Reviews by AKheon

Savor is a choice-based horror game by Ed Nobody, published in 2020. The main character seems to be afflicted with a curse that makes his body ache and mind forget. Delirious, he finds his way to an old farm house, somehow convinced there’s a cure there.

Like in many other choice-based games, you simply click on text links to progress. The story is generally linear - most sections have one or two branching paths, but they eventually lead back to the same point. The game has a streamlined inventory system as well - the decisions you make during the game as well as any items you find impact which of the multiple endings you’ll end up with.

I think the writing is pretty good. The farmland setting as it is described has an eerie beauty and mild quirkiness to it, which creates a contrast with the more horrific moments. The game can get very dark very fast, for instance, (Spoiler - click to show)suicide is featured in more than one of the endings. I saw three endings, which for me wasn’t enough to solve the full mystery here, but (Spoiler - click to show)the story gave me strong Silent Hill-vibes with how there seemed to be two different versions of some locations - one nice and one hellish.

Actually playing the game is a bit cumbersome. The game extensively uses timed text which cannot be fully skipped - only sped up. I also had a somewhat bad time since I missed the “controls” screen, which is the only place the game ever tells the player that they can access the menu with ‘esc’ and load / save with ‘l’. I generally just avoided using the menu after one instance where the game seemingly restarted on its own and I lost all my progress after I entered the menu.

The cryptic, often surreal nature of the story can make it hard to predict what will happen as a result of your choices. It’s a pity that replaying and trying out different branching paths feels a bit arduous due to the aforementioned timed text.

The game uses a lot of multimedia - background images, music and even sound effects. The imagery consists of low-saturation photos with a bunch of filters on them. The photos themselves are usually quite good, although the visual filters don’t always look very smooth, and something about the resolution and zoom level might be a bit off too. (Spoiler - click to show)Something is added to the background during the farm house nightmare sequence, but I can barely see what it is because of how the picture is cropped by the edge of the screen. I can’t say if this is intentional or not, though. Could my browser (Chrome) or some other factor have caused the graphics to not work properly?

The music is varied and atmospheric. The most frequently heard track is a nearly uplifting piece with a conspicuous rhythm - I can’t say I was expecting something like that in this context. Many other bits of the ambience and music bear some resemblance to Akira Yamaoka, especially the eerie track that plays during night time. The music eventually grew on me a lot.

My biggest gripe with the multimedia is that the game doesn’t have a very fine-tuned pacing. It’s not uncommon for it to go from something very intense with a dark music (Spoiler - click to show)and even jump scare audio clips of people screaming back to a carefree vibe with no warning. Some of the use of audio is rather ham-fisted too. When the multimedia works properly, it complements the writing, but during the poorly handled moments it can cheapen it too.

Overall, I think this is close to being a worthwhile horror IF. The ingredients are all there, and the music adds a ton of charm and personality to the game. Some better tutorializing would be helpful to prevent people (like me) from missing important keybindings. I might still give this game another try after the competition to find out its remaining secrets.

Chorus is a choice-based fantasy game by Skarn, published in 2020. The game is about an organization of strange creatures who are trying to complete three community projects, such as cataloging old books.

The gameplay is about choosing which of the numerous characters will do which projects. The physical properties of the characters are vastly different, ranging from a gorgon to an amoeba, so you have to think a little who might be the best suited for any given task. After making your choices, you get to read what transpired afterwards. The game has a lot of different outcomes - tasks can succeed or fail in a variety of ways, and certain characters can also have unique scenes if you put them working on the same task together.

The writing is good and the setting is imaginative, although there is a dark, stressful undercurrent to everything: (Spoiler - click to show)things seem to be on decline - massive amounts of red tape, among other issues, are choking the organization. Some creatures and elements here are Lovecraftian, which could also explain the feeling of mild gloominess.

