Reviews by Andrew Schultz

Please Do Not the Cat doesn't inspire confidence with his title, but fortunately, the vanishing word is deliberate, and the game's header throws in a verb between Not and The, describing -- well, what you need to do with the cat in the game, or the complete opposite. It's usually pretty clear which. The cat has jumped into your life, or more precisely, onto you while you were sleeping on your couch, through an open window. Please do not wake the cat.

You can't move, but actually, you can, to go look a few places around the couch. This gives the impression that things aren't going to be very realistic, but there's some quick humor here, and once you're able to move around, you realize you need to feed the cat and play with it a bit, so it's relaxed enough for, well ... I won't spoil it, but you can guess.

So there's some basic apartment game + needless surreality in the your basic apartment game, which meands PDNtC won't be high art, but it's fun enough to figure how to read the cat's collar or make friends or play with it. It's not a mean or dark game.

When looking through TALP games I hadn't reviewed, I immediately said "oh no" to this, but it's pretty well-contained, and despite some minor verb-guessing, it's not going to frustrate you, and certainly after a minute or two I was pretty convinced it wasn't. So I got through quickly. There are some alternate routes, and how to talk to the cat and capture it are rather cute. When it's over it's even a bit sad. So while PDNtC is a bit plain, it's also relatively rewarding, and it focuses on the right parts of a Your Apartment/slice of life game.

So it's the sort of game you may say hack no to, and there is some verb guessing, but it's nothing terribly painful account because the world is pretty well contained. You wind up doing things that cats like kind of like bringing them food or toys, and then it's over it's a bit sad, too, but it's the right ending. And it reminded me of various cats I'd made friends with, and the ways I'd made friends. So it may not have intended to have great range, but it was nice and homey and (I think) did for me what the author hoped.

Adventurous Extraordinare starts with an intriguing premise: you're a detective who is trying to solve fairy tales gone wrong. The graphics are really very nice. It gets a little too absurd, and the custom parser doesn't accept simple things that should work, and I think that's part of the problem with writing something in the different than your first language. Those two things combined to make what should have been a simple and relatively tidy game with fun quirks become something rather tricky to play, where you know what do to but the parser just isn't quite cooperating. Perhaps I would've given up if I didn't want to review all ten games for the TALP jam. And yes, this was one I passed on, when I initially wrote reviews. It made more sense the second time through. But the writer gave themselves a lot of hurdles to jump over, and despite some clear diligence fixing bugs in their change log, it didn't always work.

Your first order of business is to get out of your office, which is locked, and of course you've misplaced your keys. This implies you actually sleep there and also makes for a handy lead-in to the tutorial. You can also read the writing on your office door, which is your name backwards (a nice touch: it's chosen from five random first and last names that fans of crime fiction will recognize, and of course it reads correctly once you're in the hallway) but you just don't recognize it. While AE is meant to be absurd, there's a lot of reaching that can strain belief, especially when you go to meet a huntsman who, the game says, you should really help people, and then he traps you and captures you. So you're bounced around a bit with a rather wonky plot.

Snow White and the evil queen get involved, too, and I think probably the strongest bit is the main puzzle in the forest, where you need to find a map in order to make it to the castle, and you bump around randomly until then, but fortunately, there really aren't very many rooms. The ending bit is kind of cute, too, because it's pretty clear what to do once you're in the castle with not many ways to get out but at the end, you actually have five different ways to answer the question the queen asks of you, which is one that's pretty standard for fairy tales. There are two standard answers, but the three non-standard ones make the payoff worthwhile.

Worthwile enough to forgive the annoyance of having to type WAIT TIME instead of JUST wait, or LOOK AROUND instead of LOOK. L is also used, but my brain had a brief blip where I saw them both and LOOK AROUND captured my attention, because it was a lot longer. Unintended consequences. And the inventory limit is a bit frustrating, and there's a way to lock yourself out of the ending, which I guess makes sense physically (all your items are taken, and you need to get them back,) and the player should know better. But it's kind of mean for such a relatively cheery game in a tutorial jam.

