Ratings and Reviews by CMG

Originally this game was written in Italian. It has been translated into English, and it shows, and it is amazing. I think people will either love it or hate it. I loved it.

You play as a vampire who's just awoken after having been killed for the second time. You're in your crypt surrounded by protective wards that the people who slayed you left behind to ensure you'd stay dead and trapped. But they didn't succeed. You have to disassemble the wards and break out again to reunite with your vampire queen mistress.

Everything about this game is neck-deep in both serious and parodic vampire lore. The environment is elaborately overwrought, with torture devices and painted bats and spiders and snakes on the walls. One sub-mission involves finding your evil vampire wardrobe and dressing in style for your comeback. What puzzles you'll find here are basic, not really pushing any envelopes, but sprinkled around in just the right places to keep you engaged. Or at least, in the right places to keep me engaged!

But what really won me over about this game was the writing. I can't judge the original Italian. My impression is that it must have been baroque, and the translated prose drips with atmosphere and character. It's decadent. But it's also unnatural, and by that I mean that a native English speaker would have never naturally written prose like this. That does not mean the translation suffers from broken English. For the most part (barring a few typos) it's grammatically sound. Rather, it has a cadence that only a non-native speaker could bring to the language. An inclination to turn phrases in unexpected ways.

In another genre, this would have surely backfired, but here the translation enhances the experience enormously. It places Darkiss into a tradition that I thought only belonged to film: schlocky yet sincere foreign horror overdubbed with out-of-sync voice acting. In fact, it's more than that: Darkiss is like the thick accent that Bela Lugosi brought to Dracula. It's inadvertent but it's perfection.

Maybe this makes it sound as though the translation is doing the game a disservice by misrepresenting the original Italian, but I don't think that's the case. You already know what tone Darkiss has in mind from the narrative and setting and characters. It loves old-fashioned vampire stories, both for their silly tropes and for the true horror that they explore, and it's taking all the classic ingredients and mixing them together into an over-the-top homage. I wouldn't be surprised if the English translation actually succeeds more than the Italian at this goal.

Finally, something else wonderful comes through the translation: earnestness. You can tell that Darkiss was written with love, and you can tell that it wants to share that love with the player. I think this is why it was such a joy for me to play even though the protagonist is so vile (because Martin Voigt is indeed a vile vampire, not a romantic one). Every new action reveals another little passage in the story, and each new passage is a delight to read.

Darkiss is probably the best self-aware horror game that I've ever played.

A prolific alien blogger has been recently disabled and can't write his advice column anymore. You've been hired to be his "speaker" by recording his dictations and publishing them to the web for him.

The game's central dilemma arises from the fact that the speaker disagrees with the alien's advice and wants to secretly edit the column. Are you, as the player, going to record the dictations faithfully, or are you going to tamper with them?

This seems to be a much greater dilemma for the game's author than it was for me, because I was prepared to record the dictations 100% correctly. That's what I was hired to do. I'm serving as a transcriptionist. I don't see an ethical problem.

Perhaps in a higher stakes situation it would have been different. A general gives the command to engage some military target, and you as the messenger who will deliver the command have reason to try to change it. But that wasn't the case here. The alien might have been giving bad advice on his blog (or he might not have been), but it wasn't any worse than you see on many blogs in real life.

It did occur to me that this alien was more influential than a normal blogger, and the sci-fi setting could have been implying that his columns had telepathic sway over the populace, but these were only thoughts that I had about how the game could have gone. I saw nothing in the story to indicate anything like this during my playthrough. Mainly, the protagonist just disagreed with the alien a whole lot (we're told this but not given many examples why), and that's meant to be motivation enough to sabotage the column.

With more development and more at stake, the main concept about tweaking a transcript to serve another purpose could make for a compelling interactive story. There's just not enough conflict in this game right now.

In Map you play as a dowdy housewife who finds that her house is expanding. Rooms take longer to cross. Ceilings feel higher. Suddenly, one day, there is an extra doorway that wasn't there before. When the protagonist enters this doorway, it takes her into her own past, where she is given the opportunity to remake certain major life decisions.

The game does not have puzzles in the normal sense, but as more and more doorways appear and you're given more decisions to reshape the protagonist's life, the entire story becomes a sort of master challenge. Once you change an individual moment in the past, you cannot redo it; you have to enter the command "tomorrow" and advance the current timeline to the next day to see how the present has altered. And while at first it may seem like you want to change everything you can in the past, you soon realize that these changes are impacting each other. You're gaining one thing only to lose another.

Once you've come to this point, no decision in the game is easy, and none is right. There isn't a "good" ending you're trying to reach. Every outcome involves compromise.

