a good idea, though I wish the game had started with 20-second intervals to make 7 successive moves instead of starting at 15 and moving up. I was immersed enough that, on the one-minute puzzle, I faced a drone, and its voice made me think “Ah, I’m surrounded? Not really! But I bet I would’ve been, if I’d tried to make a break for (that one protected area.)” Then when I figured how I goofed, I was a bit scared to do the puzzle. But I had no choice. Similarly I liked the ending–it felt appropriately dramatic. I won in plenty of time. I realized, looking back, the game had more of a sense of humor than I gave it credit for.

So in the big picture, it’s a very strong game. I ran into a few pitfalls here and there, and looking at the long list below, they don’t cancel out the positives above, but they may help people push through bits that seem rough.

In one place, I thought I made a mistake, but a trap was unavoidable, and I took the wrong branch to find healing the first time. The purpose of the trap was to direct you to (Spoiler - click to show)a small cabin off to the side with information and supplies, and once I realized that, it was okay–but since I hadn’t saved in a while, I panicked.

On winning, I was notified I could only replay hard mode if I got 500 credits, which is a lot, because random combats give you 14 or so credits for each win, and while you find some credits, it’s just way too fun to disable cameras or electric fields or whatever so you can skip over the sound-tracking parts. It was a steady enough process–I never expected to mess up, and I was sort of curious what happened if I did, but too often I was a bit worried because I forgot when I’d last saved. Instead of hard mode, I’d have preferred some notes on how to get to the final map area, (Spoiler - click to show)past the waterfall and on top of a cliff, where the sound barriers were the same in all four areas. Or maybe how to fight drones more quickly, so it took less time to unlock hard mode. I couldn’t seem to get the in-game temporary for-x-moves hints (also a neat idea) too work. (I’d also like the option to skip videos–especially the ending one once you’ve escaped–the second time through. I mean, the second time you see them in-game, you can skip, but I’m just impatient like that. It’s a case of, get me to the next good stuff.)

Still I hope to come back and see about all the possible deaths and places I missed and gadgets I couldn’t quite afford–gadgets that let you bypass sound-puzzles you’ve mastered. I admit a walkthrough would help motivate me to revisit the game, with all the others I want to see in IFComp. And I think, sadly, the file size and potential system requirements will leave Cygnet Committee underplayed and undervoted-on in the comp. Which is too bad. On finishing this, I was reminded I did not finish Dr. Sourpuss, the author’s first offering, and I probably proceeded too cautiously with it. I started that way as well with Cygnet Committee, but once I jumped in, time flew–and I still got done in under just two hours.

Seeing this game place second-to-last in ParserComp was the motivation I needed to write a review. I rather liked it, and yet I can't blame those that didn't.

It certainly has faults, and I think many people, when looking for ways to separate games, may often rely on those faults. Or the faults may be magnified because other things show serious competence: the homebrew parser works. The whole picture fits, once you get past a certain point. The author allows shortcuts with F-keys, which I think is the sort of innovation ParserComp hoped to provoke.

Perhaps the title was a bit too bland (first impressions are important) and that, coupled with a lot of common sorts of fantasy items, let some players' minds wander.

That's not to say that I can pinpoint other entries that deserve to be below this. There's always going to be an odd man out, but compared to, say, the bottom few entries in IFComp for the first 15 years, this is light years ahead. It just feels like the author wasn't fully able to explore or communicate their vision. And I think, to a certain extent, the polish on the technical side outstripped the more subjective stuff. For instance, at the beginning, I fumbled around for a few moves but then began reading what I was supposed to. I got a message saying "You may wish to read <clues I was in the process of reading>." Which is technically correct, but a bit tone-deaf. These are the sorts of first-effort mistakes that grow far less prevalent in the future.

And some of the puzzles probably require too much of a leap without a walkthrough--but then again, I am the sort of judge who gives mulligans for too-tricky puzzles if a walkthrough is handy and I could see myself making a similar oversight. This may be a recommendation for some, but it may be discouragement for others. I suppose it depends on the imperfections you're willing to tolerate.

SS is certainly inviting enough, if a bit generic. Some parts feel overwritten, and some objects get lost in description. Yet I felt it filled enough holes I didn't know were there that it's worth the time to revisit. I'll probably need a walkthrough, along with maps. But it feels like the sort of game I'd want to replay to get ready to judge the next ParserComp.

Djinn on the Rocks (DotR) would be worth playing for the mechanic alone, and since it gets that and more right, it's well worth a play. I'm not surprised it was rated almost the same as Captain Cutter's Treasure (CCT) in the comp, as there's a lot to enjoy from both games. I find it that much more special that the two top games (by a good margin) were so different in tone and goals.

