Reviews by AKheon

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.

A Calling of Dogs is a choice-based horror / thriller by Arabella Collins, published in 2020. In it, you’re a woman who is being held captive in a cage. Interacting with your kidnapper and (Spoiler - click to show)thinking about how to escape or gruesomely murder him make up most of your choices inside the game.

The tone of the game is intense and unpleasant. The slightly rambly and at times very graphic writing creates an impression of a feverish thought process where it’s mainly hatred that keeps one sane. I thought the characterization of both the hero and the villain worked well - I was always interested in seeing what would happen next in the story.

The game has an ambiguous lack of polish. The writing has a lot of typos and odd turns of phrases, but that might be an intended part of the expression here to create that aforementioned feverish, raw feeling. However, I did find one softlock too, which is a bit harder to defend. (Spoiler - click to show)During day three, right after being let out of the cage, I examined one of the choices twice. This resulted in a dead end with no more choices appearing.

While the game is short - only around 15 minutes - it has some significant branching paths and therefore replay value, in case you want to relive this harrowing scene. It’s simply a potent experience, if you don’t mind entering a darker place for a moment.

The Impossible Bottle is a parser-based game by Linus Åkesson, published in 2020. In it, you play as a six-year old girl who has to clean up and help do other chores around the house. Things are complicated by the fact that (Spoiler - click to show)she and her family seem to live inside a fractal arrangement of doll houses. Or maybe it’s all just the power of the girl’s imagination?

The gameplay is all about puzzles. The core mechanics here are really clever, supported by a well-designed and responsive world that encourages (and demands) experimentation. I was a bit frustrated by (Spoiler - click to show)how chronically helpless Dad is, but I guess most games wouldn’t exist if everyone else in the game world were more competent than the player.

The writing is efficient. The tone is sometimes ordinary, sometimes imaginative and whimsical. It does its job without wasting words.

The game has three clearly defined acts, but it still feels like a loosely structured “sandbox” puzzle game at heart. The drawback with this approach is that the gameplay can feel a bit uneven. I solved some puzzles before even realizing they were puzzles, and then, at other times, didn’t have the slightest idea on how to even begin accomplishing some task. Some random or timed events can also add to the confusion.

The way the game is playable either parser-based or choice-based is a nice and unique touch. I played the online version and thought the presentation was all around smooth.

The Impossible Bottle is an impressive puzzle game that makes me interested in the potential of Dialog. Even though my playthrough had some small snags and confusing moments, it’s probably nothing that can’t be fixed in a post-comp version. It’s fundamentally a solid title that does some unique things, and it’s simply fun to mess around with.

Saint Simon’s Saw is a program by Samuel Thomson, published in 2020. I’m not sure if you can call it a game, as it doesn’t have a conventional goal or a real win state - I would say it’s closer to a tool or a toy.

You’re supposed to think about a problem you have, then pick four cards from a deck to get a short reading. Like the blurb says, the process is a bit like tarot, although different - the cards and the logic of the reading both appear to be designed by the author and contain some unique symbolism and meaning.

The program has been made in Unity and it features some 3d-graphics, a smooth presentation as well as a set of hand-drawn cards. The execution is generally impressive, although there are a few typos and I couldn’t find a button for quickly restarting to get a new reading. Wonder if that is by design?

Carl Jung thought tarot could have relevance in psychology because of the archetypal imagery contained in the cards, and I’m guessing the author is along the same lines here. Symbols can be a powerful way to express concepts, and being confronted with symbolic imagery in relation to a personally important topic might help you see it from a new angle, or possibly ascribe new meaning to it.

The blurb says that this game is “intended as an aid for mediation, and for the envisaging of radical futures”, and I have no doubt that with the right type of a person it will do just the trick. If you enjoy esotericism, symbols, cartomancy and similar topics - or just have a generally pareidolic sensibility - Saint Simon’s Saw could be helpful, enlightening or simply interesting. It only does one thing, but it does it well. (It’s probably a very acquired taste, though.)

Turbo Chest Hair Massacre is a parser-based comedy game by Joey Acrimonious, published in 2020. In it, you’re a woman about to go on a date when you suddenly discover you have some light chest hair you need to shave.

The gameplay is exploration-heavy - you mainly search around your apartment for ways to get rid of your chest hair. You are also able to switch between the point of view of yourself and a robotic colleague who is present. The narrative voice completely changes depending on who you’re playing as, which is a very nice touch that adds a lot of personality to the experience.

