Ratings and Reviews by AKheon

The Last Doctor is a choice-based game by Quirky Bones, published in 2021. You are an impoverished doctor in a conflict-ravaged, ambiguously post-apocalyptic setting. Some patients enter your clinic, you assess them, and you then decide how to use your scant supplies. The story can progress to a few different directions depending on your choices.

The writing style is compact and stylized. It feels like many details about the game's world are obfuscated by the intentionally vague and evocative prose, but it still tells you enough to create interesting mental images and make you care about your choices. (Spoiler - click to show)It's a pity that the game is very short and doesn't build much on its core ideas. You only take care of two patients, and the story ends so soon that it's a bit of an anti-climax.

The game has some brief descriptions of medical procedures and injury, but they aren't very detailed and come across somewhat milder than I'd expected considering both the main character's bloody profession as well as the grim feeling of the setting itself.

The technical quality of the game is decent. The interactivity is simple but functional. I did notice two text mistakes, including a missing word and a typo. It's nothing deal-breaking, though.

The suggested playing time is 30 minutes, although I think my first playthrough was actually closer to 10 minutes. However, the game does have multiple endings which gives it replay value. Overall, it's not a bad title to try out if you want to briefly dip into a dark setting and think about humanity.

The Waiting Room is a choice-based game by Billy Krolick, published in 2021. You are a new employee at the Shady Oaks Nursing Home and you accidentally end up tangled in a supernatural mystery. The game's disclaimer says that it was inspired by "various snippets of true accounts", and it's easy to believe that. (Spoiler - click to show)Besides the supernatural threat, the evil that exists at Shady Oaks is unfortunately all too mundane - basically criminal negligence by the staff.

As usual for a choice-based title, the gameplay mostly consists of reading and clicking various text links. Some meaningful branching paths as well as one slightly puzzley sequence add some intrigue to the otherwise quite straightforward user experience.

The writing is decent. The prose can be slightly inelegant and unpolished, with some occasional typos. Sometimes the game just flat out tells the player what they should feel, which I think is not optimal horror writing. "...all the lights are off. The windows dark and empty. Weird."

The story itself is often eerie and even sad, but I do think it's a bit too fast-paced and compressed for best results. The flow of time is inconsistent and the world building somewhat minimal. Even the main character is just a nameless cipher, which feels off in a story like this where you have extensive social interactions with other characters - you are a nurse, after all. The game gives you enough context to care about the choices you make, but it does sometimes feel a little thin.

Besides that, the story (Spoiler - click to show)seems somewhat unfeasible, with the Back Hall apparently having actual rotting corpses which everyone just decided to hush up before getting back to work. Or are the corpses a hallucination which only appears at night? The game isn't exactly clear on this. Some of the big choices in the game also seem counter-intuitive. For instance, why would anyone cover up for Austin after realizing what he's done? You've spent exactly one work day with him, and this brief encounter shouldn't really inspire the needed camaraderie or attachment that would make the player want to cover up his crimes. This choice seemed to come out of nowhere, in my opinion.

The suggested playing time is around one hour, although I think a single playthrough takes much less than that, possibly around 30 minutes. However, the story does have branching paths and multiple endings which give it replay value.

Overall, I feel like The Waiting Room has a few powerful moments but also some strange design and wasted potential. At the very least, it's a generally functional title which can be worth a try if you want a somewhat eerie and sad visit to a haunted nursing home.

Killing Me Softly is a choice-based game by Fobazi M. Ettarh, published in 2016. It's a type of an educational title; it has a simple story line, but more than anything else, its intention is to illustrate how microaggressions work in practice through simulated examples.

You play as one of two characters: Alex, a white gay male, or Leslie, a black disabled woman. As you attempt to live your everyday life, your co-workers and other random people often say inappropriate things in your vicinity, and you can (typically) choose to either call out this behavior or stay quiet. Some of the choices may become blanked out if you get too stressed from dealing with all the hassle, (Spoiler - click to show)although on my multiple playthroughs I got the impression that this mechanic is mostly an illusion, and that most of these blanked out choices will always be blanked out regardless of your playstyle.

The game has a pretty good presentation. The layout has two parts to it - the left side has options and right side has the story text. The colors and fonts are clean and readable, but there are some things about the technical quality that could be slightly better: some of the writing is a little unpolished, and I found one bug too: (Spoiler - click to show)at one point in Alex's campaign, someone makes a rude comment about you and your Indiana Jones-costume. I then tried to talk to my supervisor, which caused a "Error: bad evaluation" text to appear on the screen.

I can't say the game entirely works as a story-driven experience. The story is short and mostly centered around its educational topic, and so I felt like I didn't really get to understand the two main characters as people - only as identities. But playing the game and reading how the story unfolds does generate some feelings of frustration and bitterness - even if a bit shallow, it does have some type of an impact on the player.

