Ratings and Reviews by OtisTDog

An entry for Speed IF 12, Plaque is a relatively simple and mechanical puzzle game in which you must create an award for Chuck Schmendiman. In this interpretation, the protagonist has somehow managed to put off making the award until the actual ceremony takes place, and must slap one together with the materials at hand before it's needed by the presenter.

The components of the game are a fairly straightforward rendition of the specified seed ideas. The author, who goes by the handle Admiral Jota, dutifully uses each bonus concept with a methodical checklist approach that favors completeness over imagination.

Perhaps the most interesting thing about this piece is the opening dream sequence, which uses a scaled-down effect similar to that deployed in Shrapnel, which had been released a few months earlier.

It only takes a few minutes to complete this piece, so I'll leave it up to the reader to decide whether it's worth the time. You might find yourself better served by going directly to Jota's award-winning full-length piece, Lost Pig.

Hedge is a strange tale of one man's journey into The Hedge, fortress retreat of a shadowy "elite" that you desperately want to join... or perhaps destroy.

Billed as a "modern fantasy jaunt" by the author, I found the tone to actually be part comedy, part psychodrama. Much of the gameplay feels like a surreal blend of The Prisoner and Monty Python's Flying Circus, with just a pinch of Little, Big thrown in at the last minute.

For work of a first-time author, this piece is richly implemented. Most objects have layers of detail attached to them, and most verbs have at least a few synonyms. Parser interaction generally shows evidence of both attention to detail and proper levels of testing. I took note of many unexpected niceties in the way descriptions are rendered in response to varying world-states.

Hedge is reasonably well-written in terms of atmosphere and mood, and the status bar helps maintain a mood by displaying the protagonist's emotional state. Although there is a scoring system, score notification is disabled, and the scoring process appears only loosely correlated to the intended story. Interestingly, the "full score" command yields not individual point contributions to your total but a list of unusual "achievements" based on your actions.

The story's structure seems somewhat arbitrary, but this may be by design. Although there is little explanation of the protagonist's motives, the inclusion of multiple winning pathways allows the player to define the protagonist's motives by his actions.

The puzzle structure is frequently obnoxious, particularly in the beginning stages. Red herrings abound; there's even a fountain full of them if you don't get the point. Fortunately, the "about" command yields valuable insights into the mindset of the author, and you can summon a hint fairy at any time by using "help" or "hint."

Although I did find a couple of bugs(Spoiler - click to show) ("take transmitter", "x mayans"), they did not negatively affect gameplay. My two-star rating reflects disappointment that this game seems intended to frustrate traditional players in the first half, for no real reason other than the amusement of the author. This hostile edge probably contributed significantly to Hedge's middle-of-the-pack placement in the 2006 IF Comp.

Mr. Richards clearly has above-average capabilities as a writer and programmer, and I would like to see more from him in the future.

As other reviews mention, this is not really interactive fiction -- it's a recreation of an old game from the days when "computer graphics" was completely synonymous with "ASCII art."

The game does seem to be implemented well and was probably something of a pain to write. I didn't particularly enjoy the gameplay, so I'd normally rate it 2 stars, but I was struck by the way this piece is framed -- it made me think about the possibilities of throwing a mini-game like this into the midst of a standard IF work. (As if writing something of substance isn't hard enough!)

The only attempt at that sort of thing that I'm aware of is Infocom's Border Zone, which was somewhat controversial due to the real-time nature of the mini-game's action. In this case, the game is turn-based, which might work with the "stop-and-think" nature of IF instead of against it.

Barry Volain, the author of Myth makes no secret that the puzzles in this work are grounded in well-known Greek and Roman mythology. In the "readme" file accompanying the game file, he even goes so far as to recommend reading Bulfinch's Mythology (which is out of copyright and available via Project Gutenberg and at this web site) as a primer. In the era of Google and Wikipedia, such preparation is probably not necessary.

Myth is austerely minimalist. Descriptions are short for both rooms and objects. Many words mentioned in the text aren't recognized by the parser. It falls victim to a few First-Timer Foibles, including laconic locations, oral offenses (though only mildly), and close-mouthed characters. Yet somehow, this work did intrigue me, and I felt compelled to play through to the end.

I wish I could say that my patience paid off. Instead, it wore thin. After making about 100 points worth of progress, I hit something of a wall. As I could find no hints other than the walkthrough, my only choice was to read it and hope I didn't get too much given away.

Of course, I saw several things I didn't want to, including some things that I had tried to do but hadn't used the right word for. Once I realized synonym sickness was one of the first-timer foibles I was up against, I was a lot less willing to sit and puzzle things out when I was stuck. Doubly-so when I realized there were areas you could only visit once in a game with an inventory limit.

