Reviews by Andrew Schultz

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.

Brave Bear is a short and sweet little game about a teddy bear who senses their owner's terror. It's not perfect, and in fact, there do seem to be cracks in the world-logic. But I ignored them the first time through, and it wasn't until I read some other reviews that I said "Yeah, I noticed that, but..." So I'll save the faults until the end, because it's a nice game to just enjoy and not worry about its imperfections. Also, I'm assuming this is the same John Evans whose previous entries in the comp wree more sci-fi style, so it was really neat to see the change of focus, which I think overall was successful.

There are phantoms to fight through, which you can handle on your own at first. But then you need the help of other toys. They're strewn around the house, and in some cases, you need to figure how to use them. The descriptions are deliberately opaque in certain cases, because part of the fun is figuring what the toy-friend really is. For instance, there's a frog reporter, which people who know the cultural context will figure immediately. Near the end, you take a trip outside to face the final darkness. It's never quite revealed what your owner fears, and it's possible I missed clues, but it seems as though (Spoiler - click to show)your owner's family is moving, and most of your friends are packed away, and your owner is scared, and apparently your owner's parents are apprehensive, too. At least that's what I was moving towards, though the actual few sentences just reference magic in general.

The house isn't very big, and the puzzles aren't very hard. The verbs are generally pretty old-school, and you have a score counter and everything. The trickiest bit at the end was getting the doll. I kept trying to get the transforming robot to transform, and that didn't work, so that was a bit of a loose end, but not really enough to affect my enjoyment.

The comparison game is always a dangerous one, but this brings to mind David Dyte's Bear's Day Out which worked even better for me. I'm still quite happy to have spent a bit of time here, in a sort of escapism without, well, childishness. I could play games like this all day, and if there are a few holes in the narration, they're fun to fill in with your own imagination. I had to suspend my disbelief in parts where I wasn't completely inmmersed, but a game like Brave Bear is a can't-miss effort if the writer shows a decent amount of skill, and that's definitely on display here. So ... stop reading and play the game right now if you're sold. Nitpicks are below.

(Spoiler - click to show)Probably the biggest confusion I had was with the first verb: ATTACK PHANTOM. Teddy bears aren't violent! Perhaps SCARE would've been better, as in "you are a teddy bear, so you can be scary if you have to, but do it too often and you get exhausted." I also wish you'd have used your friends a bit more to do things, beyond just having enough of them to attack a later phantom. And, well, the phantoms aren't really explained at the end. So these are loose strings. When touching this review up I had notes saying "loose strings" and I almost didn't want to go back to replay to check them out, but they're there. They shouldn't ruin the experience, though.

The third Pace Smith game to entail
All limericks: pass, or a fail?
Though Limerick Heist
Quite greatly enticed
Such rhyming can quickly go stale.

Rejoice! There is no need for bile.
On playing there is no denial
The meter is sharp
And no one could carp
About lack of humor or style.

Two characters drawn from part one
Seek further enrichment and fun
So Russia's the place
Where they soon embrace
A dangerous underground run

Some bits in fact you may find neater.
So practical, too, for the reader:
The list of stuff carried
Throughout is quite varied
But it always goes with the meter.

There's puzzles where you will be spurred
To fill in the right-sounding word.
At first they seem clear
But later oh dear
they're tricky, but never absurd.

The best one to mess with your head:
A tomb, with a hundred count thread
Which number to pick?
The reasoning's slick.
You'll need to yoink three from the dead.

Your treasure, alas, can get crushed.
Choose wrong nearby, your fortune's flushed.
Each way your escape
Is a narrow scrape:
Timed finish-the-poem, not too rushed.

If this leaves you feeling disturbed
"A choice game left me guess-the-verbed"
Some letters get filled
While precious time's killed
And thus extreme tension is curbed.

To recap the things I just said, it's
Quite clearly in no need of edits.
The meta-text, too
Will make you go "ooh:"
Slick endings list, options and credits.

* the title box bars
stuff past 80 chars.
I feel so repressed now, womp womp.

I confess I was uneasy about this one, since it not only featured an all caps title but also one without vowels. The second bit reminds me of how Sue Townsend's Adrian Mole character sent John Tydeman a novel with all the e's missing, by fax. Which resulted in a very, err, polite letter back. Thankfully the author is a little better at the whole creative writing thing than Adrian Mole. (So, for the record, is the author of D'ARKUN, also in this year's comp.) So any fears of "LOOK AT ME I'M CREATIVE" vibes are unfounded, though as the title clues, you may just have to be ready for something unusual to get everything you can from it. I found it quite challenging, emotionally (it's largely puzzle-free,) and it looks like there were different paths through. It's also quite possible a timed-text bug disrupted me from looking as deeply into the story as I'd hoped. Sometimes you have to reset. But I know this, on replay: there's stuff I missed the first time through, and I'm glad I cheated a bit to see everything that was there. Some branches I missed made sense.