DotR simply lets you swap the locations of similar things. But they must be very similar. So you can, for instance, swap your location with the location of your annoying owner James, who won't leave you alone until you've made them rich. Things are divided by size, material (vegetable/animal/mineral) and composition, which is trickier to explain. But they must be an exact match. There's no penalty for SWAPping the wrong things, and in fact the game explains why, so trial and error goes smoothly.

These mechanics are good, but perhaps what really offers creativity is how the game notes your karma can go from -100 to +100. So you quickly see you have the choice to be mean or nice. And you have the choice to change your owner James for the better or worse. This means that during some play-throughs, some NPCs and objects may be useless. But they are still entertaining to deal with. The puppy in particular--animal cruelty is no laughing matter, but you can be heartless indeed to it, in an overdramatic "nobody could be that mean" sort of way.

So DotR has a lot of good, original laughs and a solid basic idea. It's quite worth a play. It balances CCT, the game that just edged it out, nicely: DotR has cool ideas and lets you be creative, and CCT has more of a story to unravel. It's very neat that two games that had to follow the jam's rules (start in a broom closet with a specific description) could branch so drastically and both work so well. It's the sort of thing that encourages me to be more creative.

Captain Cutter's Treasure (CCT) is an impressive, small game. A pirate's daughter has been kidnapped. The ransom is some hidden treasure. You have to find and return it. There's a map to put together, and ... a bit more. But not too much.

The game has a respectable dialogue system that helps you flesh out as much of the story as you want to. There's even a very small puzzle that crosses genres into (Spoiler - click to show)Sokoban, and while you can put the game into an unwinnable state this way, it's relatively clear what to do without feeling dumb and obvious. I was more baffled with how to open a locked door, though when I thought through it, I realized I missed a few clues.

The game has three possible endings that I counted, and since doing the obvious right thing gets the "only okay" ending, there's some interesting meta/detective work. I think I got lucky (Spoiler - click to show)distracting Barnaby when he was on watch--I understood what to do but didn't have as good an idea of the ship's map as I did of the warehouse. Maybe it was just dealing with fore and aft. But it was pleasing to figure out what should generally happen.

This was a really good experience, well-organized and without a lot of red herrings. I'm not surprised

There are some issues of having to disambiguate more than you should need to for the parser, but I think that's more a function of people getting comfortable with programming PunyInform than any serious shortcomings. Besides, there's always the up-arrow on Frotz. So I think this is worth fighting through, and knowing this in advance will hopefully ensure that if you play CCT, you'll be able to see all CCT has to offer.

In Pub Adventure, a ghost tasks you with making them a drink (a zombie, of course.) There aren't a lot of puzzles, and I was fortunate enough to avoid the guess-the-verb problems other peopl found (in fact I was glad there was no final verb to guess once you got the ingredients,) so I got through quickly. If you just explore and pick everything up, you should make it through without much trouble. For instance, two items you need for the drink are more or less sitting around in adjacent rooms.

The note and knife from PunyJam's required first room make things pretty straightforward, though I in fact was amused by the additional challenge of deciphering the torn note(Spoiler - click to show) if you didn't take the knife first. The game also has two bathrooms, and it doesn't feel like overkill.

I was a bit disappointed you couldn't (Spoiler - click to show)EAT OR DRINK any of the ingredients -- that was certainly the sort of thing the authors could find a funny response for. I suspect they will, if they ever write a bigger game.

Unless I overlooked something, this is the only PunyJam game where you actually have to mix a drink in a pub. I suspected there'd be more.

It was interesting to track which games in PunyJam gave credit to which old-school games and tropes, and this game along with Arthur's Day Out paid homage to Hitch-Hiker's Guide to the Galaxy. And I always like to see that.

I think the other reviews touched on the main bottlenecks for this game, namely some guess-the-verb and noun issues that made what the author intended to be simple fun into something trickier. The game even gets in a potentially unwinnable state if you do not (Spoiler - click to show)get the knife from the closet before leaving the first time. I got a bit stuck thinking I had to (Spoiler - click to show)guess the right name to tell the beast, but there is none. And one piece of scenery you need to leave a seeming one-way dead-end is very obscured.

But for all this concern, there are good moments. There are alternate endings based on how many geocaches you find, and the game allows you to recoup and revisit if you miss (Spoiler - click to show)the first geocaching in the succession of one-way passages. This sort of thing shows obvious care and willingness to forgive the player for not seeing the right way through, and I suspect the author will know better where to direct care for their second effort.

(NOTE: this is a review of the comp version of the game.)

The author redacted themselves from the competition they created, but The Job wound up making a decent account of itself, as I saw it. You are tasked with bringing back a necklace. It's hidden in a relatively cramped pub. But there's something special about the pub and how you escape it, which makes sense in retrospect--I missed a few good tries that would've clued it, because I recognized the riff on the classic puzzle this game had, and I started bulldozing the solution.