Photopia is the nearest relative to Map that I know about in the text adventure world. There's a stereotype about the "my shitty apartment" genre that many games fall into, and I'd say that Photopia and Map both fall into the "my shitty middle-class life" genre. They deal with realistic problems, sure. They deal with tragedies. And they're uplifting in the end, even though they don't iron out life's complexities. You're meant to relate to them. But personally, this is not my style whatsoever. It is everywhere in modern literature -- in fact, it's what the term "literary fiction" often means as a genre label (poor literary fiction, being saddled with that). I can appreciate Photopia for what new tricks it did with the parser, but if I came across its story as a novel, I would pass right by that novel without looking back.

Well, for me, Map was better than Photopia, even though Map suffers from what I call the Moll Flanders Effect. If you don't know about Moll Flanders, here is the book's full title:

The Fortunes and Misfortunes of the Famous Moll Flanders, &c. Who was Born in Newgate, and during a Life of continu'd Variety for Threescore Years, besides her Childhood, was Twelve Year a Whore, five times a Wife (whereof once to her own Brother), Twelve Year a Thief, Eight Year a Transported Felon in Virginia, at last grew Rich, liv'd Honest, and died a Penitent. Written from her own Memorandums.

All the novel's major events are summed up in this title, and even though the events themselves are very serious, when they're compiled into a laundry list they become silly. Moll Flanders is doing this on purpose. Most stories that suffer from the Moll Flanders Effect are not. Map does not mean to be silly, but when it hits you with major event after major event, the story strains beneath such a dramatic load. You've got everything from teenage pregnancy to extramarital affairs to Aunt May being shipped off to the nursing home, and more.

Again, these are realistic issues. They happen to people. They sometimes even happen all together as they do in Map. It's not the issues themselves that I'm talking about, but rather how they're being handled by the narrative.

But whereas Photopia remained mired in its "my shitty middle-class life" muck for me, Map broke free. That's partly because the interaction is integrated really well into the story. You are seriously making these choices, and you seriously feel their weight every time you make them. By the end, it's as though you're performing a high-wire act, aware at every step that the wrong decision might send you plummeting -- and as I said before, there are no "right" decisions. You will make sacrifices, and you will feel it.

The other thing that Map does really well is ramp up the tension. As you approach closer and closer to the ending, one horrible past event slowly unveils itself, and you know where you're going, you know you have to face it. It almost becomes a horror game, with the supernatural house bending around you, driving you toward this confrontation.

One thing that Map does need, objectively, is a copy-edit. It has lots of text, and there are lots of typos. I also felt that the text could've been trimmed back at certain places. It will always go for more explanation rather than less when it has the chance, even once something has already been established clearly.

Those quibbles aside, this is a game that everyone should play. It shows what you can do when you put the story first and use the parser to full advantage to tell that story.

Your jeep has crashed and you're stranded in a desert wilderness . At the outset you can choose to be an athletic rock-climber or a more knowledgeable but less physically robust nature-loving survivalist. These classes will have obvious repercussions on how you navigate the desert. Would you prefer to scale that cliff wall, or would you prefer to know whether this water is safe to drink?

The game is choice-based and has stat-tracking. Your water and stamina levels are what you need to maintain. Sometimes they'll decrease for obvious reasons. Trekking for hours in the midday sun is going to dehydrate you. But sometimes you'll suffer an accident like a tumble down a ravine and unexpectedly lose some stamina. If either stat drops to zero, you're dead.

There's no plot in sight. This isn't necessarily a bad thing. The game is purely about wilderness survival, and I was actually surprised by how engaging it was. Normally I want a story, but this game is filled with enough environments and events that it pulls you along anyway.

I was also tremendously lucky to get as far as I did. I felt like I was skirting disaster a few times only to barely scrape through and keep going. Occasionally this was because the game gave me a challenging situation and I put on my little thinking-cap and did the right thing, but occasionally it was because I randomly stumbled across some garbage like an old glass bottle that I wound up needing later. No thought went into that on my part. It was total chance. And it did strike me as odd how you sometimes needed these artifacts to accomplish a survival task when surely there would have been other ways.

(Spoiler - click to show)For example, the glass bottle provided me with a shard to scrape bark from a tree and brew some medicinal tea. But someone stuck in the wilderness would've dug into that bark with their bare fingernails if they didn't have a tool for it.

Eventually, however, I did die. I was so far along that I felt like I had to be near the end, and when I checked the walkthrough I discovered I was one node away. Rather than encouraging me to try again, this made me stop playing. I didn't want to reread all that text just to try changing one variable to earn the extra stamina point that would've let me live, especially since it wasn't guaranteed that I'd be able to change a variable that easily.