*sigh*

Finally, as you might have guessed from the fact that the topic here is microaggressions, this game is indeed very much rooted in Critical Social Justice, an ideology with a lot of postmodern baggage. If you decide to play it, I recommend keeping an open mind, but do pay attention to the broader implications of what the game is saying. (Spoiler - click to show)In my opinion, the attitude here is rather pessimistic, even infantilising, as it portrays normal adult humans routinely spiralling into depression and sleepless nights by clumsily well-intentioned but rude mannerisms and words.

The game is very linear, with most of the story unfolding the same way regardless of your choices. It takes around 15 minutes to complete the first time around, but it has a bit of extra replay value too if you want to see both Alex's and Leslie's stories. I'm not sure I'd recommend it for either educational purposes or as a fun pastime, but I guess there are worse ways to spend 15 minutes.

Hard Puzzle is a one-room parser-based game by Ade McT, published in 2015. You are a person held in a garage against your will, and you're told that you must assemble a three-legged stool to please your mysterious benefactors, or tormentors, called The Family.

The setting is that of undefined post-apocalyptic sci-fi or horror, with only dramatic proper nouns like The Event hinting at what grave terrors may have occurred in the past. The writing style is terse, which gives the game some sense of mystery - the player doesn't get to learn much about the exact circumstances of the game world, or even what's really at stake with this whole stool assembling operation.

Mystery really is the key thing about Hard Puzzle, and this extends to the gameplay and implementation too. You deal with a lot of different objects during your time in the garage - the stool parts, plus other miscellaneous things you find around the room - and figuring out how to use any of it is, ostensibly, a large part of the gameplay. Many items are discovered by taking apart other items, but the game never explicitly lists what you get when doing this. You have to keep manually checking your inventory, trying to keep a mental track of what is new, what might be useful and how everything connects to everything else. It's all somewhere between engrossing and frustrating.

With the slightly unhelpful and rough implementation, along with certain mechanical quirks that may very well be bugs, the game comes across a bit rough around the edges. Then again, it is said to be a "speed-IF", so maybe this is understandable. Many would even say that the technical shortcomings add to the odd charm of the game.

(Spoiler - click to show)The repetitive nature of trying to assemble the stool eventually makes you question the whole ordeal. You start wondering if, like the intro suggests, there could be a way to escape. As the player is stuck in the minimalistic environment doing the same things over and over again, even the mechanical quirks themselves acquire a significant meaning. For example, I personally started wondering whether the weirdly teleporting assembled stool could be used to leave the room. The way the fourth wall is broken here and there also casts doubt on everything the game claims to be about. Are the apparent implementation flaws a part of the design after all? What parts of Hard Puzzle are red herrings? Is it really a speed-IF? Can you take anything about the game for certain on a meta-level?

(Spoiler - click to show)Hard Puzzle is a trollish meta-game that is veiled in misinformation and deception. It's a puzzle game where the player knows neither the rules or the objective. It's a dysfunctional sandbox with a lot of moving parts that don't connect to each other. It's a contrived enigma. My opinion is that while the meta aspect is clever, it is essentially a game designed to waste the player's time.

The Shadow in the Snow is a choice-based game by Andrew Brown, published in 2020. The game is about getting stranded in some isolated forest area during a snow storm (Spoiler - click to show)and surviving a werewolf attack.

This is one of the first titles I tried during IF Comp 2020, and I ended up playing an early version of the game that had some truly game breaking bugs. For instance, you could softlock the game by simply using a certain text link too many times in a single session. Since then, the developer has fortunately fixed the worst bugs in the game, making it at least playable.

The gameplay consists of clicking text links to move around the area, occasionally examining and picking up things. There is an element of trial-and-error here, since sometimes you have to choose between multiple choices that you can't know in advance which leads to salvation and which does not. Other than that, it's a pretty simple and short game, with a few additional details you can miss during a playthrough if you're not thorough.

The lack of ‘undo’ is an inconvenience - if you get a game over, your only choice is to return all the way back to the beginning of the game. While the lack of ‘undo’ suits horror, in my case it made playing the game feel extra unrewarding since I also encountered those major bugs that forced me to restart several times.

The writing style is simplistic but functional, with short paragraphs and terse descriptions of what’s going on. The brevity keeps the story moving along at a respectable pace while helping to create a somewhat tense, mysterious atmosphere.

The game uses background music. The music track itself is a pleasant if melancholy symphonic piece. It sounds very midi, but it brings to mind a wintry scenery and old video games, so it works quite well for its purpose. The dark presentation and the music together create a strangely cozy atmosphere that makes me like this game more than I probably should.

While flawed, The Shadow in the Snow could still be worth a try for some players. It should only take around 15 - 30 minutes to finish, so feel free to give it a try if you dare.

The Eleusinian Miseries is a parser-based comedy game by Mike Russo, published in 2020. The game is about partaking in secret religious rites in Eleusis, (Spoiler - click to show)although in practice it’s close to just being an excuse to gorge on food and drink, at least as far as the main character is concerned.

The game is, above all else, a puzzler. It consists of several mostly self-contained scenes with clear goals on what to do. The design is streamlined enough that it’s usually not hard to figure out what to do, although sometimes locating needed items or understanding how to complete the various objectives might be a problem. I personally got stumped at a few parts, but I wouldn’t say the design here is unfair in any respect.