It's really too bad, because there were quite a few puzzles in the "hard but fair" category that I ended up missing out on this way. In the interest of letting others avoid that, here are my own hints -- restricted to extreme guess-the-verb problems and things that are basically impossible to figure out without mind-reading:

#1 (Spoiler - click to show)The sapling (yes, it's important)(Spoiler - click to show) - you need to get it(Spoiler - click to show) - with something sharp(Spoiler - click to show) - it's for making a weapon(Spoiler - click to show) - a spear(Spoiler - click to show) - like the ancients made them without metal(Spoiler - click to show) - "sharpen sapling" is part of it(Spoiler - click to show) - they were also treated some way(Spoiler - click to show) - for hardening(Spoiler - click to show) - "put sapling in <fire source>"

#2 (Spoiler - click to show)The grapes (yes, they're important)(Spoiler - click to show) - you need them to make wine(Spoiler - click to show) - you'll know how to make wine when you find the right equipment(Spoiler - click to show) - it's not the oak bucket, it's something with purple stains(Spoiler - click to show) - put the grapes in it(Spoiler - click to show) - how can you squish them? can't get in with them or stand on them or crush them or press them(Spoiler - click to show) - "step on grapes" is the magic phrase here

#3 (Spoiler - click to show)fighting things(Spoiler - click to show) - at least one critical battle appears to be semi-randomized, save before fighting and try again if you die, if you don't die the same way every time, keep trying

Don't worry, there are multiple layers of spoiler tags in the above, so you will have to click multiple times to be completely spoiled.

The size of this game surprised me. There must be around 75 locations. You will want to create a map for this one, complete with notes of the objects found in each location. It's probably too big to fit it all in your head.

Some of the puzzle designs in this work are clever. While in some cases the cliff notes of mythological texts provide virtual step-by-step instructions, in others the author takes license with the mythology to make you think a little sideways. This work would have benefited tremendously from a more literary touch and more thorough programming.

It's unfortunate that the scoring is implemented in such a way that necessary and irreversible steps don't always award points. It's a bit unnerving, leaving you wondering whether you're on the right track or heading for a dead end. Although I believe you can get this game into an unwinnable state, it's generally safe to assume that anything that appears to make things happen is a step in the right direction -- there is little interactivity that isn't directly aimed at the conclusion.

Another note about scoring: The walkthrough seems to indicate that its author got less than the maximum points. I got more than him, but less than the max. Out of curiosity, I decompiled the source code to look for those last lousy points, but it seems that they should all be awarded if you win the game. It looks like some actions may award points if you use one verb but not its synonym, so I wouldn't worry about it if you finish with less than 300.

Take One is a likable but mildly frustrating jaunt through your memories of playing "Indiana Jones" when you were younger. Ostensibly, you play the director of a movie, guiding an actress playing Indianette Jones through a scene about raiding some temple for an artifact. Submitted by Robert Street as an entry for the Finish the Game Comp held in 2005, it placed a close second.

As with Mr. Street's Turning Point, this work introduces certain interesting elements that don't end up having a recognizable impact on the story.(Spoiler - click to show) It's written in the third person, presumably in support of your observational status as director, but the gameplay works as though you yourself are Indianette -- there is no functional separation of "you" from her. The actress playing Indianette is decried as a useless airhead in the introduction, but this is not used for any story-telling effect (e.g. bawling her out when "she" makes a mistake, or ditzy commentary as "she" struggles on the set). In fact, she expresses no personality at all during gameplay, leaving me wondering why she is characterized that way.

Orientation to the game goal is well done. As the player, you immediately are told how to start the scene, and, while there are numerous hints about the outline of the puzzle you have to solve, there is enough left unspecified to make for a small challenge.

Unfortunately, what could have been a smooth gameplay experience was frustrated by programming and/or parser problems.(Spoiler - click to show) Though you are given instructions to read the journal then rub the ring, you are unable to rub the ring while wearing it. If you try, you are told "Indianette Jones can't rub the ring," which is unhelpful, to say the least. I spent several turns in an unproductive hunt for a synonym of "rub" that would apply before I figured out the glitch.

In a similar vein, it took me far too long to discover how to get the jewel from the statue.(Spoiler - click to show) Unlike Inform, the ADRIFT parser doesn't seem to provide any help if the player hits on a correct verb but incorrect syntax. Thus, the command "use whip" gives the same result as "<any nonsense> whip", which makes it seem like the verb is unrecognized. In fact, "use whip on jewel" would work. Since I am conditioned to the Inform type of parser response in this case ("What would you like to use the whip on?"), and since most authors avoid implementation of the verb "use" in favor of more specific wording, I spent several playthroughs trying things like "crack whip", "attack jewel with whip", "whip jewel", "throw whip at jewel", etc. before hitting on "get whip with jewel".