The first part of the story is a cross-country road trip, starting in California, destination Asheville, North Carolina. I've heard all sorts of things about how beautiful Asheville is–it certainly seems like A Destination. The main character, Jackson, is headed there, though they don't quite know why. Everything is set up to be a bit surreal, and by the end, it was unclear to me how much the narrator was hallucinating or imagining. However, given that they went to Black Mountain, an experimental commune/university which only existed until 1957 and which really seemed doomed to fail despite/because of its noble/nonmaterialistic goals. There are some breaks in time -- Confederate soldiers are off to the side, and you also meet Timothy McVeigh if you are brave enough to explore after dark. Yet things switch back quickly--your hotel has Wifi, for instance. It's nontrivial to keep track of. There's also weird stuff if you turn on the radio to keep you company. Someone named R. E. Lee describes a rebellion against the nation that has to happen.

Without spoiling too much, you can meet R. E. Lee. Bluebird is also referenced in Black Mountain. But it is quite possible to miss them, and though BLK MTN has an undo function, reworking through is tough. Perhaps a "go to this chapter" page at the end--or maybe a password-protected index--is in order. I certainly put off posting this review of BLK MTN to IFDB, because I was worried I'd miss something gigantic, but once I poked at the source code, things fell into place.

There's also a fellow passenger, Ashleigh, you can pick up for an intentionally awkward but not creepy love scene. So with all that, things didn't really start for me until Black Mountain. Perhaps that's because I really enjoy reading about noble failures, and things that should've worked but didn't, and maybe of people who should've been more famous but weren't. And at Black Mountain, we get a feel of that. The first time through, in fact, I failed to see everything, because I was still taking in all the names and ideas thrown at me right away. In short, I chose the "be a wimp and don't express yourself" options, because I did not to be in a virtual Burning Man convention. (My fears were unwarranted.) The only name I recognized was Walter Gropius, and him only because of his cameo in Tom Lehrer's song Alma, which has some of Lehrer's very cleverest rhymes. That I'm thinking of Tom Lehrer after reading a piece like this tells you where my priorities lie, but I do have to share this rhyme with people who haven't heard it.

(Spoiler - click to show)
While married to Gus she met Gropius
And soon she was swinging with Walter
Gus died and her teardrops were copious
She cried all the way to the altar


You meet someone called Marisol, who (Spoiler - click to show)reminds you of Ashleigh, and who eventually sings Bluebird (I missed this, because I don't care for live music, especially not "spontaneous" Bohemian live music or general 60s counterculture-style be-ins) and your friend who called you to Black Mountain, Jim Clemens, while not a historical figure, is sort of in charge, and he informs you Black Mountain has lost their lease. So BLK MTN ends with some interesting reflections.

These were scattered throughout BLK MTN and were the most interesting parts to me. The local flavor along the way--well, it seems like it had to be there, and it made sense, and I'm glad I took the detours, but it never quite soared. The reflections on memory that I appreciated at the time will probably pop up in some form, and it also called into question how much we can and should remember of past events. The story deliberately keeps this unclear, and I also found on re-reading that I valued a lot of parts differently the second time through. Any actual specifications or concrete suggestions on what to remember, though, would seem to violate the spirit of BLK MTN, where so much is vague and ambiguous.

So I do think the title is appropriate: you immediately see "Oh, this is Black Mountain, with stuff missing." In fact, I figured Black Mountain was just some bit of scenery, and this may've dented my expectations--I was quite glad to find it was an actual collection of people, and BLK MTN didn't end with telling you the journey was the important thing and a moment of realization. It's more than that. You will find stuff missing along the way, and once you hit the Black Mountain, you will see other stuff is missing, or it shortly gets lost. You will be sure you missed something. This isn't always positive, but it works.

BLK MTN seems most closely related to You Are Spam-Zapper, with its attempt to make philosophy out of something entirely different and wild, but it doesn't seem as optimistic, and for whatever reason, that worked a bit better for me, even if I do appreciate more optimistic works. Perhaps it didn't introduce any new terminology, even if some sentences clanked slightly. I feel bad not giving more detailed references and quotes, because BLK MTN seems to deserve it. It certainly got across much more serious ideas, left me with more, got far less in my face than I expected.