The first playthrough will take less than 30 minutes, but Chorus is really at its best when replaying since you then have a better grasp of what’s going on and what type of character teams might create good results. There are a lot of branching story paths and multiple endings, plus you can conveniently place the game on “fast text” mode which makes replaying even faster. It’s quite user-friendly that way, so depending on your level of curiosity, it can be easy to spend a while just tinkering with the game and seeing what can happen.

To criticize something, it can be a bit hard to get into the story at first since it starts with a massive info dump where you are introduced to the world of Chorus as well as 9 different characters at once. Some of the gameplay is also a bit trial-and-error, as most outcomes can’t be predicted until you try them. (Spoiler - click to show)Consequently, it seems fairly tricky to reach the best ending - for me it happened by sheer accident after 6 playthroughs.

The good concept makes Chorus worth exploring, especially for fans of dark fantasy and low-key management games, even if the execution has some arguable bumpiness.

The Turnip is a choice-based fantasy game by Joseph Pentangelo, published in 2020. It features a story about a mysterious turnip a man finds on a field while working.

The gameplay is simple and linear, and the presentation neat. The real draw here is the eccentric story, which at first feels a bit like a slice-of-life story from somewhere in the 18th or 19th century, but turns into something more surreal in short order.

I think the writing is good. It’s economical with words, but it creates lively imagery and dispenses fantastic and weird details at just the right pace to keep the reader guessing. The story is very short, though - I would’ve liked seeing even more of the world where the game takes place in.

The game is worth setting aside 15 minutes for if you like well-written, strange tales.

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.

Big Trouble in Little Dino Park is a choice-based comedy game made by Seth Paxton and Rachel Aubertin, published in 2020. The game is a parody of Jurassic Park, where you, a reluctant summer employee, have to survive a particularly grueling work day at a cheap knockoff dinosaur park.

The gameplay consists of clicking text links to move around and make decisions. The game opens up after a linear beginning, but even at its most complex it remains a fairly relaxed affair where you don’t have to think about your choices too hard. Game overs are frequent, but you can usually just retry from previous choice if that happens, so it doesn’t impact progress too much.

The writing is exaggerated and comical, as you’d expect in this type of comedy. At times it feels like the humor is a bit unfocused and shallow since the pace of the game is thunderously fast - it doesn’t dwell on any scenario or idea for particularly long. In addition, (Spoiler - click to show)later on the tone changes to something slightly more serious as you embark on a rescue mission, dampening the pure carefree comedy factor here.

Some more polish wouldn’t have hurt, as there are a few typos here and there. I also found one game over link that just flat out didn’t work, forcing me to restart the entire game.

I would’ve personally preferred either a sillier or a more fleshed-out and well-paced story, but still, the game can be amusing, and it’s clear the authors love dinosaurs from the way they name-drop so many different species here. The game could be worth a try if you’re a fan of Jurassic Park, dinosaurs and fast-paced madcap comedy.

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 Place is a choice-based game by Ima, published in 2020. The game features (Spoiler - click to show)a poetic, flighty description of a young woman known by the narrator, although you wouldn’t know it from the bizarre game blurb that directly addresses the player, talking about fate, choices and meaninglessness.

The story is short and relatively linear. The gameplay consists of clicking text links while trying to make sense of what’s going on; slightly annoying pop-up messages are also used to make the player choose between options and name some things inside the game. Having the player give custom names to things might be a good way to make them feel more invested in a story in some cases, but here the pop-ups often felt like an interruption. Also, since the blurb flat out states that your choices are meaningless, and there’s a quite a number of these pop-ups, I felt like there wasn’t much incentive to play along and name things the way the game would want you to.

Presentation-wise the game is fairly ordinary, although small things like timed text, changing text and background images are used in moderation to add some variety. Everything seems to work as intended, although the writing could have used some more polish as it has some rough spots and typos here and there.

I’m not sure what the game made me feel, if anything at all. I didn’t become immersed in it very well due to the unfocused expectations set by the blurb as well as the frequent pop-ups. It might be worth a try if you want to set aside 15 minutes for something original but confusing.

You Couldn't Have Done That is a choice-based game by Ann Hugo, published in 2020. You play as an autistic teenager who starts a job at a clothing store.

