Ratings and Reviews by JonathanCR

I can't really add much to what has been said about this game already, except to say that I simply found it virtually perfect. The writing is absolutely beautiful, consistently funny, and often surprisingly moving. That is partly because Grunk, as a character, has such integrity and believability. Although presented as incredibly dense, the way he describes locations and objects, often incorporating quite shrewd observations along the way, suggests that he's not all that stupid at all. That gives him depth and emotional resonance. It must be said also that by having Grunk narrate the game in its entirety offers a neat approach to the problem of who the parser is supposed to be, and whether the narrator of the game is a different person from the PC. This game solves that problem by identifying the PC with the narrator, although at the cost of distancing the player from the PC (if Grunk is telling me what's going on, I'm clearly not Grunk, just in case I'd had any uncertainty on that score). There's no emotional distancing though, because Grunk is so engaging a personality.

The puzzles are nicely logical and the gnome NPC has a dry, educated wit that meshes perfectly with Grunk's rather more straightforward approach to life. There are a truly vast number of things you can ASK GNOME ABOUT, most of which have no bearing on the game itself, although some of course contain vital clues. It's a lot of fun to explore these topics, although this can result in the gnome seeming a bit like one of those information-dispenser sort of NPCs who are inexplicably willing to be grilled at length by over-curious PCs. But the gnome's sardonic wit and the fact that he's busily doing other things whilst satisfying Grunk's curiosity make him much more than a talking pedia.

The pig also has a lot of character, making this whole thing rather like one of those children's books that adults can also enjoy. I liked the author's attention to detail, which often brought out extra little elements of the characters (e.g. try taking your trousers off in front of the pig). I must admit that having apparently completed the game I was puzzled by how to gain the elusive last point and looked it up fully in the hints. I rather wished I hadn't, not only as it would have been more fun to work out by myself, but also because the behaviour required to get the last point is the sort of behaviour that I instinctively engage in when playing this sort of game anyway, but generally don't bother, because it seems not to matter. The fact that it mattered in this game says a great deal about it. This is a game with heart.

I don't normally like puzzle games, partly because I like to be immersed in a believable world and puzzles are intrinsically unrealistic, but mainly because I'm not very good at them. This one, however, is one of the most beautiful and satisfying puzzles I've encountered, simply because it is so logical. Everything in it flows neatly, and once you've understood how the set-up works and the sort of thing that you need to do, it is simply a matter of making it so. Each time I played, I managed to overcome the latest obstacle, only to find a new one; each time, again, the solution to the new obstacle was generally not too hard to work out once I'd got used to the way that this world worked. (Spoiler - click to show)I must add that I especially loved the problem of the battery, which I solved almost instantly and was delighted to find that my solution worked perfectly - this made me feel clever, which is not something that often happens when I play puzzle games. The constant replaying in light of new information sounds tedious but in fact replaying each time, carefully taking into account the new problem that had to be overcome while still doing what had to be done to account for the ones encountered before, was enormously satisfying. It is like putting together a series of simple, overlapping themes, one by one, and ending up with a complex symphony.

I thought that the small world of the game is believably structured and described, and that everything is implemented extremely well. The basic conceit of the game - (Spoiler - click to show)having to move around and perform actions at the same time as your earlier self, also moving around and doing things, while avoiding meeting her - must have been a nightmare to code, but everything seemed exactly as it should be to me. I also liked the fact that there are somewhat different paths to victory. (Spoiler - click to show)The walkthrough had the player setting the bomb and then using the time machine for a second time to go back a bit and leave, avoiding the explosion. I, however, did it differently, setting the bomb immediately before using the time machine the *first* time, and doing all the stuff I needed to do and escaping just before it went off. So I only travelled in time once.

There are some flaws with the game. I think the greatest is simply its believability - not because of the SF elements, but because of the implausibility of what your character knows. Paul O'Brian mentions this in his review. There are various items in the complex that the PC needs to take in order to win. In order to take those items, the PC must engage in rather complex and carefully timed behaviour (to put it mildly). The way she acts (on the winning scenario), she absolutely must know precisely what she's doing and be acting with considerable foresight. (Spoiler - click to show)For example, pressing the button for the upstairs door, knowing that her future self will be standing there to walk through it. But of course if she knew all that in advance she might as well just bring some of these things with her and not have to jump through hoops to find them in the complex. I must admit, however, that I don't really find that a serious problem with this game. The game is, above all, a puzzle. Its purpose is not to immerse you in a completely believable world (although of course it must meet minimal believability criteria if the world is to function logically enough to work as a puzzle, and it passes this test with flying colours). When I actually played the game, I didn't care in the slightest that the PC couldn't know this or should be doing that. All I cared about was *me* solving the puzzle that was presented to *me* in the game, and I enjoyed doing that enormously.

