Ratings and Reviews by OtisTDog

Starcross is the only Infocom game with an 'Expert' rating that I ever completed without any outside help. This was no doubt due to my near-limitless enthusiasm for hard science fiction at the time the game was released. Although no particular story was instrumental in helping me figure out the game's many puzzles, the background in basic physics and familiarity with hard SF space travel conventions were essential to feeling at home in the game universe.

The most notable feature of this work is its extremely consistent internal logic. There are no quirky or humorous solutions here -- though you may need to have a flash of insight to comprehend a particular puzzle's symbols or structure, the solution is always clear enough (if not necessarily immediately reachable) once this occurs. The author does a perfect job of providing you the information you need to solve a puzzle without making it instantly apparent which information is significant to which puzzle.

This game is definitely 'old school', and, as such, may seem unfair to someone more attuned to the modern IF style. It is extremely easy to make the game unwinnable without realizing it. Somehow, this fits the style of Starcross well -- you are exploring an unknown vessel full of alien technology, and it seems right that you must rely on your own intuition instead of an author-supplied 'revelation' that you just made a mistake. Sure, you should make use of the save command frequently, but, when you find yourself stuck, you should always be able to deduce where you went wrong after some reflection.

If you're an SF junkie, you'll probably love Starcross. If not, expect to feel frustrated and lost a good chunk of the time.

In 1995, Inform 6 was under development and the first IF Comp was organized. The modern era of interactive fiction had not yet begun. Author Gareth Rees has been instrumental in bringing about the modern era; he helped kickstart the adoption of Inform by contributing to the Designer's Manual and producing the well-regarded Christminster. It is not necessary to be enthusiastic about The Magic Toyshop to acknowledge the debt of gratitude we all owe him.

This game is much more akin to "Hunt the Wumpus" or some other ASCII mainframe relic than it is to a work of IF. It has a framing story, but that story in no way affects the gameplay. Gameplay consists of a series of increasingly devious logic puzzles, most of which are based on the kinds of pen-and-paper games that kept kids busy on rainy days before the invention of the game console. To advance, you often have to figure out a way to creatively cheat. While this is somewhat amusing, it is also slightly perverse -- you have no motivation for doing so other than to "win" by any means necessary.

As if that weren't enough, the game loses its consistency about two thirds of the way through and introduces a "puzzle" requiring knowledge of the Infocom classic Trinity (and others?) to even have a clue how to proceed. Resorting to the walkthrough did not leave me with a sense of failure -- only puzzlement that the author could expect anyone but himself to figure out the right sequence of moves.

Should you make it to the end of this player/author grudge match, you are sent packing with little more than a cursory "*** You have won. ***" and no sense of accomplishment.

It is hard to imagine, but this all-work-and-no-play entry scored 3rd in the Comp. While this piece may be worth examining by a programmer for its noteworthy adaptation of classic timewaster games, it holds little value to a player -- except maybe the kind of militant puzzle fiend one can only find in Britain. I would not bother with this one unless you really get the urge to solve bent logic puzzles using a text parser.

LASH was written by Paul O'Brian, the maker of the popular Earth and Sky trilogy. This work demonstrates that he is capable of creating an original premise just as easily as he can put together a story around conventional superhero tropes.

This piece has been difficult to review. The code is solid. The writing is good. The gameplay is smooth. The hook hooks. The dramatic arc is clear. LASH has every reason to succeed. And yet, I'm giving it only two stars. [edit: I revised this to three stars, since it is good, just not great.]

Like Duncan Stevens, I felt the premise of LASH had something significant to deliver. Like Duncan Stevens, I felt it didn't quite reach me in the way that the author probably intended. While I find the piece interesting, most of my interest involves trying to understand what went wrong in the execution of what is clearly a compelling vision.

Functionally, I think it boils down to two issues. The first is time, and the second is the essential mechanics of player/PC interaction.

Regarding time, LASH is simply too short to build up the tension that is required to deliver the message well. Though the work was not entered into the IF Comp, it would have been well-suited to that venue owing to its short playtime and multiple endings. While this has been a winning formula many times for Comp winners, this structure shows its essential weakness when taken outside of that artificial environment.

Regarding player/PC interaction, it is hopefully not too much of a spoiler to state that the story's conclusion depends on a successful division of the player from the PC in the player's mind. It seemed to me that this division occurs somewhat abruptly and artificially, a perception that is very probably related to the short playing time.

There may also be a problem at the broader thematic level. Though I try to avoid spoilers in my reviews, I can't see how to get around that this time while still being clear, so please don't read the following until after you've played: (Spoiler - click to show)The main problem may be that LASH's story depends on achieving an identity between the historical slaves of America and the fictional slave machines in the game universe. This is both conceptually and ethically challenging in light of the fact that the machines are, by definition, purpose-built tools, and the conceptual gap between "tool" and "slave" is naturally much wider than that between "person" and "slave" -- especially in an era where nothing like the artifically-intelligent PC exists in the real world. Building a bridge across that gap is a hefty undertaking, and further complicated as described below.

