Ratings and Reviews by OtisTDog

This short piece received fairly positive reviews upon its release in 1999, and, when judged in the context of what was available then, I can see that it must have compared much more favorably against the field than it does today. By today's standards, it is poorly implemented, weakly written, and lacking enough positive qualities to outweigh its negatives.

My introduction to this work was via an IFDB poll, the very title of which serves as something of a spoiler for Bliss. As a result, after making my way through the implementation problems plaguing the opening scene, there was little surprise in the revelation that (Spoiler - click to show)All Is Not What It Seems.

Ultimately, this twist is all that Bliss has going for it, and a twist by itself can't provide meaning to this story any more than it does in a typical M. Night Shayamalan film.

The lack of greater meaning is what dooms this piece. The activities you (as the PC) engage in are revealed to have quite horrific consequences, so horrific that they demand more than just simple derangement of the protagonist to justify their commission. If I'm going to find out that "I've" done something as awful as (Spoiler - click to show)committing infanticide, the author better have prepared that ground pretty carefully to leave me with anything more than a sense of revilement and disgust.

Unfortunately, Mr. Wilkin does not. (Spoiler - click to show)The protagonist's home life is shown to be plagued by a drunken, abusive father, but, without minimizing the tragedy of such a situation, it must be pointed out that countless people have lived through similar unpleasantness without being driven to a sudden killing spree.

To make this piece work would have required a) much deeper characterization and backstory for the PC, so that the reader is left at minimum with a sense of pity for him, and b) a substantially more well-thought-out mapping of things happening in the PC's fantasy world to reality. The insult of the baby's death is further compounded by the fact that, apparently, it was unrealistically posed by the author as inexplicably unattended on a city sidewalk in the real world.

In my view, everything past the reading room calls for some well-developed conceptual framework to support the PC's delusion as he flees the asylum. I don't care what that framework is, it just has to attempt to make internal sense of the PC's actions. Does the PC know the shopkeeper beforehand? Does he have some unreasoning fear of babies? Is the victim who takes the form of the dragon someone significant to him?

None of that supporting framework is present. It seems that, akin to the "lazy fantasy" setting that frames the game's opening, it concludes on a "lazy psychothriller" note.

I initially gave this piece two stars, but, upon further reflection, discounting the problematic story leaves only the multiple programming errors, guess-the-verb challenges, and weak puzzles to define it. As such, I find myself left with only a lingering sense of distaste that marks this work as belonging to the "better off avoided" category.

This short piece wouldn't be out of place as an entry in IntroComp, because all that really happens is an introduction to a significant new character and plot development in the story world Müller has invented for this series. The attention of Mr. Blask seems to have improved the overall quality of the result, though the final product is still lacking in distinction as a work of interactive fiction.

As with the original entry in the series, what stands out most are the unrealized possibilities present in the setting that has been created. What little exposition there is hints at a sprawling vision of the Clockwork Boy universe in the mind of the author, a vision that does not seem to naturally fit with the mechanics of IF and which would probably be better served as a straightforward written tale.

Throughout both this work and its predecessor, the elements required by interactive fiction seem to have served only to interfere with the communication of the story that the author wants to tell. Puzzles feel grafted on and are not integrated into the telling of the story. Locations remain so shallowly implemented that they are little more than painted stage backgrounds for the intended events to transpire in front of. NPC dialogue is not implemented in depth, and what's there is so terse and direct that it offers neither the sense of discovery nor the sense of a living conversant.

I say all of the above not as mockery of the author's continuing sincere efforts but to point out that the work required to implement this story as interactive fiction may not be worth it. Think how much more story could have been told if the coding effort required to make this IF were simply put aside!

That said, if there is to be a Clockwork Boy 3, I strongly suggest that the author spend some time considering how to make the medium of IF work for the story instead of against it. The challenges are surmountable, and it would be a true shame if the rest of this vision never materialized in any form.

Intrigued by the announcement that a sequel to a story I'd never heard of had been released, I thought it might be interesting to check out the original.

This turned out to be more challenging than I expected, as the provided download link does not function (apparently due to a bad permissions setting on the file). A little online sleuthing led me to a working download link over at IFWiki, however, so I was quickly off and running.