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.

I snickered at the thought of a slice-of-life game from someone named Sir Slice. There are a few other laughs sprinkled throughout this Twine effort where you attend a retro convention that features various slot machines and retro games. Despite this being a convention, there aren't people to talk to but just games to play. There's a variety of gambling–-the usual suspects-–but also a small parser adventure (pretty impressive, given this is Twine) and a football simulation and a card game called Double Dead Zed. You can leave at any time.

I really lean towards the gaming aspect of text adventures, but given that I was at a convention, I was expecting to interact with people, discuss cool retro stuff uncovered in the past year, and so forth. It seems there were opportunities, e.g. after winning the card game, you could find someone else who was pretty good at it or could show you other interesting retro stuff. That said, RetroCon shows a lot of neat basic tricks of stuff you can do with Twine. Maybe the lack of story encouraged me to poke around in the source, and I found how the parser game got written to be particularly interesting. However, this makes RetroCon 2021 a bad fit for IFComp, because even if it doesn't hit the classic puzzles everyone may be a bit tired of, none of the games really matter or tie you into something deeper. That said, the card game helped prepare me for some other comp entries that are a lot longer and also had card games.

The gambling stuff is fairly standard: Keno, slots, video poker, horse races, and so forth. The horse race reminded me of an Apple game that randomly raced horses and impressed me so much as a kid. It has a $5 cap on betting (you start with $100,) as if to note that gambling too much at once is a bad idea. With all my poking at the source, I forgot to try what happened if you went broke, so that is maybe something to revisit. As for Keno--I remember being overwhelmed by the flashing text and lights of a pirated Apple game of Keno when I was a kid. I never figured out what to do. I figured it must be terribly complicated. I felt ripped off when I learned the utter lack of strategy and also that I was able to calculate easily what a losing proposition it was. So that brought back memories of a sort.

Dozen Dead Zed is a simple card game. You must kill exactly 12 of your computer opponent's players. Cards you draw may kill 1, 2 or 3, and you can also draw a weapon card. There are other special cards like injure, first aid, jam (opponent's gun) and so forth. You can't actually use a 3-kill card unless you have a shotgun, and you can't use a 2-kill if you have a knife, and so forth. Injured players can discard all five of their cards and start over. It took me a bit to figure what to do, but the strategy seemed nontrivial, though sometimes you were just out of luck with bad cards.

There's also a two-minute drill where your football team is down 4 points with two minutes left. The game constantly reminds you a field goal won't do. This could have been tweaked a bit, because how many time-outs you have is important in the actual game. I got lucky with two down-the-middle long passes, since the clock seemed to stop no matter what, and an incompletion took the same time as a completion. Then I short-passed my way to a touchdown. So the balance may have been off, but it had that retro feel and reminded me of a low-res football game I loved to play on the Apple. You typed in your play and the defense's. If your team got a first down, the randomly generated crowd colors changed and it made a clapping noise. I miss it.

The parser game, Uncle Jim's Will, was most interesting to me. Your Uncle has died, and you must find the buried treasure in his house. Given that the game advertises CrappyParser as its engine, you can't expect it to be very good. Its super-blunt error messages heckle, almost bordering on trolling: "What in the world makes you think you can go east?" Though it is complex, as you do have the ability to TALK X ABOUT Y. And while there aren't many items in the game, you have alternate solutions. You can feed or play with the dog, and while you can probably guess where the treasure is without the map, there are two places to use the bronze key before it breaks, and if you get the map and not the spade, your neighbor loans you a shovel. So I thought the parser game was economical, and I put the heckling down to, well, the parser's name. I was also amused that, when I left the game unattended, it had about ten different nags to tell me to get moving, already.

After doing all this, you can go back to your hotel room, get some sleep, and leave whenever you want. I was disappointed not even to be able to attend a lecture about projects for RetroCon 2022 or cool games that got lost and found or whatever. The whole game seems to describe things as "kinda neat" or "yeah, that was fun" and I think I caught a "you guess you can." So don't expect emotional impact, as RetroCon 2021 feels like it'd work great as a programming tutorial. The parser is legitimately impressive. I don't know if it's been done before. I saw input text before in a game (ShuffleComp?) and I remember a review calling it a brilliant take-down of parser games, so seeing a serious effort, CrappyParser's flippant self-depreciating and you-depreciating aside, was neat.

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."