Also a word about puzzle-solving here. I saw some reviews that complained about having to write down lots of information in order to complete the game - like mapping Zork, but mapping the timing of events rather than the locations of rooms. I didn't do any of this. As I worked out the solution to the puzzle there were one or two key times that I needed to remember, but I didn't find any need to write them down. Admittedly I used brute force for one part of the puzzle. (Spoiler - click to show)The problem of how to break the glass without making my earlier self hear the alarm had me stumped for a bit, until I realised that I could just wait until my earlier self used the time machine, and then break the glass with impunity. To do this elegantly I should have replayed, noting down the time when I used the machine. In fact I just waited a few turns, tried breaking the glass, undid when I lost as a result, waited a few turns, and so on until breaking the glass did not result in a lost game. Again: unrealistic, of course, but it didn't matter (in my opinion) because I'd worked out how to solve the puzzle, and that's the main thing. So I would say that those who fear mapping or who don't fancy having to write lots of stuff down to complete a game needn't fear this one. You very much have to keep your wits about you and be able to visualise what's going on, and detailed logging might help, but it's hardly essential.

After seeing the previous review I had to give this a go myself, since I'm a theologian too (not a New Testament scholar, but I know enough about that to appreciate the jokes). Perhaps the audience for theological text games is larger than one might think?

The game does a hilarious job of satirising trends in academic theology (well, I thought it was hilarious anyway). The basic joke is that the spiritual world has to adapt to match theological trends, so when our protagonist dies of boredom during a lecture on Mark's Gospel, he finds that hell is being closed down to conform to "demythologisation". Admittedly the satire is rather blunted by the datedness of the target (Bultmann's famous essay on demythologisation was written in the 1940s, and this sort of thing hasn't been top of the theological agenda for some decades) but I think we can live with that.

Despite the humorous style (I especially liked (Spoiler - click to show)the theology exam from hell - this actually gave me uncomfortable flashbacks to my own finals) there are some sections with more serious and even moving overtones. The recurring theme of the Empty Tomb makes that inevitable. (Spoiler - click to show) I found this especially so with the Golgotha scene, where you must inscribe words onto the cross of Christ. I'm not certain if this mixing of moods is confusing or adds depth; it is probably down to individual taste.

How does the game play? It is extremely episodic. For the most part, you move from area to area without going back, and often without carrying objects over. This can feel quite disjointed, and there seems to be little logic in what scene follows what. That, is perhaps, deliberate. (Spoiler - click to show)It is, after all, a stumble through the landscape of someone's mind. It also makes the game quite a fun series of discrete puzzles; you don't have to worry about what's already happened, or worry that you should have brought some object that you missed. But it can also feel quite illogical. (Spoiler - click to show)It is odd to re-enact the resurrection and then shortly afterwards come to the scene of the crucifixion!

The puzzles are variable in difficulty, of course, but I found some of them hard without using the hints. There are a number of guess-the-verb issues. (Spoiler - click to show)You are told that you cannot MOVE the statue's hair, but you are still expected to PULL it. That's annoying. Also, COMMANDing the stone to move doesn't work, but TELLing it to do so does. I have to say that some are rather badly clued as well. (Spoiler - click to show)In the empty tomb, you are told that this is *Mark's* version of the story - so you can't appeal to an angel to move the stone, since that doesn't happen in Mark. I thought that this must mean that the young man in a white garment, who appears in Mark, was relevant, and spent some time trying to work out how to acquire such a garment. It turned out that I was supposed simply to tell the stone to move. But that doesn't happen in Mark either!

The sheer fun of the game, not to mention the audacity of a game that revolves around theological jokes, overcome these issues enough to make this a 4 for me. The writing is very good throughout, and the world is extremely well implemented (being able to examine not only the characters in pictures, but the objects they are holding, is pretty impressive). The hints are also excellently done, revealing the solution suitably gradually.

One of the most interesting things about playing text games, in my view, is the way in which problems that are relatively small or unimportant in the grand scheme of things become far more significant when *you* are the one faced with them. Often, a problem that, were it to feature in a conventional story, might not interest us, can become all-consuming in a text game, where if the writing is strong enough and the puzzle well-paced enough, we can feel something of the protagonist's fear or frustration.

Oddly, I found this more true in this game than in any other I've yet played. The game falls into three main sections. The first is a time-based challenge: you must get fed before you collapse from hunger. The second is less constrained, and allows you to roam about in search of more satisfying food. And the third is another time-based challenge, this one more serious than the first.

The game gets progressively harder as it goes on, and it starts off pretty hard. As other reviewers have commented, some of the puzzles are not fiendish so much as virtually unguessable (although I was pleased to figure out by myself what was, in retrospect, probably the most outlandish of them - (Spoiler - click to show)tying the cat food tin to the balloon, taking it onto the roof, and dropping it in the direction of the boy). This can be especially frustrating in the second part of the game, where you must solve a variety of puzzles in order to get to the coveted soft food, but it is not always clear what your goal in each puzzle is, or why solving it matters, or indeed what's going on at all.