The author has made a few post-comp tweaks, but I'd also suggest (as of release 3) that they give some hint it's a timed puzzle and some idea of how long it might take until that timer expires. That, and a verb to shuffle similar sorts of items ("replace x with y") instead of "get x. (possibly) drop x (due to inventory limits). put y on z." There's a bit too much juggling, though fortunately, the solution isn't randomized. The inventory limits are again slightly confounding--perhaps the game could say "you can't carry too much more" or "your load is way too heavy" or even "you'd have to drop (weight X) to carry that."

These are a lot of quibbles but they were of the "interesting to reflect on" variety. I think they'd help the game get close to how fun the author wants the experience to be. As even with back and forth trips, the game gives enough time, you shouldn't have to save paranoically.

The following observations are big-picture to avoid spoilers. You'll find why the game is timed if you take too long. My first time through, I almost avoided this, so from this one data point, the game seems well-balanced.

It's straightforward but not bare-bones. In the first version, I felt the end puzzle was stronger and more natural and more rewarding than the lead-up.

The Job isn't a deliberate brain-breaker and doesn't need to be. It's a nice enough challenge where nothing's unclear. You may need a knowledge of standard Inform verbs to remove one blocking piece of scenery expeditiously, but I think it's not an obscure action.

Arthur's Day Out isn't the first game to give a tip of the cap to Hitch-Hiker's Guide to the Galaxy. It's got a bit more humor than average, which is nice, because sometimes it makes a few beginner mistakes. Mistakes worth fixing in a post-comp touch-up, for sure.

You play as Arthur, and quickly you find a dressing gown with analgesic. There's a computer password to unlock, a safe to open and a weird cave at the end. None of the puzzles are too hard, but you do have to remember to (Spoiler - click to show)search instead of look and also TAKE items that appear. That's a bit of busy work, but fortunately the game is only 15 rooms. It still feels a bit sparse for all that, but it's small enough I could keep the map in my head.

It's possible to short-circuit a lot of the puzzles with saving and restoring in the final room, and on replay, you can probably ignore the notes that give you clues. And if the puzzles are a bit random, they require no great unfair leaps. And the homages to H2G2 are nice.

The puzzles are the sort where you saw exactly what people meant to do once they're solved, but on the other hand, there's still a bit of needless fighting with the parser. While it placed 7th of 8 in PunyJam 1, it doesn't really feel like a bottom-feeder. That probably speaks to some talent on the developer's part as well as perhaps the PunyInform community (especially on discord) helping each other out. to do their best.

With a title like Pub Hubbub, you'd expect a few cheap jokes, and they're the good sort of cheap, the ones that give good return for relatively little investment. The game may not be super-ambitious, but it's a well-organized first effort with enough humor to keep you going through any frustrations you might have with the parser or with the time limitation. An ominous note saying your boss, John, owes $2500 "or else" adds to the plot.

You start in a broom closet, as with every PunyJam entry, and have four pub-cleaning tasks to complete in two hours of game time, or 120 moves. And while standard parser peeves (some rejected commands cost you a move), I was actually able to figure what to do even without logging on to my boss John's computer. The execution required some parser-wrangling, and in fact my first time through I just missed completing everything. Fortunately, nothing drastic happened, and the drudge work makes enough sense it was easy to replicate. Basic stuff you need to do so the pub isn't too nasty.

The game does a good job of brushing off parser mistakes with a joke. Nothing demeaning, but advice from older wiser relatives pops up if you forget something. The rejects for cleaning you don't need to do also amused me, and when I browsed the source code, I found other things I'd missed.

Nothing's too gross or out there, and in fact, there is one way to die that's lampshaded nicely. And there's a cigarette machine which contains more humor than cigarette machines generally do, and even a puzzle.

Given the game's general tone, I was able to figure roughly what the note was about before my boss John came back, and you may, too. But the details still made me laugh.

This is a good, promising first game. It has a few small bugs (or I think they're bugs and not my own incompetence) I'm glad to overlook, because the main stuff seems to work.

I'm too close to Cragne Manor to give it five stars officially. I tested a bunch of rooms and wound up emotionally invested in it. I wanted it to be good, and I enjoyed getting so many sneak previews of rooms in the game, but ... how the heck would they all fit together? Nevertheless, it seemed like a fun project to be a part of. I'm glad I was allowed in. This, from someone who will never, ever write a long-form horror game. (Insert "not intentionally" joke here at your leisure.)