The tone of the story is pretty light-hearted, although sometimes all the naughtiness, innuendo and (Spoiler - click to show)the main character’s recklessly stupid behavior can border on the limits of good taste. Personally, I think good taste is a bit overrated anyway, but this is still useful to note since some players will inevitably find crassness of any sort a turn-off.

I feel like it’s hard to get enough information about your surroundings in this game. The room descriptions only mention objects on a very general level; if you want to know what’s really inside some room, you need to examine individual things to reveal more individual things again and again. Opening a container doesn’t seem to automatically list its contents, and the “search” command can be criminally unhelpful at times too. It doesn’t help that the rooms are generally full of red herrings and other detail that makes it harder to know what’s really relevant to the problem at hand. One final layer of confusion stems from the fact that (Spoiler - click to show)the two main characters see the world slightly differently, each listing different things in their room description - realizing this is necessary to solve some of the puzzles in the game.

Since most of the gameplay is centered around nearly unguided exploration and discovery, and the design is non-linear, plus the game’s train of thought can be rather eccentric at times (Spoiler - click to show)(you have to weaponize old yogurt against the final boss…?), my playthrough of the game felt sprawling, aimless and mildly desperate. But I guess you could say it’s exactly what the story was going for, since the main character too doesn’t know what she’s doing, and she’s willing to go to immense lengths just to rid herself of a bit of hair. Fortunately, there’s a walkthrough - it should come in handy with a few of the puzzles here.

This game could be worth playing if you want something with personality and outrageous humor, and are willing to deal with a lot of unguided exploration.

Quest for the Sword of Justice is a short comedy game made on RPG Maker by Damon L. Wakes in 2020. You are an aspiring young adventurer who wishes to leave his hometown and become a hero.

The gameplay consists of wandering around the town, trying to become equipped for great battles ahead. But as you might guess from the game’s advertised 15-minute length, the adventure won’t be very epic despite the convincing enough JRPG-trappings. (Spoiler - click to show)Trying to pick up the Sword of Justice from the local sanctuary ends poorly for our hero, one way or another.

The presentation is smooth, although I think most or all of the assets here come from RPG Maker itself. Some of the humor works, some seems a bit bland. Especially the beginning where you randomly wander around the town doesn’t have too much going on - I was expecting some more snappy dialogue or other responses, although there is a chance that I just missed some of the jokes.

The game has multiple endings depending on (Spoiler - click to show)your dialogue choices, who you talked to and what items you picked up before taking the Sword of Justice, so there’s a bit more to the game than first meets the eye. But not much. I wouldn’t mind playing a more fleshed-out parody of JRPG conventions, but I fear a part of the joke would go amiss in a longer game that was more than just an interactive anti-climax, a faint promise of adventures never meant to be.

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.

Sage Sanctum Scramble is a parser-based game by Arthur DiBianca, published in 2020. The game is about collecting keywords to save a fantasy realm.

The story is very thin, essentially just an excuse to get the player to engage in puzzle solving and wordplay, which the game is full of. Instead of typing full sentences you only have to type single words to progress. Each new puzzle presents a simple clue - or a series of clues - that lead you to the needed answer. Solved puzzles unlock new puzzles, and the non-linear structure of the game allows you to skip a few if they prove too hard.

I haven’t played many other wordplay-focused games before, so the idea seems fresh to me. Figuring out solutions and making progress feels good, as you’d expect in a puzzle game that forces the player to really think, and the game is generally quite polished as well - there’s little to distract from the onslaught of brain teasers here.

One significant issue for me, being a non-native English speaker, is that the game is generally quite difficult. Having to think of (Spoiler - click to show)20 different colors or specific-length names for trees, etc. requires some specialized enough lingo that it’s virtually impossible to win without consulting a dictionary or similar. At worst the gameplay becomes a matter of browsing an online dictionary and trying out different answers as they come - at that point I can’t say it's fun any longer.

The flimsy setting could also be an acquired taste. At times I felt like there wasn’t much motivating me to push forward, other than the mild rush I got from my occasional victory over the game’s logic. (Spoiler - click to show)Apparently you fight a boss at the end, but I never got that far.

This game is perfect for people who are proficient in English and for whom wordplay is its own reward. For anyone else, it could still be worth a try since the style is so original, but the experience may have a few frustrations.

Alone is a parser-based horror game by Paul Michael Winters, published in 2020. The game is about a post-apocalyptic scenario where an infectious disease has ravaged the earth and you’re a survivor, just drifting aimlessly... at least until gas runs out of your car.