The author promised a sequel, or Day 2, and it arrived, replete with bears and gruel and even a troll. But it was unsolvable because I could not type a hyphen in. Looking at their itch.io page, they'd moved on to other whimsical but intriguing small projects. I was glad to see they were still creating and trying new stuff. But I sort of wish they'd have found more time to nail down AE's flaws--oh, and get Day 2 tested. I was able to read the source to see their plans, and it was similar to Day 1, and I was sort of sad I didn't have the chance to play through their intended experience.

The Rotten Wooden Room is a relatively linear game where, fortunately, there are much more exciting places to visit than the room where you start. It's got nice graphics, and it's pretty clear what to do. The fantasy and text adventuring troops are pretty standard here. You find a pickaxe to dig at gems, you give magic items to magic beings and eventually, you have a happily-ever-after ending. It's quite pleasant, and although there is one bug that had me baffled, it's well organized enough and you don't have to guess the verb. The place with the bug, the author simply misplaced a door in another room, so you go to unlock the door where it should be, and it says it isn't there. It's a puzzle of its own, which isn't terribly unwelcome, since nothing else overtaxes your mind.

It was written for TALP, and the tutorial bit is adequate, explaining what to do and how to get started, and it helps you in bits and pieces all the way through. While it's not necessary, it's still refreshing to see this sort of follow-up. The author cares. Though it does come off feeling like a first work, because the author has the basics of what a text adventure is down, and they don't make any big mistakes, but besides the bit at the end which I found very nice, it doesn't really start to achieve personality. It's still a pleasant journey.

And it's a relatively linear one. There are only two rooms that branch, and as you'd expect, you find items in each dead end that help you move on other places. You're not going to get lost here. You can even dispense with examining and such a lot of the time, once you know what to do, and it's not hard to find your way through again. You wind up making one guardian flea and making another happy with a gift. There's rudimentary dialogue.

I'm glad the author stopped by to write this, even if it isn't a world beater. It's interesting to see the sort of things people with a more artistic background come up with (they have a nice portfolio of other stuff on itch,) as I sure couldn't brave going into an art jam for drawing stuff. I think this is much better than what I'd be able to do. When I replayed this, I remembered some of the images very quickly, such as the castle with the clouds. So while it may not blow you away, it's more enjoyable and has more substance than most games that place low. It's a bit of a shame the title made it seem potentially dreary, because it really isn't.

I recently replayed MToH when it came up as CASA's "random game" because it seemed familiar--I clicked through, recognized it and forgot enough of it that I enjoyed revisiting and rediscovering while writing a walkthrough and drawing a map. I hadn't written a review back in 2021, because I felt I didn't have a whole ton constructive to say.

MToH isn't a huge game, clocking in at fifteen rooms in your eccentric departed (but maye not dead) aunt's house. Well, three to start, until you find a light source in the tutorial. That opens up five more rooms, and there are a few secret doors and passages to open, too. So it felt like more than fifteen rooms, but not in the bloaty way, especially with the door that's locked from the inside. There's mystery there.

The tutorial portion makes an odd first impression, as you TAKE and DROP an item you need to use very soon later. But that first impression was reversed by how the tutorial cued other things later. Some very good TALP entries wound up ditching the tutorial after the introduction, and I think that's a missed chance. Here there's nothing profound, but the author generally knows when the player might need help.

The first secret passage you'll open up will probably be to the ending room, where it's pretty clear you have to find stuff and bring it back. There's a safe among the locked doors. Its combination is found in two parts, though on replay, you don't need to read them in-game. There is also one barrier where it was obvious what items to use, but I had a bit of trouble guessing the right verb, as the usual violent ones fell short. (Spoiler - click to show)DESTROY was it.

MToH does a bit of everything -- it uses a bit of colored text for important items, gives tutorial nudges where needed, has secret passages and gives a good variety of verbs to use without making you guess too much. It's not especially heavyweight, but I was glad to visit it, and I was amused to remember how, now and then, I ignored further passage west of the main branch room, because I assumed there was a locked door there just like to the east. It was a weird blind spot to have. For whatever reason, I remembered the safe combination, or that it was one of four values. This gave an eerie feel I think the author intended. I enjoyed coming back to it.

