Ratings and Reviews by Jim Kaplan

Play it if: you have five minutes to waste on some light humor.

Don't play it if: words like "light", "humor", and "waste" are not what you're looking for in IF at the moment.

The entries for the 2012 Hugo Comp come across as relatively polished Speed IF (though, frankly, most IF comes across as polished Speed IF). Not a whole lot of consequence, but enough fleshing-out to create a beginning, middle, and end, which is more than can be said for a lot of other games of this length and depth.

The game itself is almost to small to really bother talking about. Suffice it to say that the main form of humor is an exploitation of the mild-mannered protagonist's alcohol-induced bravado. This livens up what would otherwise be a fairly dull setting - which, not coincidentally, emulates how a lot of people actually experience alcohol...

Party Arty has little ambition and doesn't make any pretense of being a serious work, and is all the more fun as a light distraction for it.

Play it if: a five-minute joke game playing off Zork cliches sounds like your cup of tea.

Don't play it if: you're hoping for a full-blooded critique of NPCs and minions in old-school IF.

This is a short game, short enough that it would probably take longer to read a review of it than to play it. A one-room, puzzle-less game, A Troll's-Eye View's basic function is to turn a little part of Zork on its head by showing it from the perspective of the embattled guardian troll encountered early in the game.

This is an excellent idea for a game in my opinion. Unfortunately, the execution is undercut by a rather limited implementation of the idea. The writing plays with the timeless Zorkian language, but not in a very complete way: a fair amount of the responses are stock Nelson-era statements which feel anachronistic.

It's one thing to pose a question about identity and agency in games. But you don't really need to make a game to accomplish that, and deciding to make use of IF as a medium for the critique of IF sort of demands more than this game has to offer. Only the barest mention is made of the troll's reasons for being there - not, in fact, much more than the game A Troll's-Eye View parodies. So while it does mirror Zork in certain respects, they aren't really the right ones to produce a critique that is particularly new or memorable.

A more complete attempt would have taken the perspective of a character with more agency, such as the main antagonists, as the gulf between their potential relationships with the protagonist and their actual non-existent relationships are much wider - and therefore a more fruitful source of study.

Play it if: you want a game rich in atmosphere and abstraction.

Don't play it if: you prefer something more like a literal story or intellectual challenge.

This is a very striking first publication. I think most of us would give an arm and a leg to put out something this good on the first try, and Yoon Ha Lee is to be commended on the thought and imagination she's put into this work.

In the basic technical respects, it's not all that remarkable. A short-to-mid-length game which isn't very puzzle-dense. Not much is going on here that's particularly revolutionary to the medium.

What makes it special is the setting and atmosphere. Here, the work comes alive in the imagination, and not just in the vivid, spellbinding language of description.

The Moonlit Tower reminds me the most of Emily Short's Metamorphoses; although the latter is a more puzzle-heavy exercise, the general feel of the two works is rather similar. Yes, there's a distinctive Eastern aesthetic influence (Korean and Mongolian, apparently), but the more overt impression to me is a pervading sense of toying with abstractions.

In Metamorphoses, it's the essence of things: their shapes, their sizes, their substances. In The Moonlit Tower, it's more about symbols: masks, lanterns, seasons. A sense of symmetry pervades the piece, with asymmetry being a puzzle to solve. A porcelain half-mask. A feast of bones just barely out of place. A compass dividing the four seasons. A symphony with a missing player. These otherwise disparate elements congregate to give an inescapable feeling of some greater whole.

The "story" itself is limited mainly to flashback and suggestion. In a way, it's almost a nudge - a small device intended to clarify one or two things, to quietly lay the framework for the final sequence. It's a testament to this story's belief in letting the player's imagination blossom that you can experience a profound sense of completion upon finishing The Moonlit Tower, even if you feel you never really knew the protagonist.

It's difficult to really say much more about this work. It's a bona fide tone poem - almost a more intimate, intricate IF successor to Strauss's Also Sprach Zarathustra - and as such is something more to be experienced and reveled in than dissected. I strongly recommend it.

Play it if: you want a difficult, voice-heavy playing experience in the tradition of Varicella.

Don't play it if: you'd prefer something more in the vein of Anchorhead, which sacrifices some challenge for ensuring greater flow in the player's experience.

It's a small shame that the most interesting aspects of Make it Good are not ones it can advertise openly. As such, the blurb suffers a little from being a bit too parodied: a very conventional preview to a rather unconventional game.

Make it Good is an impressive piece of detective fiction, not just in the sense of trying to figure out who the killer is, (Spoiler - click to show)but of course in trying to figure out what you evidence you need to destroy and plant to shift the blame from yourself. The moment you understand the big picture of what's going on is a shiver-inducing moment like something out of Spider and Web(Spoiler - click to show) - though in gameplay terms I do think this is a more complete, if not as unconventional, exploration of the narrative twist. It is written with the economy characteristic of any good mystery: no object, character, or detail is truly superfluous. It pulls off a rather neat trick, as well: details which I thought were minor bugs actually turned out not to be!

In structural terms, this feels much better than All Roads, which in my opinion was a more disorganized experiment in this sort of basic story idea which ended up being more of a noble failure.

Smoothing out the gameplay experience is a generally good sense for synonyms (the game doesn't call for too many exotic actions in any case), a TOPICS command to make dialogue as painless as possible, and a GO TO command to assist with navigation, which is welcome if not strictly necessary for a map of this size.

There are flaws, though. The first is the voice. I got the strong impression that this was a story set in the US, yet for a pulp noir protagonist, our hero uses a hell of a lot of Britishisms. Was this a calculated effect? Did I misinterpret the setting? We may never know. But it did feel jarring, and this is coming from me, a multi-national English speaker with little intuitive sense of dialect. It's a stylistic complaint, but there you go.

Second is the mid-game. Rarely have I felt more at a loss for what to do. Chalk it up to my non-puzzle-expert mind, but while I had a fairly straightforward idea of the goal I needed to accomplish, I had absolutely no idea of how to go about it. One of the problems with something like detective fiction this detailed is that you find yourself over-thinking the effects even mundane actions will have, only to miss a fairly obvious opportunity. The cruelty of the game demands a number of re-plays to compound this difficulty. It simultaneously feels fair - because of the detail-oriented nature of this sort of plot - and unfair, because we don't necessarily know as much as we have a right to. I still haven't made up my mind about this sort of gameplay being requested of players. Time will tell.

Even with these frustrations, though, it's a fantastically engaging game. It really does succeed in delivering the sort of excitement and challenge you'd get from investigating a mystery in the tradition of Agatha Christie or Columbo. Just don't expect it to feel particularly fair.