"In Memory" places the player in a surreal environment and prompts him to reminisce about a hazily-remembered past. While the game's ambiguous situation creates an engaging sense of mystery, the game's prompting inhibits the player's sense of agency.
Presumably, any reasonable response to the game's prompts should be accepted and used in feedback, but this doesn't work as often as it would need to in order to evoke the emotional response it wants. This turns "In Memory's" interaction with the player into an unintentional guess-the-word game. Even if the player can win this guessing game, his inability to change the game-state in any significant way hampers the game's intriguing premise.
Still, Jacqueline A. Lott's writing conveys feeling without becoming sentimental, and it effectively foreshadows the game's ending by making use of some common folklore without giving away the game through obvious cliches.
The "Eleusinian Miseries" follows a vacuous, self-absorbed player-character as he is introduced into an ancient Greek mystery cult. Amusingly, the cult resembles American universities' fraternities, and their mild hazing rituals and toga parties, except its members speak with British idioms and have names like Alky and Puffy.
While "Miseries" characters are well-acquainted with ancient Greek clothing, foods, vases, and architecture, they are also flippantly vague on other Greek folkways. The PC's unrequited adoration of his friend, his ineptitude at practical tasks, and his surprising aptitude at accidentally emasculating statues of Hermes appears to be a joke about the virility of either the ancient Greeks, American fraternity brothers, or British trust-fund kids. Regardless of the way you read it, it's pretty funny.
The game is structured by five distinct scenes. The first scene is a well-designed and implemented set of find and fetch tasks. The second scene is a little under-clued and linear, with a brute-force puzzle (Spoiler - click to show)(you'll need to try a lot of clothing combinations until you find out what amuses your cult-mates) and a guess-the-verb puzzle (Spoiler - click to show)(if you want to splash or spatter something on yourself, try "wash" instead). The third scene is more open and involves some lateral-thinking repair puzzles. The fourth scene has little interaction, but carries some thematic weight for the game. And the final scene is a clever optimization puzzle which points to several alternate game endings.
"Eleusinian Miseries" is a funny, engaging, well-structured game, with only a few implementation problems.
"Edge of Chaos" has the makings of an interesting game. The player-character, Jay Schilling, is well-defined, childish and petulant, and surprisingly unsuited for his work as a private detective. He, for instance, constantly makes assumptions about people at a glance, even though his job is to investigate them.
This creates an opportunity to play with both the problems that Jay's character would create while attempting to perform his job and the problems the player will likely have with Jay while attempting to guide him through his investigation.
But, instead, the game just allows Jay to do things without the player guiding him, and then prompts the player to do Jay-like things when the player is given the opportunity to play. This reduces player agency to a frustrating level. Worse, the game's keyword-based conversation system breaks the interface's imperative-sentence format, forcing it to reveal topics the player no longer has the opportunity to discover though game-play.
"Edge of Chaos" is a missed opportunity to allow the player to experience the consequences of clinging to a puerile outlook in a situation which should require the player-character to adopt a more mature approach involving research, empathy, and reasoning.