The gameplay is quite linear. You have the occasional choice in what to do or say, but it usually doesn't make more than a minor difference in the following story text. However, (Spoiler - click to show)there is a reason for this - the main character finds herself unable to do certain things when stressed out; that's where the title of the game "You Couldn't Have Done That" becomes significant.

The story is written with just enough detail that it's light to read, but it also illustrates quite well what challenges there might be in retail work for an autistic person. The writing is believable, and I like the main character too - she has her uncertainties, but she's still willing to face her fears and earnestly try doing her new job. The way the color of the background changes to illustrate her anxiety is a nice touch; together with the changing background music it made (Spoiler - click to show)the encounter with Janice feel quite oppressive.

As for the level of polish, there are a few typos like "ettiquete", and the second music track with piano sounds a bit off, as if it doesn't loop properly. But still, the game generally works and does its job. It's worth a try for a short but emotional story-driven experience.

I Hunger is a choice-based horror game by David Yates, published in 2015. You play as a mysterious God-like being who observes humans from inside a volcano and regularly demands sacrifices... or else!

The gameplay consists of making a choice of what sacrifice you desire each cycle. There are four different types of sacrifices, and your choice (Spoiler - click to show)impacts how the nearby human society will develop. Your role is a bit like natural selection; the humans will adapt in response to your cruel demands. There are also multiple endings, and the way you reach them makes sense in the context of the gameplay. If you (Spoiler - click to show)only demand one single thing over and over again, it usually results in a bad ending. For instance, demanding gold over and over again causes resources to deplete and the remaining humans will simply choose to escape your wrath. Playing smart on the other hand allows humanity to prosper, which lets you prolong the cycle of sacrifices indefinitely.

The writing is in first-person and it has a detached and grandiose style, as you would expect from some ageless being that expects worship. The tone of the game is not scary, per se, but it is fairly dark. The main character is an amoral glutton without real redeeming qualities, but the humans at his whim are also cast in a somewhat bad light as they (Spoiler - click to show)will rob and enslave people from nearby regions to placate your needs without having to sacrifice their own kin. However, it's also true that moderate expansionism can lead to one of the happier ending paths with humanity flourishing in long term. It seems that regular moral judgments become harder when you're dealing with a massive time scale, like in this story.

The level of polish is generally good, but I did notice one typo and one missing message: (Spoiler - click to show)you get a blank screen after you observe humans if demanding knowledge is your first sacrifice.

I Hunger features a thought-provoking concept and a compact, mostly functional execution. It's a very short game, but the multiple endings add a bit of replay value to it. It could be worth spending some 15 minutes with if you wish to step into the shoes of a mildly genocidal God.

Blind Date from Hell is a choice-based horror game by rook, published in 2017. The first part of the game is about going on a blind date, the second is about (Spoiler - click to show)getting violently murdered and/or raped in somewhat unlikely fantasy circumstances; the scenarios involve, among other things, black magic, shapeshifting and tentacles.

The game is conceptually pretty one-note. But... should I really be surprised? The game does market itself as an adult IF; even the introduction says it's for "getting-off purposes".

For what it's worth, the writing is proficient and descriptive. The game manages to create a contrast between the romantic start and the later half where the "from Hell" part of the title comes into play. There is also a fairly wide variety of grotesque or sadistic situations you can end up in. Considering all this, I believe Blind Date from Hell is a success in its own terms, at least.

As a casual horror fan possessing a particularly morbid curiosity, I can appreciate the game for its sheer shock value. But shock value alone doesn't necessarily get you very far. It's the same deal as with many extreme metal bands that believe that 230 bpm speed and harrowing screaming is a meaningful end in itself. Even if well-executed, it's mostly a cheap thrill if there's nothing beyond it.

And I may have missed the point already by starting to criticize the depth of an adult IF.

Anyway, if your interest was piqued by anything I wrote above, you already know whether you should try out Blind Date from Hell. It's simply a... very specialized affair...