The danger of relying on the old fairy tales is that you don't wind up saying or doing anything new, or you wind up getting too wild and rattling on. Reflections does neither. It gives you a cell phone to navigate certain puzzles, and it keeps familiar fantasy elements without cliche. All this makes it a good fit for the Text Adventure Literacy Jam as well as a good short game.

The goal is to find five different ways to see your reflection. And yes, the cell phone plays an integral part in a few of them. The best part is, you can't and don't have to call anyone, or find any numbers, or anything like that, though one common side-feature of cell phones is necessary to use and ewll-clued.

Positive interaction with animals is most important, and it's never twee. The puzzles and setting avoid the cliches of fantasy as well as gross anachronisms. They're also comfortable enough that you shouldn't struggle with the parser. And while Sentient Beings, the other game the author entered in this comp, is more ambitious and memorable, Reflections really takes the tutorial requirements for the jam and makes them come alive. So the author should be proud of writing either of these games, much less both.

This game also circumvents a potential pet peeve: you have some baking to do, which normally isn’t my thing, because bigger games may get into details too quickly. Here, it doesn’t feel forced on me. I’m the sort of person who is relieved when a recipe isn’t very complex, so the game’s courtesy was appreciated her, and I think in general any game that takes on something you aren't usually interested in and keeps you interested has clearly done something right.

Because the final point of the game is for (Spoiler - click to show)looking through the mirror in your house after traveling to a cave, it has a there-and-back feel to it. And just knowing what the final point should be certainly left me feeling competent when I needed to think about a puzzle near the end. Overall the game does a lot and avoids overdoing anything or trying too hard to get me to like it, which is a very real risk when writing fantasy stuff, so I do recommend it.

It's been done before, combining an RPG with a text adventure, but Dungeons of Antur (DoA) wound up performing much better than other text adventure and RPG hybrids I've played. Adventuron is partly responsible for that, but the author definitely did a lot of things right. Once I got out of "it's been done before" mode I realized this is the sort of game I'd have really enjoyed when I was 12, with or without the tutorial. A tutorial which notified me that tab-completion would help me cycle through all valid verbs. Since the competition explicitly wanted tutorials, and I had trouble guessing one verb (the author has since fixed this,) I was quite pleased to be able to approach future Adventuron games knowing verb-guessing would be less critical.

DoA's not huge--it might be exhausting that way. It has alternate endings. It has a few puzzles. It has strategy. It's randomized each time through. It even has an interesting NPC at the end. And I can't say DoA has a huge, overarching story. It's well put together, though, and it doesn't make mistakes. It's supposed to be sort of a demo for Adventuron's tutorials and a sequel, and I think it fits well.

As for specifics without spoilers: the puzzles and atmosphere are more the focus here. There's a grate that shuts down as soon as you enter the room, something to fish out from a well, and another grate that doesn't seem to have any mechanism at all. Skeletons contain messages in their bony hands. There's a secret room you should be able to find if you pay attention to the tutorial and another that requires a bit more trickery. Some weapons work better against certain monsters. You have armor and a few healing devices.

The graphics above the text give you a good view of the room or the enemy, along with your current stats. While a status line could display all this information, it wouldn't look as nice, and it'd feel a bit intrusive, too. DoA wasn't the only Literacy Jam game that gave me the feeling that, hey, I could make something attractive with lots of user-friendly features in Adventuron, but it managed to be a legitimate RPG and convinced me I could maybe stretch Adventuron's bounds to do my own thing.

As mentioned above, I do wish there were more games like DoA when I was a kid. But instead I figured I'd better be happy with what I got: Infocom games that blocked me at the first tough puzzle, but then again, if I could finish them too early, I'd have nothing left to play.

I used to be quite impressed with adults being able to make games hard, but as I've grown older, I'm more impressed with programmers who pace their games well, and DoA is an example. I got stuck often enough to feel challenge, but it wasn't frustrating. The battles are also well-balanced. It's possible you'll get wiped out, but saving and restoring is part of the general RPG procedure. In fact, there's one battle near the end where you almost certainly will get wiped out if you don't have a good think.