There is also an uneasy tension between your limitations and goals as a cat and the uncatlike intelligence you must show in overcoming the limitations and attaining the goals. The game itself shows awareness of this; show an object to the Provider, and he looks puzzled at the fact you're carrying it around, as well he should if you're just an ordinary cat. This comes to the fore in the final part of the game, where you must do things that clearly no cat would ever do, and rely upon knowledge that not only would no cat know, but this cat apparently doesn't know either ((Spoiler - click to show)the cat does not know that the liquid dripping from the car is petrol - it doesn't even know that it's a car - but you must still soak the shirt in it in order to make a fire). But even in the same sequence, the cat is sometimes characterised as a typically amoral, food-obsessed feline ((Spoiler - click to show)in one grim possible ending, you simply eat your stricken Provider, the game commenting dryly that he remained a Provider right to the end).

It must be said that the game also suffers from a fair few technical problems and unrecognised words. Trying to fill a container at the stream, for example, is greeted with the response that there is no water here. At one point I attempted to do something with my claws, to be told that I needed to be holding them first. It is also odd that a game with an unusual protagonist doesn't allow you to examine yourself, although some self-description is included in the inventory. It doesn't seem to recognise "it". Finally, there are one or two spelling mistakes (including one in a location description, which is annoying).

So why four stars, given these flaws? It's partly because of how well written the game is. There is understated humour in the descriptions and narrative, which presents everything precisely as a cat *would* think of it. The kitchen is simply the "food room", where the only object of any interest is the cat's bowl. A chair becomes a "lumpy mountain", the main interesting feature being its impressive collection of scratch marks. Cars are shiny beasts and cat food tins are eggs. But the game doesn't go overboard with this; the balloon, for example, is described as simply that. Moreover, the prose is admirably restrained, and despite the humour, never comes across as overtly funny. There is a starkness and seriousness to the game which matches the feline protagonist perfectly, and which is reflected in the snowy landscape surrounding the house, which is largely hostile to the cat. The only character who seems happy, the boy behind the fence, remains largely unseen. The cat begins the game starving, there is a brutal Rival roaming about, and the Provider is not well at all.

That leads into the other reason for a high score. The end game is, in some respects, annoying and frustrating. As I have commented, it forces the player to behave in distinctly uncatlike ways, and the difficulty of the puzzles does not let up. But it captures the attention like nothing else I have played. The time constraint now seems far more serious than that used in the first part of the game, with failure a much scarier prospect. There are various ways to fail the end game, all rather grim and depressing, despite the relative lack of care that the cat displays in them (which, as previously mentioned, clashes somewhat with the attitude that the cat must display when under the player's control). Finally, even the victory text is understated, rather sad, and poignant, despite the upbeat end. Despite the thinness of the characterisation of the Provider (as is only right, given that the cat cares only that he provides), I cared very much about what happened to him and the cat. That is why, for me at least, this is not just a strangely powerful and memorable game, but also a successful piece of interactive fiction. It demonstrates the power of the genre to make us care about situations and characters by making us part of them, in a way that could never work in any other genre.

This is a fairly straightforward game, but one which is fun to play. The plot: in the aftermath of an alien occupation of earth, you - a mercenary type person - have stolen one of their ships to investigate a mysterious and possibly valuable object in the solar system. The object turns out to be a huge space station. You must explore it, discover its secret, and return to earth before the thing enters earth's atmosphere and is destroyed. Shades of Rendezvous with Rama here, with a few twists.

The game is well implemented, with good writing. There are a few welcome humorous twists, although the attempt to marry different tones and styles doesn't always work. The introduction, for example, with its cavalier account of the liquidation of much of earth's population, and the amusingly disgusting ship piloted by the PC, suggests a setting of black humour. However, the bulk of the game, and especially the revelation of the nature and origin of the space station, seems grimmer and less in keeping with the introduction.

The game is not very long, and follows quite a linear progression, so there isn't great freedom to do your own thing - but the story flows in a way that makes sense, so this isn't a great handicap. The puzzles are pretty simple and shouldn't keep you guessing for too long. In fact the only part I had difficulty with was the final sequence, which is also fairly straightforward but much harder to do right - much saving and restoring required here. I encountered an odd bug with restoring saved games, in which a great deal of extraneous text was displayed after each move, but the game was still playable and this may have been a problem associated with iPhone Frotz, which I played it on, rather than with the game itself.

All in all, there's nothing groundbreaking here, but it's a decent game that should prove a pleasant diversion for an hour or two. It doesn't do a great deal, but what it sets out to do, it does well.