Ratings and Reviews by C.E.J. Pacian

As a hypochondriac, I stopped playing Vespers as soon as I read the word 'plague'. And then, a few days later, I started playing it again. Something about its atmospheric depiction of an abbey barricaded against the Black Death drew me back, not because it was pleasant, but because it was quite thoroughly sinister.

Another thing that quickly had me hooked me was the way Vespers starts out as a medieval detective story. Alongside the plague, murder has come to the abbey, not to mention a mysterious waif and stray, and the monks are all acting strangely - among them the player character. As things progress, Vespers only becomes darker and more sinister, something that I would normally expect to repel me - but this carefully constructed rendition of apocalyptic Dark Age sentiments kept me hooked until, naturally enough, the detective portion gives way to a set of uncomfortable decisions - some of which you will have already made before you realise their portent.

This kind of IF game, where you must explore a world and form a moral reaction, has obviously been done before, most notably in Slouching Towards Bedlam. But whereas in that game I found myself having to refer to the hints to get the least thing done, my experience with Vespers flowed quite nicely towards its dramatic and nihilistic conclusion.

I don't normally play games based on a title alone, and I typically avoid fan-games, fan-fiction and fan-anything-else like the plague, but... I also happen to think that there's potential for IF games in the Metroidvania style, so I decided to give this one a go. For the uninitiated, 'Metroidvania' games, named for their progenitors, Metroid and Castlevania, are action-platformers involving exploration, character-progression and, to a lesser extent, storyline. The main character will typically have to explore a sprawling environment, such as an alien planet or ancient castle, find items to improve their abilities, and then use those abilities to access new areas or defeat more powerful foes.

None of which is evident in this IF game. Instead we find a constant stream of entirely random battles that happen to name-check a few characters and locations from the original Metroid (each with what I suspect is supposed to be a humorous (TM) after them). Type SHOOT METROID and USE HEALTHPACK (not actually something present in any Metroid title) about a hundred times and the game ends. That's it.

I sometimes see this grouped in with the IF Arcade submissions. But while most of those games seem to involve a reasonable adaptation or deconstruction of the originals, this sparse title takes nothing from its supposed inspiration, and gives nothing unique from itself.

Something strange happened when I first played Masquerade. I found that I didn't know what to type. And I liked it. Of course, I knew what I could type to advance the story - 'yes' or 'no' - but which choice would work out better for our beleaguered heroine?

A lot is made of whether IF games should have puzzles or simply be about following bread crumbs through a linear story, so I think it's important to remember the games that break free of this dichotomy. There are few, if any intentional puzzles in Masquerade - but it still challenges players by confronting them with typical, but well-constructed romance-genre decisions - do you marry for money? If so, how quickly do you try to pursue true love unfaithfully? And is your 'true love' really all he's cracked up to be anyway?

On repeat plays, Masquerade turns out to actually be a very linear game. The choices you make have only a small effect on the path you take. And yet, the game wouldn't be the same without them. Somehow, I found an unhappy proposition of marriage to be as much of a challenge as a locked door - with the added bonus that when I'd dwelled on it long enough, I could immediately move forward through the story.

Of course, I did say that there were no intentional puzzles. Masquerade falls at the very last hurdle. In what is probably, for many players, the scene before the 'expected' ending, the game requires you to type something relatively obscure to perform what is surely the most obvious thing for the player to do in this situation - a problem exacerbated by the way the scene makes the opposite choice for you if you take too long. For the record, the phrase to type is: (Spoiler - click to show)TAKE TICKETS. There are a few instances like this, where the game seems to push you a little roughly to do things that could be better clued, but otherwise I think that Masquerade demonstrates how players can still feel challenged by an IF game with no puzzles.