It’s basically a tightly designed, gloomy puzzle-fest. The design feels pleasantly streamlined - the game world isn’t overwhelmingly big, and as befits a world half-empty, most rooms don’t have too much to examine either. At least up to a certain point, the challenge of the game feels just right - it’s neither too hard or too easy to figure out what you’re supposed to do.

The writing is terse and subdued, which works with this type of horror. The tone of the game manages to be consistently morose, although to criticize something, (Spoiler - click to show)the setting isn’t particularly original - from a dark forest to an abandoned gas station to the underground bunker - nor is there any major twist awaiting here that would turn it all upside down in the end. This overall story feels a bit ho-hum, although to the game’s credit, the ending is surprisingly optimistic and leaves a nice feeling, and the game’s focus seems to be on puzzles anyway.

The polish is generally good, although sometimes the implementation felt just slightly lacking. Some things don’t exist in the game world that seem like they should, but I don’t think there are any problems that really hamper a regular playthrough.

The game can be finished under 2 hours if you don’t get stuck on anything for too long. It could be worth a try if you want a solid puzzle-focused adventure and don’t mind some unsightly horror imagery.

Move on is an experimental game made by Serhii Mozhaiskyi, published in 2020. In it, you must flee from mercenaries while carrying a mysterious briefcase.

The gameplay is minimalist and quite unique. The game features an interface with a small graphical representation of your escape vehicle and a single button for progressing in the game. (Spoiler - click to show)Each paragraph of text you read is on a timer. Depending on the clues provided by the text, you either have to wait until the timer runs out or press the button quick, otherwise you get a game over.

The writing is good. It establishes the setting and creates a sense of urgency with only a few words. There isn’t much to the story, overall, but then again, this is essentially a cinematic action scene - keeping your eyes on the road is the biggest priority.

It’s a very short game, but the unique angle to the gameplay makes it feel refreshing, and you definitely can’t say it overstays its welcome.

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.

Academic Pursuits (As Opposed To Regular Pursuits) is a parser-based game by Ruqiyah, published in 2020. In it, you’re a newly tenured professor who has arrived in her new office and has to unpack her things. Along the way, (Spoiler - click to show)you discover that you are not what you seem and have a secret agenda.

It’s a one-room game where the gameplay mostly concerns interacting with objects. You open boxes, take out things and then decide where they’ll end up: on the shelf, on the wall, etc. or straight in the garbage bin. It’s like a small sandbox with a few simulationist mechanics too; for instance, the game keeps track of available shelf space, and you can only hang certain type of objects on the wall.

The storytelling is non-linear and subtle. The player isn’t given a very deep motivation at any point - you’re just expected to unpack your things. Examining and interacting with the items you find generates some useful story and flavor text, though, and the game world actually has a lot of detail that rewards the inquisitive player - there is even unique text in response to the multiple different ways you can decorate your office.

This was one of the first games I played during IF Comp 2020, and back then I found that it lacked polish. Dealing with the boxes was a bit awkward, and you could also “take passerby” to pick up what should probably be a scenery object. Since then, however, it seems the author has went and fixed a lot of these bugs, so the game probably works much more smoothly nowadays.

Overall, Academic Pursuits is a bit of a mixed bag. The indirect storytelling is interesting, although I do wish the player was given a bit stronger motivation to start with. The gameplay has some meaningful decision making, but it also contains hassle from dealing with dozens of objects and their containers (especially since the coding has - or had - mild roughness here and there). It’s an original idea, at least, so it could be worth checking out if you have 30 minutes and want to try out something different.

Sheep Crossing is a parser-based game by Andrew Geng, published in 2020. In it, you need to take a bear, a sheep and a large cabbage to the other side of a river. If this setup sounds familiar, it’s because the game is essentially presenting the age-old “Wolf, goat and cabbage problem” in an Interactive Fiction-format.

The writing and implementation are both pretty minimal. The game doesn’t establish much of a tone beyond being mildly charming - it’s first and foremost just a puzzler. And since the main puzzle is historical, you might already have a decent idea on how to solve it due to cultural saturation alone.

The game works as intended, and it has a few small secrets that you can read about from the “amusing” menu after beating it. But it’s overall a somewhat small and light affair, and it can lack surprise value too since the main puzzle is played pretty straight - (Spoiler - click to show)the only real curveball is having to find some grass first to get the sheep to comply. I think the game would have benefitted from going a bit further and possibly featuring some larger twist to the core idea. Still, it could be worth a try if you’re looking for a quick puzzler.

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.