The writing is rather verbose but polished. The game presents itself as a farce, and it definitely has some comical, unfortunate situations in store for the hero. The narrator voice has a lot of personality, being jovial yet a bit dainty and spoiled - it really fits the character of a cultured wastrel with a short attention span.

A part of me was expecting the game to go even further in some respects. The tone of the comedy strives to stay rather clean and prim at all times, which might clash a little bit with the hedonism- and debauchery-laden setting. Then again, I’m not too familiar with the major inspirations behind the story, or historical farce in general. Maybe this is the most authentic approach for this style? I couldn’t say.

With around 2 hours playtime and a detailed implementation that is fun to mess around with, there’s a good amount of content to be found in The Eleusinian Miseries. It’s worth checking out for a solid puzzler, especially if you’re interested in anything pertaining to ancient Greece.

Minor Arcana is a choice-based fantasy game by Jack Sanderson Thwaite, published in 2020. You are a sentient Tarot deck with a long, grimy history and an air of misfortune about you. The story consists of a loosely structured series of recollections, some of which can be explored through your choices.

The game features bits of real life Tarot-traditions mixed in with some dark fantasy and fatalistic drama. The writing is of high quality, and it has a foreboding, mysterious tone that makes it quite interesting to read.

The story has a few different branches to explore, and (Spoiler - click to show)it seems that some of the content can only be seen while replaying. The design gives the game a secretive air - even after multiple playthroughs I was left curious about the game's story and setting, wondering if there were still any important details or additional closure to find.

It’s a fairly short game, only taking around 30 minutes even if you replay it a few times. It should be worth it if you’re looking for something otherworldly and ominous. Personally, the game consistently held my focus due to its slightly unique format and esoteric storyline.

Phantom is a choice-based game by Peter Eastman, published in 2020. It’s a story-driven 30-minute experience about an aspiring opera singer who meets the Phantom (of the Opera).

The game begins with some discussion about the tropes pertaining to this classic horror character. On my first playthrough, I assumed the purpose of this was to refresh the player's memory and ease them into the setting. (Spoiler - click to show)You could argue the whole game largely *is* a character study of Phantom; in some ways this idea even eclipses the rather low-key main story line.

The writing is generally good. It has enough detail to create a convincing image of the main character and her aspiring opera singer ways. The overall pace of the story is quite fast, though, and towards the end characters are introduced and plot developments happen so fast that not all of it has the weight it deserves. (Spoiler - click to show)The biggest twist here is that the protagonist is also villainous, so it’s not a clear-cut “beauty and the beast” tale this time around.

Your choices during the game (Spoiler - click to show)are less significant than you'd hope. Act III changes depending on what you picked earlier on, but not by too much. For example, I think that even if you choose classic Phantom, he is still a master of using modern technology and cameras for some reason.

The game has multimedia. There’s a background image of red curtains that creates a nice stage for the story, although when I was playing on Chrome, the lowest part of the graphic sometimes cut off to white instead of black, which looked a bit glitchy. The game also uses some background music. The snippets of classical and opera music work well in the context, but some of the public domain samples suffer from the limitations of their day, making the game feel a bit anachronistic. The story is supposed to take place in the modern day, but the audio quality brings to mind the 40s.

Overall, Phantom is not perfect, but it should offer an interesting time if you enjoy any media related to this classic horror character.

Amazing Quest is a choice-based game by Nick Montfort, published in 2020. The platform is quite unusual, as this appears to be a Commodore 64 game running on an emulator on the IFComp website.

You are a space wayfarer at the end of a victorious journey. To get back home, you answer simple yes / no questions about what to do in various randomized situations.

The minimalism is one of the most striking features of Amazing Quest. The various planets and areas you visit are described with exactly one adjective and one noun each, and the rewards for your success or failure are likewise expressed very succinctly. The writing is as terse as you could possibly get without losing sight of the core idea. It all leaves a lot to the imagination - perhaps too much.

The supplementary materials feature a 2-page manual written on a typewriter. The manual elaborates on the game’s apparent purpose: it should be all about meaningful decision making and getting the player into the mindset of a returning wanderer who has to decide if it would be wise to f.e. speak plainly in a strange place, potentially revealing your weaknesses to hostile characters. The language is somewhat mythical and dramatic, and it reminds me a lot of slightly pulpy science fantasy fiction, possibly even power metal.

The gameplay would work better if (Spoiler - click to show)there was anything at stake here. I tried intentionally creating a fail state inside the game by answering all the questions “wrong”, but I couldn’t do it very consistently and ended up winning every single playthrough. In fact, just smashing ‘enter’ over and over is enough to win the game. It gives me the feeling that victory is inevitable, wrong answers only delay it. I wonder if something like this *is* the intended message of the game? Such an optimistic vibe might be par on course for a game called “Amazing Quest”.

Overall, this is a rather strange title that requires a large suspension of disbelief from the player. Depending on how seriously you take it, there could be a world of adventures here, or there could be almost nothing. I personally found it a bit thought-provoking, at least.