Finally, the writer deserves credit for doing a great job maintaining the game. They've made several bug fixes, small and large. And while anyone who writes a game in something other than their first language deserves approval for their courage, the author was quick to fix the sort of grammar nuisances that even native English speakers mess up. That bodes well for the potential sequel mentioned at the game's end.

With games featuring youth I'm always a bit worried that there will be nostalgia-pandering, but this game left my worries baseless. It doesn't try to be too cute, it deals with limits seamlessly, and it uses Adventuron's features quite well.

You're a kid who needs to decorate a sandcastle you helped your father build. Which doesn't sound too hard, and it isn't. Your father gives you a map of the beach to start, and you can’t go too far away from your parents. That helps keep the game small, so you don’t have to go wandering off anywhere. Which makes sense. Your parents wouldn't like that. Also, nicely, two of the map squares are inaccessible: some water is reserved for fishing, some for boats. This certainly brought back memories of places I couldn't go on the beach and made them a bit more fun.

The treasures aren’t terribly tricky to find, or valuable, but you would find them at the beach, and you would enjoy them as a kid, an the rainbow text sort of reenforces that--as an adult, I wondered if it was really necessary. It wasn't, but it made the game that much more enjoyable. But the game's not just simply about fun at the beach.

It also touches on things a kid doesn't know and won't realize until later. It winks at the older player. Not too sly for its own good, but a bit of thought fills in some things I might not have recognized when younger.

Once the father built the sandcastle, the kid may not realize parents need and want time to themselves. But there might not always be friends to hang with. So after helping his kid build a sandcastle, the father sends them out on a small fetching expedition to keep him entertained. There's another kid to sort of make friends with and a few older people to help along the way. Which keeps a day out fun for the kid.

Well, for the kid AND for me. And probably you, too. And you don't even have to pack up the car or suffer through traffic to enjoy it.

Day and night are often just slipped into a game to provide realism, or give the player unofficial barriers that don't feel like puzzles. But in Sentient Beings, they offer up variety and puzzles that aren't out of place in a tutorial-style game.

And it's so well-executed that even when I saw what was going on and worried "will it outstay its welcome/go on too long?" (it did not) I wound up getting through without worrying about many of the technical aspects. I'm not the sort of person who'd generally gravitate to this game, but I liked it, and I hope that's not just a backhanded compliment.

You're this cute little robot who needs to pick up 24 specimens and bring them back to your rocket ship. Twelve are nocturnal, and twelve are diurnal. You need to do some preparations, such as measuring the temperature and light and air composition, before you can store anything in your rocket ship. While this may feel pedantic, it fits in well with the theme of the jam, which is to teach people about text adventures. And the science-y bits also provide for ways to explain verbs to you so you won't be guessing.

If I could change one thing, I might allow the player to return in their rocket ship after getting 22 or 23 of the samples, with a slightly less happy ending. If a casual player has, say, a 96% chance (this number was pulled out of nowhere) of finding any one specimen, there’s an 70% chance they’ll miss one (1-.96^24), so that could be frustrating for someone who doesn’t take disciplined notes right away. (Or maybe the game just put me in enough of a scientific mood to be OK with writing something like this.) However, even there, the game has a lovely walkthrough and you can guess which specimen you may've missed because (Spoiler - click to show)area 1's specimens go to the top left, area 6 to the bottom right, and so forth.

Lawnmowering through is a strategy that should work, though--there aren't TOO many things to observe, push, or search under, either at night or day--and the stuff that needs manipulation is pretty obvious. Plus, it's actually pretty scientific to go through room-by-room, in keeping with the whole science theme and taking careful notes and such.

But the game does a lot to make sure you don't miss details. It’s wonderful to be able to shut the robot off until the next day/night. So it makes the push-pull between wanting to explore more and wanting to nail down getting all the specimens in one area a little more interesting. My experience was worry the game might be a bit big, and once when I discovered its boundaries and found everything, I was a bit disappointed there wasn't more. I enjoyed the variety of terrains, and the different graphics in the day/night switches helped that.