While I am sympathetic to the idea that no sentient should be held captive, the crux of this story revolves around making the player realize that he or she has, in some small way, adopted the mental habits of a slave master while dealing with the PC. There is significant interference here as a result of the default player/PC relationship in interactive fiction, which is to some degree dependent on forgetting that you, as the player, are not the PC. The key difference between player and PC is the "realness" of their existence in their respective worlds (actual vs. fictional).

This dynamic is very different from what I would expect between slave master and slave, where the owner and slave by definition inhabit the same world, and the key difference is the "realness" of the slave's status as a free and equal human being. Mr. O'Brian may have done better by trying to achieve the player/slave master identity directly instead of indirectly through the analogy of "Player is to PC as 'owner' is to slave."

Overall, this work clearly had the potential for greatness but ended up falling short. Its finalist (but not winner) status for every major XYZZY award in 2000 shows that this is a pretty common perception. I do recommend that authors examine this work as a study in how to implement well on a functional level, and also as a thought challenge -- to explore how one might successfully achieve what Mr. O'Brian set out to do.

This IF Comp entry may be a little gimmicky, but the gimmick definitely worked for me. What's not to like about a story that features a teddy bear as a protagonist?

A Bear's Night Out (ABNO) is Mr. Dyte's first released work, and it has the feel of a first work -- a little rough around a few edges, a sense that maybe more effort was spent on code than prose. Nonetheless, the main character seems to touch a soft spot in the hearts of most people, and this -- coupled with the consistent but novel logic of the teddy bear universe -- is what makes the piece stand out.

ABNO's fifth place finish in the 1997 IF Comp is a testament to the quality of Mr. Dyte's originality and style, as is the game's receipt of the "Best Setting" XYZZY Award for that year. Lest you think this piece is all gimmick and no meat, note that it was a finalist for "Best Game", as well, and that fans of the story have taken the time to translate it into both German and Spanish.

I do think this game would be suitable for a children's story, assuming the child has some capacity for sustained problem-solving and perhaps the over-the-shoulder advice of a few family members. Only one puzzle seemed likely to stump a group of players for any length of time; be prepared to use the gentle in-game hint system to avoid the bad kind of frustration, if needed.

Though I give it only three stars overall ("good, not great"), it is one of the more memorable stories I've played. I do recommend that you try this game, particularly when you are feeling young-at-heart.

Mr. Wheeler seems to be a man of extremes. His works, which are often submitted under a pseudonym, have scored both low and high in various competitions, and they include 'Being Andrew Plotkin', aka 'BAP'. While 'BAP' is an in-joke laden spoof that is most popular among the authors and IFMUDders at the core of the modern IF community, 'The Tale of the Kissing Bandit' is at the other end of the accessibility extreme -- a complete novice to IF should have no trouble playing this story through to the end while appreciating every word along the way.

The game was apparently written for a target audience of one (Wheeler's significant other), and anyone who's tried their hand at writing IF can sense the Herculean lengths the author went through to ensure a smooth playing experience. You won't be "guessing the verb" in this one... indeed, I suspect the game could teach you a few synonyms if you inspected the source code.

Some might say that this game is 'for girls', but this should not be an issue for anyone who's gotten past the 'girls are icky' stage of growing up. Though the final ending is perhaps a bit too personal to satisfy everyone, the story leading up to it is like a good G-rated movie: fun for the whole family. It is cute, original, and violence-free, and the player character is so memorable that it's easy to see why it won the 2001 XYZZY award for Best Individual PC.

'The Tale of the Kissing Bandit' should be a fun diversion for any player who wants a light-hearted break from their busy day, and an instructive example for any author who wants to see the impact of a gold-standard grammar implementation on playability. Take the time to try it out; you won't regret it.

'Risorgimento Represso' placed second behind 'Slouching Towards Bedlam' in the 2003 IF Comp, and, if you ask me, Mr. Coyne deserved the top spot.

You start this game in a boring college classroom. Then, you discover an interdimensional vortex under the seats. Why is it there? Because it is.

The lack of finesse in this opening is almost comical. What seems at first like bad writing instead ends up being a signal that this is an "old school" game. You go through the vortex for the same reason you break into the white house in 'Zork' -- because it's your gateway to the quest that awaits. How else were you going to get there?

With this opening, 'Risorgimento Represso' proudly proclaims that it is a classic text adventure, through and through. If you don't like those, you can't say you weren't warned. If you do like them, you're in for a treat.

This game emulates the archetypal Infocom aesthetic: a blend of witty writing, solid puzzles, and fun (if stereotypical) NPCs. It eschews the modern "cruelty vs. kindness" debate and reminds you why the save and restore commands were implemented in the first place.

What most impressed me about this game was the way that it managed to retain its own voice while being so obviously inspired by the best of what came before. Sure, it has magic. It has monsters. It has heroes and villains. But it also has great flair for memorable moments -- like your grudge match with a very determined bird and your introduction to tyromancy. If the fantasy adventure genre is a choir, 'Risorgimento Represso' clearly adds its own notes instead of simply following along with the tune.