The situation isn't helped by the fact that the game lies and tells you the jewel is lying on the ground -- a serious error for a final release.

Those issues aside, it was smooth sailing and a fun scenario. The overloading of the "restart" action to begin a new "take" of the scene was a clever touch.

Mr. Street definitely has the ability to come up with good premises and puzzles. With better use of the conceptual pieces he puts into play and a less journalistic writing style, his work would probably attract more attention.

Two hours isn't much time for coming up with a good story, let alone coding it. Gilles Duchesne demonstrates with this piece created for Speed IF 16 that you can produce something likable in that timeframe... and have a great time while you're at it.

This episode has every indication that it was written hastily and with a devil-may-care attitude about literary or artistic quality. A decided lack of pretense saves the day, though, making it easy to overlook any minor faults and experience the author's glee at lashing together the seed ideas he used from the contest: Marie Antionette, antiques, cheese, monkey heads, and Brandon van Every.

It's a 15-minute experience that I didn't regret, and I look forward to trying other works in the absurdist Captain Speedo series. If the others are like this one, they are a brilliantly-conceived framework well-suited to the handful-of-random-ideas category of SpeedIF.

This game is small, but there's good reason: It was submitted as an entry to the Commodore 32 Contest, which challenged entrants to create a Z-code game weighing in at 32K or less (the memory size limit of the fictional Commodore 32 computer).

The competition was created to showcase mInform, a minimalist library designed to replace the Inform 6 standard library. I'm not sure what the point of mInform was (other than the standard engineer's motivation of "because I can"), but mInform can be used to create quite functional games, as author Robert Street demonstrates with Turning Point.

The introduction of this piece sets up a backdrop of interstellar war that comes across with all the excitement of a USA Today news blurb. As the action starts, you are standing on the oddly-placed bridge of a starship as the Captain (whom you are a clone of) issues assignments to handle various problems on the ship. You are shortly assigned to investigate a "disturbance" which turns out to be a firefight with an alien infiltrator.

It's actually not a bad setup, but the execution as a story leaves much to be desired. Though the 32K limit leaves precious little room for exposition, much of it is wasted on an unnecessary and frivolous detours(Spoiler - click to show) -- the fact that the PC is a clone of the Captain, and some backstory about an accident the Captain had which has caused him to take a more juvenile mindset. Neither of these has any relevance to the plot that I could detect, and good editing would have trimmed them out.

There is also a tendency to use humor when justifying restricting the player's actions. While the jokes are amusing, they do not fit with the serious and straightforward quality of the puzzle design.

Regardless, the writing is good enough to create an engaging atmosphere without unduly taxing the player's willing suspension of disbelief, and it is complemented by solid (if basic) programming technique and better-than-average puzzle for such a short game.

It's about a 15-minute diversion to win, and any new authors who are better writers than coders can use this as a benchmark for basic functionality.

IF author Sean Barrett's brief homage to Douglas Adams on the occasion of his death (one of several produced as part of the DNA Tribute Speed IF) is an excellent example of what short-form interactive fiction can accomplish.

Using just three locations, a handful of objects, and two non-interactive NPCs, Mr. Barrett creates a brief but engrossing experience combining elements of Adams' Hitchhiker and Dirk Gently universes. Fans of Adams' work (such as myself) will appreciate the attempt to render Dirk Gently's unique worldview faithfully, while those unfamiliar with the underlying novels will probably still find themselves drawn into the puzzle that Barrett presents.

While the piece has a cliffhanger ending (and is unlikely to be continued due to intellectual property laws), it provides a satisfying and well-balanced dose of exploration, problem-solving, and humor. The puzzle is just the right level of complexity for an introductory sequence, requiring the player to begin coming to grips with the uniqueness of the game universe but not requiring mind-reading.(Spoiler - click to show) The manner in which the obvious solution doesn't quite cut it, and the humorous game feedback it generates, is perfect for easing the player into greater effort of puzzle-solving without presenting the frustration of a dead-end brick wall.

Though I doubt The Sofa at the End of the Universe would live up to Mr. Adams' preferred level of diabolical complexity in interactive fiction, it is a fitting tribute to the most highly-regarded "crossover" IF author in the field's history. Adams fan or not, I recommend this piece.

Submitted as the first chapter of a six-part work proposed by the Segment Mini-Comp, this incredibly brief piece is under-implemented, uninspired, and did not encourage me to continue on to the next chapter. It seems like what might result from 30 minutes of sketching out an idea in code, then calling it quits.

Skip it, and see Mr. Carbol's Spring Cleaning as a better example of what he's capable of.