Playing the role of the clockwork boy alluded to in the title, your apparent task is to reunite your "parents" (a human King and a fairy Queen) who have separated during the long period between when the game begins and the last time you were wound up. The introduction led me to much speculation about what I might encounter: a substantial backstory to discover about what happened while the PC was "off", extensive NPC interaction in resolving the royal dispute, strange and subtle differences between the human lands and the world of Faerie, perhaps even puzzles about how to keep the PC from running down. Instead, I soon discovered that there wasn't much to recommend this work, which, although founded on an interesting premise, offers only a simple, mechanical experience as interactive fiction -- one which does not take advantage of the possibilities offered by its setting.

Implementation quality is fairly low. NPC interactions seem to follow the ask/tell/show model, but the only responses provided appear to be for asking about a small number of topics. The handful of puzzles, such as they are, consist of an arbitrary arrangement of interrelated obstacles that make little sense within the context of the story. Descriptions are flat and generally reference many objects that cannot be interacted with.

In a matter of minutes, I had seen the extent of the tiny world (fortunately just 7 locations, as many room descriptions omit the list of exits) and, while I could see what would need to be done to advance the plot by assisting the queen, I found myself stymied while trying to get a critical item from one of the two minor NPCs. I had a strong feeling of what was necessary, but the game just would not respond to any of the expected commands. Frustrated, I looked for some assistance and found it in the form of the ClubFloyd transcript of a playthrough of this piece.

While my hunch about the solution was correct (including the idea, the verb, and even the required syntax(Spoiler - click to show), which not-so-fondly recalls the era of two-word parsers), the command simply doesn't work in the version I found, so I was forced to read through the remainder of the transcript to see how things played out. The few minutes of gameplay that I missed as a result were on a par with what I had already experienced, and the plot winds up so quickly from there that I didn't lose much.

While I can't recommend this piece as worth one's time as a player, it is obviously the product of a sincere (if minor) effort springing from a well-conceived (if not well-developed) seed idea. I remain curious enough about the sequel to try it, especially given the fact that it was produced in cooperation with another author.

Calling this work a game seems to miss the mark; instead, the overwhelming impression I got was that it is the result of the author's studied effort to learn Inform 6.

In a beginner's shop class at school, the focus is on learning to use the tools to create something basic and functional but not necessarily aesthetically pleasing. This thoroughly pragmatic product is in exactly that style -- a simple scenario, solidly constructed.

I would like to add "with no frills" to that description, but that would be inaccurate. There are, in fact, several frills -- a built-in hint system (which is ridiculous overkill in this context), plus several hidden items and joke responses to non-obvious behavior. The thing is, unless you are perusing the supplied source code, you are unlikely to encounter most of these details; clearly, they were implemented more for the author's amusement than the players.

Even though I don't believe this was a serious attempt to create something entertaining, Perilous Magic is instructive for the aspiring author and worth reviewing simply as a case study to compare the playing experience vs. the code supporting it, especially when it comes to deciding which interaction elements matter enough to be worth the implementation cost. That's a design skill (not a coding skill) that seems hard-won for many authors, but which quickly makes itself evident in the best examples of IF.

Baf's guide says this piece "has been called an anti-game." I'm willing to bet it's been called a lot worse.

With thorough exploration, when armed with some knowledge of IF programming and history, this work can be appreciated for some of the nuances of coding and genre that it subverts. However, it is entirely unsatisfying from a narrative perspective, offering only a raw "puzzle" (technically a riddle, wrapped in mystery, inside an enigma) that is disconnected from the story's ostensible premise and any conceivable player motivation other than sheer will-to-complete.

It's really too bad. The seed idea (allegedly: trying to complete an adventure game that has become corrupted and no longer functions correctly) is the kind of scenario that might have actually happened in the nostalgic era of oft-pirated 5 1/4" floppies. It seems like it would be possible to build a surrealist story with clever puzzles on this foundation, and, based on his later work with the Frenetic Five series, I am certain Mr. DeMause had the creativity to do so.

Although I did not like this particular example of the author's handiwork, it is competently put together, and some small part of me does appreciate it how it can be appreciated. As such, I am compelled to give it two stars, though I recommend avoiding it unless you are interested in its historical value as an entry in the very first IF Comp.