My congratulations to Mr. Coyne for introducing us to a compelling new universe. I understand he's working on a sequel, and I can't wait to play it.

Earth and Sky is a popular piece that is probably most notable for two things: introducing the superhero genre to IF, and successfully founding the first serial adventure in the medium. [edit: After writing this, I realized that the Frenetic Five series probably has a better claim to both of these distinctions.]

An IF Comp entry, Earth and Sky takes no chances with the recommended timeline for gameplay; it seems impossible that you might not finish within the allotted two hours. Its relatively linear story -- usually a big turnoff for me -- is compensated for by the fact that this story is fun to read and still somehow offers a sense of freedom. Rather than feeling railroaded by the plot requirements, you feel swept along by the fast-paced events you are involved in; instead of feeling pushed, you are racing to keep up.

Like the early Lone Ranger or Flash Gordon serials, this work is unapologetic in its use of cliche conventions and its cliffhanger ending. It has no need for apology -- indeed, it shows us why those cliches exist in the first place, and the authors have delivered on their promise for more in the game's two award-winning sequels.

Though I haven't felt the urge to replay the game since I first tried it a few years back, this is a fun one that's well-suited to a lunch-hour diversion, or as a friendly introduction to the form for an IF newcomer.

"Planetfall" is undoubtedly one of the finest games in the history of interactive fiction; it may be my favorite Infocom game, to boot.

If you ask someone who played "Planetfall" back in the 80s, it is certainly Floyd, the player's bubbly omnipresent robot sidekick, that will be mentioned first. Floyd was, quite simply, a quantum leap in the category of NPCs, presenting an unforgettable comic personality that played perfect counterpoint to the otherwise dark and foreboding tone.

Beyond Floyd, the game is built on a well-constructed story, having taken enough care in the creation of the game universe to be solidly convincing, and offering as its premise a steadily mounting series of challenges that intertwine the player's fate with that of a seemingly-abandoned planet in a natural and game-appropriate way. As the plot moves from survival to exploration to the intense climax, the reader can't help but be impressed every step of the way.

As a side note, this is the only work of IF I've ever played where eating, drinking, and sleeping are implemented in a manner that not only avoids being annoying, but which is ultimately essential to driving the plot. You must reach the end before your supplies run out, and some of your dreams are hints for solving the tougher puzzles.

If "Planetfall" lacks anything, it is the literary quality that marks the finest works from the new school of IF-writing. I can't hold that against it, since nothing like that existed when this game was released. Indeed, this game may be among the first steps in that direction -- if the prose was a little more flowery, there would be no doubt.

"Planetfall" remains a landmark achievement that is in many ways unequaled today. If you can find a copy, don't give in to the impulse to look at hints. This one should be savored over days or weeks as the rare treat it is.

(I should preface this review with a note that a three-star rating from me means it is a good game; I reserve four stars for something special, and five stars for something truly amazing.)

Light-hearted in tone, traditional in style, "Uncle Zebulon's Will" finds that elusive balance between implied scope and actual delivery that many winning Comp entries miss. In short, it doesn't bite off more than it can chew in two hours of playtime, so it doesn't leave you disappointed when you reach the end.

I particularly admire the way in which the author provided descriptions and responses that are just enough to convince you of the reality of the game world. At no point was I disappointed by the lack of a particular programmed response: Even the game's bored and disinterested NPC was believably (and appropriately) bored and disinterested.

This economy of writing is one of the hallmarks of classic IF, and so perhaps it should not be a surprise that Activision included this entry in a 1996 re-release of classic Infocom titles. Other than the abbreviated length and the copyright date, you might never realize it isn't from the "Golden Age" of IF.

This game made a huge splash in the IF community when it was released, handily taking first place in the 2003 IF Comp and performing the equivalent of an Oscar sweep in that year's XYZZY awards. Why, then, do I give it a mere three stars?

First, the positives: The introduction is a superb piece of writing. The reader is immediately gripped by the mystery presented, and that mystery is fully explored in the multiple possible endings. The premise is unique; the atmosphere is memorable. Overall, "Slouching Towards Bedlam" practically shines with the kind of originality that is so highly-prized in the IF community, and this probably is the best explanation for its record-breaking high score in the Comp.

But, then, there are the negatives: The world implementation is a little spare. The NPCs are a little flat. Certain promising points of interest turn out to be either red herrings or truncated plot elements. To be honest, this game strikes me as half-finished in some ways -- the overall tone of the implementation has an unevenness that can be surprising.

Once again, I have to point to the IF Comp guidelines that say an entry should be designed to be solvable within two hours of gameplay. The authors clearly had more to give here, and the half-finished feel to some parts of the game could be nothing more than the result of their having reached the target play time and calling it quits. My suspicion is that they may have run a bit short on development time, however; some improvements in editing would have easily scored an extra star from me.

"Slouching Towards Bedlam" is a decent game made from a terrific story. My slight dissatisfaction stems from my sense that, with more work, it could be an excellent game made from a terrific story. It is definitely worth your time to explore, even if I don't count it among the greats.