I'm not sure if I've ever seen such a conflict between an author's name and a title. Here, we have someone allegedly happy claiming they are left with almost nothing. Yet there's also confusion in the game itself, and it's not clear which inconsistencies are intentionally there and which got slipped in there. After a while it gets too muddy. But there are some lines I really enjoyed. Which is not bad for such a short game.

Technically, it's impressive, and it suggests somebody did a lot of work to make the interface, even with an assist from the TIC-80 framework found on tic80.com. All the verbs you can use are on the screen. You can click on them or an arrow, and the game has, well, interesting responses to ones that don't work. That the game anticipated some of my weirder tries, borne slightly out of desperation at first, suggests the programmer has a sense of humor. My favorite was when you USEd the atlas by your friend, prompting my favorite line in the whole game: "I dont read books you nerd!" shouts your best friend. Other dialogue and descriptions are similarly simple yet wild. Someone describes themselves as "old school" for no particular reason, and that's all they have to say. A man showers in public as if this is perfectly normal. These all work together in the same way Mad Libs do, but then, they also have the long-term reach of Mad Libs.

All this is part of an adventure to do something with your life after having watched TV for eleven hours. And you get to do something! Reductively, this involves figuring the least senseless item to use on each NPC that pops up. The game often lampshades that the choice doesn't make perfect sense, but only after you get it right. Everything's a bit crooked, and I think that's intentional. If you do things right, you get money from an unexpected source, which lets you buy a train ticket and leaves you with a final message that's life-affirming as long as you don't think too deep.

Playing this I'm reminded of the super-brief Scott Adams parser games and even someone who entered such a game back in 2010, which happens to be when this story took place. The Scott Adams-ish game was a deliberate homage to the fun we got from such limited text. It was great fun to know this sort of thing existed. And here, the TIC computer at tic80.com is neat to know about. It's fun to see the other games, the versatility, and what looks like a nice community based on a retro-styled engine. And of course someone had to write a text adventure, and it's technically solid--you don't ever break the game! I even like the orange text on black background. However, it does run into basic problems such as how DESCRIBE (the game's version of LOOK) tells you certain items you already took are, in fact, in the room.

This one fizzles out after a few quick laughs, though. Taken straight-up and ignoring the special effects, it isn't a great work. I'm not sure how many of the typos are intentional. Some jokes are quite good. But I think even allowing for this, it doesn't have any of the sort of thing that make, say, Molesworth so great. For those who don't know Molesworth, he's the main character of a set of books written circa 1950, a wonderfully cynical student at a perfectly horrible English public school called St. Custard's. Everything is bad there, including his spelling and grammar, but he's observant enough that you want to follow his adventures, and you come to realize things like how he is friends with Basil Fotherington-Thomas, who says “Hello clouds hello sky” a lot. WRoM has the silliness without anything lasting, so it's an amusing curiosity. But when I replayed it, without the wonder of the new interface, I didn't see a lot of substance. It was fun and easy enough. It was a bit like watching a cartoon or sitcom you loved as a kid, and maybe you can see the holes in it.

So it didn't push me forward in any real way, but it also won't make you want to throw stuff. It may inspire you to write some semi-nonsense you always meant to, because the semi-nonsense here, down to the final "profound" message, made me smile. The scattershot jokes are never going to offend anyone, but they never quite cohere, either. However, the ending promises "an expansion of this world with more interactions is available," and I think one day I will give in to my curiosity. It will probably be far more fun and less draining than following social media and, despite being surreal, less confusing too.

This sort of entry does seem to get hammered in IFComp because it is, well, linear, and also because the characters may be part of a social community we just don't understand, though we don't want to look down on others. But it touched a nerve with me in a good way. So I found it valuable. But it's exhibit B in why I find it hard to give stars to fellow IFComp entries. (Exhibit A is that I feel like I'd be knifing a fellow writer in the back if I said nice things but then gave a below-average score.) Exhibit B is that it is hard to compare two very different works, and we know the stars are just a rating, but it's all we have to go on. And complex ratings are too obvious.

But there is a lot to like for an entry that placed so low. First, it links up with another entry from the author's. I played this together with The Dead Account and recommend you to the same, with WG first. They are good on their own but sum nicely together well, and neither takes too long to play. The Dead Account revisits the events of Weird Grief and provides some sort of closure to things Weird Grief left open. I appreciated Weird Grief not explaining everything and letting me speculate, and I was satisfied with how The Dead Account tied things up.