The game is robust enough that I was able to work around a (now fixed) bug. I felt more focused the second time through, and I had a better plan, because the game allowed it. It's probably the most complex game of all the entries in terms of features as well, with an option to set robot humor and so forth.

This game also deserves serious credit for using custom verbs the best of any of the entrants. They're relatively intuitive, using some nouns that doubles was verb. MEASURE also requires an guess-the-noun puzzle, which I can assure you is a pleasant variation on the usual guess-the-verb. Given that tutorials were a focus of this comp, the author integrated the new verbs in very well, but only after you learned the standard ones.

Sentient Beings made me think without telling me it wanted me to think, which is always appreciated. I didn't realize it was well done until I looked back and thought about it.

The Blue Lettuce was the only Inform game in the Text Adventure Literacy Jam, but it doesn't feel out of place, and its quality reflects the jam's general quality. It's a game about a groundhog who is looking forward to eating some magical blue lettuce. The puzzles are sensible, mainly about jumping around, and the prose is good. The way through is pretty clearly lit for those who just want to win, but I wasn't surprised there was more.

You'll probably miss a vegetable or two the first time through. The trickiest one for me to find on replay was (Spoiler - click to show)one that can actually vanish before you eat it. The puzzles are simple, in keeping with the jam's aims, and there's good variety in them. You'll never have to do anything radical.

I also like the responses to eating stuff you don't like, which rounds things out nicely. There's nothing crazy, but it all makes sense. Like I wouldn't expect the groundhog to enjoy grass, and they didn't. Between that and helpfully nudging you when you type in a wrong direction, It certainly goes along with the tutorial spirit of the competition. There's a crane as an NPC and a constant reference to the wizard who tends this area of odd vegetables, and that's nice to have, without forcing you into any tangled mythologies or complicated relationships.

Even though this game seems relatively simple, it had a few in-plain-sight points I didn’t see when I just plowed through the first time, because I wanted to get through all the comp games. I didn't mind missing things, and I enjoyed coming back later. Someone who sits down and diligently tries to enjoy the game should find everything and have fun in the process. It’s also neat that you can get the lettuce and not eat it right away to try everything, and the blue lettuce itself is a neat goal: obviously magical, but not too silly. It reminded me how I liked blue raspberry gelatin or blue ice cream or weird blue candy or bubble gum a lot as a kid, maybe because it was a slightly unnatural color, and I convinced myself it tasted exotic even if it didn’t really.

This is a neat production where you must control three teens. One, Barry Basic, has snuck into an old-fashioned computer control room where he shouldn’t be, and he managed to get locked in. His friends need to help him out. You need to change points of view several times. Games like this where you change perspective usually frustrated me, but this one helped me along really well and still left me the freedom to feel like I was solving stuff.

This game had several neat parts: seeing how and why Gill liking English was relevant, having Barry’s more athletic friend Tony need to help him several different ways, and the accomplishments at the end that encourage you to try everything. Each friend-pair also has an interaction that moves the plot forward, and the game never forces pedantry on you. By this, I mean things like when you’re finally leaving for home, you don’t have to switch between Barry and Gill and Tony and have them all leave. They all do together, as friends should.

And I think that’s the sign of a good game. Once it asks for your time and makes you figure how the three different friends should interact, it doesn’t bog you down to stay or trip you up in unnecessary detail. It also has a good economy of items–there are enough for good puzzles, but not too many. All items have a purpose, even those with easter-egg deaths the game notes once you've won. After all, Barry isn't really supposed to be in the control room, and this drives the point home without being preachy.

Also, the game features a rotary phone. Rotary phones are good for a cheap laugh, but in this case, they’re part of an early plot point. So this is retro/nostalgia done right. The control room also has these details as well.

Playing this game reminded me I never got to do enough (relatively harmless) sneaking around with friends. We weren't athletic enough. So I missed out, but this game helps me enjoy how it would've been, without the fear of things going on my permanent record or whatever.