This was also where the game's plotless aspect finally caught up with it. Because there was no story, I wasn't invested in reaching the ending to see what happened. I had experienced the wilderness survival simulation thoroughly enough. Other players might be more motivated to make it all the way through.

The Problems Compound is a pure parser puzzlefest filled with fetch quests. You play as Alec Smart, an intelligent but socially maladjusted student, and the world around you is being formed by your imagination. Most of the NPCs are snide, condescending, dismissive, self-important, and terribly pleased with themselves. They obey a social order established by a tyrant in the fortified Problems Compound, who is the nastiest and also most popular person around, and your goal is to usurp that tyrant.

Every location and character in the game is based on a pun, where common phrases are reversed in word order and sometimes in meaning. For example, the Labor Child is a successful boy businessman who owns the Scheme Pyramid. This doesn't impact the puzzles or story as much as I thought that it would. Mostly it functions as a representation for how Alec disassembles everything in his mind to find the logical underpinnings at work. But it's also a constant reminder that things can be reversed. Alec wants to reverse his own submissive personality. Whether that is a good idea is what every interaction in the game is about, and one fantastic episode with a "cutter cookie" demonstrates that becoming a Smart Aleck might not really be the best outcome.

The writing is snappy, filled with little quips, and it skewers just about every form of social interaction that you can have. It goes for some obvious targets, like art critics, but it also goes for really subtle things in everyday language. Although he might be hesitant to assert himself, Alec has studied people and can pick them apart to the bone.

The game wears The Phantom Tollbooth as a huge inspiration on its sleeve, but The Problems Compound really made me think more about the Alice books. Alice is a young girl and everyone speaks down to her as adults will speak down to children. Wonderland is more socially hostile than the world in The Phantom Tollbooth, and The Problems Compound is also swimming in social hostility. But Alec Smart isn't a child. He's practically an adult, and his own peers are behaving this way toward him.

Even though the game doesn't have much plot momentum, all the puzzle vignettes cohere to create a strong narrative tone and theme, and interpreting the story involves more delicacy than you might at first realize. After all, no characters you encounter are actually antagonizing Alec; they are constructs inside his own fantasy land. He's not doing himself any favors by dwelling on their negative attitudes, and yet confronting them is what might allow him to make progress in the real world.

Fishstomachs. For this concept alone, Summit would have my praise.

The story here is universal. You play as a character dissatisfied with many things. You can see in the distance, both metaphorically and physically, a summit. Climbing this summit might erase your problems. Therefore you set out to climb it.

The game is episodic. You're waylaid beside the road, in cities, in towns, you meet people, you part from them, years pass, and still you are trying to reach the summit. The world is unusual and alien, yet familiar. One sequence involves attending a pseudo-religious function where the participants convulse on the floor after ingesting nano-machines. This echoes our world directly. Just remove the nano-machines.

Fishstomachs are extra stomachs that everyone in this game has, and that are filled with living fish. The fishstomachs eject the fish, the characters eat the fish, and then the fish eat through the characters' normal stomachs to nibble at their internal organs before the fish die and decompose. Eating a fish and having your organs nibbled is an ecstatic experience like taking a potent drug. Everyone is dependent on eating fish, but not like drug addicts are dependent on drugs. You need to eat the fish to stay alive. There's no rehabilitation possible. If you don't tend your fish, your fishstomach will erupt and kill you. If you do keep eating fish, eventually that will kill you too, once they nibble your organs enough and their fishrot infuses your body.

This is a thoroughly nightmarish concept to me. I'm averse to most seafood anyway, but having fish swimming in your body, nibbling your organs, rotting away into toxic slime? Phantom Williams has created a potent metaphor with this fishstomach business. It's not a metaphor for anything in particular. Like the game's summit, it's universal. It resonates on many different levels.

And you totally understand why the protagonist would want to reach the summit and have all their problems wiped away, including their fishstomach.

One curious feature of this game is that "you" is not really "you." Sometimes "I" takes over when "you" gets too tired, and the game addresses this, proclaiming that the "you" in most text games is actually narcissism masked as empathy.

It's interesting, but I don't entirely agree. Although there's some truth here, the "you" in a text game is no more narcissistic than the "she" or "he" in a novel. No matter the narrative viewpoint, the player/reader is always consuming the material, absorbing it to change or reinforce their own perspectives about the world. Whatever pronouns are being used, everything is another fish going down the gullet.

Comparisons to Porpentine will be made, with reason. Summit seems to have studied Porpentine's work for inspiration. But this game stands on its own.

It has a soundtrack that you shouldn't miss.