Second of all, the title. It says a lot in ten letters. Grief should be grief. And it hurts to be called weird in any context, with or without justification. But there's the immediate implication that some people's grief is seen as less than normal people's grief because it's "weird," when the truth is, if you don't have a huge social circle to start, losing anyone hurts that much more. I also remember hearing "That's a weird thing to be upset about" over far smaller things than the death of someone I care about. Sometimes it was followed up by "But I didn't call you weird!" So the title gives that feeling of being accused, or being lesser. Which is pretty upsetting, when normal grief is filled with cliches and so forth. It also says: sure, you can grieve, but don't be TOO weird about it, okay?

It brings back memories of snarky teens whispering behind others' back. Does the weird person know we're whispering? If not, it's weird to be that clueless about themselves and others. If so, it's weird not to do anything to, you know, become more acceptable. In this game, the weird grief certainly comes off as much more acceptable than normal grief. The people who call themselves normal seem not to realize that the grief they call weird deserves to be more because, well, it's harder to find friends if you're not normal, so losing a friend hurts more. I hope this isn't too harsh on normal people, but I think it accurately describes too many people who, sadly, lump the world into Normals and Weirds. Perhaps they even have weird friends! But not that weird.

It also brings back memories of a Life in Hell cartoon. If the name doesn't ring a bell, the author, Matt Groening, went on to make the bold move of creating a prime-time cartoon show called The Simpsons and later Futurama. One of the characters was Binky. And he had scary thoughts, like, “if people start laughing at your funeral, do you have to sit there and take it?” And the pastor in the strip said “Well, he lived an interesting and useful life, sort of.” And WG brought that back again. It was easy to picture the deceased family's liking him "despite all that" and his friends actually, well, knowing him better.

As for knowing him? Well, someone named Mike dies at 33. We aren't told why until The Dead Account. Was it COVID? A rare disease? A hate crime? Drugs? (Note: this felt like it would've been the easy choice, with maybe some discussion of the "normies" saying "well he should've known better, why didn't you stop him" and his friends protesting.) But the author avoided any details, and I think that's effective, because at the end, we realize it doesn't matter, and Mike, like anyone, doesn't deserve to have people pry if they didn't care enough during his lifetime. Or, well, his family take backhanded potshots at him and his friends at his funeral.

And while my lifestyle isn't as different from the norm as the characters in WG, I certainly have envisioned a funeral full of backhanded compliments from my relatives. This flared up with the Coronavirus. If I died and my family looked at what I did, what would I have to show? I realized I'd never shared any of my text adventures with them. I think it'd get in the way. Perhaps they'd give condescending approval, but God forbid I sit down to explain it to them, or they take time to figure it out. And I realized people who listed family members as testers or inspiration … well, I couldn't relate. I realized there were people in the community I was closer to than I was to my immediate family, and I wasn't that close to them. But I still got a lot from them. And yes, I was at a funeral where Perfectly Normal people behaved Perfectly Normal and the result was shocking. At least the people involved (including the pastor) waited until the funeral was over to agree: yeah, that eulogy was BS!

And for Mike, that seems like the best possible case, which would be sad indeed. I'm also struck by how Mike's family may say “OMG we loved Mike” but on the other hand, they don't want Mike's inner circle to be able to say the same thing.

I got something different out of it than most people on the discussion board topic that flared up. I'd rather not have sex scenes in games I play, but it seemed appropriate here. The people need to do what they can to move on, and they don't have to worry about things like "what would your family say?" Perhaps they won't do so very well at first, or they're not sure what to do, but they deserve to try. And I know I've had ways of dealing with loss that worked, and people who nitpicked them, well, they showed who they were.

WG was cathartic for me. I recalled many other things, like the sort of awful no-fun fantasies of people I disliked, people I should've liked on paper, people I hadn't seen in a long time, showing up to my funeral and remembering the worst parts. With time I've been able to mix some humor in this, and it's because of positive life experiences and reading stuff like WG that reminds me that my fears are ... well, normal, no matter what my Overall Weird Quotient may be. I remembered reading on Facebook that a middle-school classmate I learned about on Facebook had died, and how that compared to having no grief over a teacher I disliked, one I should've liked on paper, who died and that was a different sort of weird grief, only it wasn't weird at all, and in fact it helped me move on.

I took an hour to reflect after Weird Grief, and I was able to bend some bad things--people laughing at me, fearing people laughing at me--not weird grief, but potentially weird regret and weird fears--into something funny. No, Weird Grief isn't intended to be funny, but it helped me find humor, and to me, that's more effective than straight-out comedy.