However, I also put in so much energy just looking at the rooms that I put it aside. I needed a break. I worried my own expectations were too high. I had my own stuff to write, for better or worse. I'd wait for the walkthrough. The spoiler-heavy one. I'd hope it all fit together. Anyway, it was fun to try and figure which rooms I tested might be next to each other. A modification of the Birthday Paradox noted there would almost certainly be a few. But I'll skip the details, for those who find calculations more of a horror than, well, horror.

I figured it would take a while for the main authors to put stuff together, and it did. But once I started playing, I saw it wasn't just about lumping everything together. There were big-picture items you couldn't put in the individual rooms. The coffee cup seemed like a weird joke, until it became useful indeed, with a clever trigger so your character understood what the swirls meant. The trolley pass helps shrink the map with shortcuts and gives an amusing reject if you try to guess the colors of stations you haven't been to yet. Even the error messages seem helpful. And CM probably needs this, because you have all manner of similar but non-swappable books, keys, and pieces of paper. It'd be nightmarish, except that fortunately most items have only one use, and you get a backpack with all sorts of zippered compartments, helpfully labeled and organized into ... the sort of item types you find in the game. In short, the lack of technical horror helps you concentrate on the narrative horror.

This wasn't enough to get me hooked right away. I wrote my own stuff and laid low until there were a few walkthroughs, and the game's big enough, you'll probably need a few, to contrast ways through and sort out trivial typos. There's no one that's best. And discovering a room I tested was like finding an old friend, until it wasn't. There were some I forgot I tested, which was freaky, and some I didn't remember I did, which was freaky too. Some rooms seemed to pop up much too early, and some wound up much too late. For some of the early ones, I didn't have an item I received automatically during testing, because they had two separate small puzzles. So I felt, well, held back by some unknown force.

Eventually it all fit. I wound up worried writer X's room might be tricky, because I found something they wrote to be thorny. Or one person in the Discord (or was it Slack?) community mentioned their room was a bit bigger than they intended, and I worried it might be a mess. But in the end these fears were baseless, and everything pulled together. And the overall effect was: this game never feels it's done "right" or properly, but it's done very well. The jokes and references swing from very technical (hexadecimal humor) to more literary. The rooms swing from mostly scenery, with a few things to search and maybe just a door to open, to changing identities you make spiritual journeys through space and time, as one does in games featuring the supernatural. And if anything about this confuses you, the main authors drop in a device that lets you see room-specific CREDITS, if the room authors chose to include them. It dropped at the right moment for me, and it has a few amusing touches, especially for the longer blurbs.

And though horror isn't my thing, and I knew CM would be forgiving, I definitely had shivers of "oh dear I better save here." Or "I better not mess this up." With some rooms, this turned out not to be a problem due to strong design, or maybe you could immediately undo any deaths. But with certain rooms I didn't see, after the room creators submitted the game, the tension really built. With all the death and occult stuff piling up, I felt sure I had overlooked something, even with walkthroughs to follow. There are a few bring-them-all-together puzzles at the end, which are well beyond the rather neat library puzzle you see early on, where you need to return a bunch of creepy overdue books. This one in particular got me, because I still had a few library books to return to a suburban library. They waived the fines because of COVID, and I could keep them as long as I liked, but I just couldn't check any new ones. And when I returned a few materials just before trying to finish CM in earnest, there was a lot of social distancing and using a machine to check things in. So having CM overlap with real life like this was unexpected. It was probably going to happen in some way, with all the different ideas the room writers threw out there. But this was almost freakishly on the nose.

And just the game's sheer size worked in its favor to create an atmosphere I didn't expect. I've had smaller games just throw stuff at me and leave me exhausted, and I wound up worrying I'd missed something that could lock me out of a win here, even though I logically knew I shouldn't. The sheer number of key/door combos and articles to sort and remember, as well as rooms named similarly but not too similarly, left me disoriented but genuinely glad when I found shortcuts. For instance, some keys only open doors that save you time walking, but it relieves your helplessness a bit to actually see, yes, these two rooms that seem like they should link up, do.

I'm hard-put to find weaknesses of CM. It's definitely exhausting, and even with a walkthrough, the disambiguation gets to you after all. And perhaps sometimes it feels like inside baseball. But even so, I think every community should have a game like Cragne Manor. One where even sitting down with a walkthrough over the span of two late nights is a rewarding experience.

And I do feel I missed a little by attacking the walkthrough directly. There's certainly stuff I glossed over for efficiency's sake. While I took time to do some things wrong, just to see what horrors might pop up, there are bookmarks I placed in my mental map of CM for next time. There will also be stuff I weirdly forgot and weirdly remembered, and it will make for an entirely different experience than winning for the first time or testing the rooms.

I think any long-lasting creative community would be lucky to have an effort like Cragne Manor. It was a relief to see relative newcomers step up and to see former IFComp competitors show something I hadn't expected. It was exhausting, but by the end, I wished there was more.