Reviews by AKheon

My Brother; the Parasite is a choice-based IF by growscant, published during the IFComp 2023. It's about a complex yet painful sibling relationship between a woman and her deceased brother (Spoiler - click to show)who still lingers in a pseudo-alive state thanks to a strange parasitic disease.

The game has been made on Twine, and it makes extensive use of self-made graphics. The visual style is quite polished, yet it has a certain rawness to it that suits the disturbing tone of the story. As one minor technical fault, it seems Twine can't change images on the screen completely seamlessly, resulting in small "loading times" when scenes and images change. Or could it just be my browser?

This is a very narrative-focused IF without much real interactivity besides clicking links to progress in the story. Timed text adds its own bumpy and unpredictable feeling to the game flow, and hyperlinks are also used in some different ways here and there for variety. Other than that, there isn't much else to talk about the gameplay.

The story itself is highly emotionally charged. The protagonist has to face the reality of her abusive brother's death and make sense of the mixed emotions that are brewing inside her. (Spoiler - click to show)The parasite adds an interesting twist to the storytelling. Although tonally the story is very much about pent-up emotion, like a prolonged, regretful, angry rumination about things the protagonist wishes she could've resolved with her brother while he was alive, in a sense the brother is still around and actually becomes a physical threat in some scenes. In this regard, you could read the story as being a kind of a cross between family drama and zombie fiction, or consider the parasite as a strictly symbolic storytelling device - it seems to work either way.

The writing is quite good in my opinion. The prose is usually compact and restrained, but it has a few more freely flowing and poetic moments when the situation calls for it. The forlorn small town setting is brought to life with some good worldbuilding detail too. It definitely feels like more than just character drama happening inside a vacuum.

Overall, I thought My Brother; The Parasite was memorable, gripping and full of anguish. Although I personally prefer IF with a bit more interactivity, as a story it was worth experiencing.

In the Details is a short choice-based story by M.A. Shannon, published during IFComp 2023. The story is about a vain musician who is about to enter superstardom (Spoiler - click to show)thanks to the power of the Devil, who has inconveniently come to take back what belongs to him.

This is the first time I've played an IF that's been developed on Texture. It has an interface where you drag 'n' drop buttons on top of highlighted text. I found this slightly awkward to do while playing on laptop with a touchpad-mouse, but otherwise, the system seemed pretty easy to use and suitable for this kind of streamlined choice-based gameplay.

The prose is pretty good, creating a sense of locale and character without expending too many words. The story itself is rather brief, though, and I don't feel like it has a lot of meat to it. The game description has both tags "comedy" and "horror", but I found the story neither particularly funny or scary. It has a few graphic moments and a life lesson, and that's pretty much it.

The game description says the estimated playing time is around 30 minutes, but for me it felt shorter, even though I replayed the game and managed to reach 3 or 4 different endings. There was one moment where I wondered if the design was buggy, (Spoiler - click to show)mainly the point where you have to choose between telling a truth or a lie, but being honest does nothing. I couldn't tell for sure if this was supposed to create characterization or if it was simply an unimplemented button, but this could be my unfamiliarity with this system too.

Overall, I found In the Details engaging enough, albeit a little short and light.

I Contain Multitudes is a parser-based game by Wonaglot, published in 2021. You are an engineer on a steam boat. A murder has happened, and the captain covertly enlists you to try to figure out what exactly is going on before the ship reaches its destination.

Being a Quest-game, the gameplay is a type of a hybrid between parser- and choice-based systems. You can move around and do various interactions by either typing or clicking on highlighted objects, and you also have a map. This makes the game quite comfortable to play... at least when it's working as intended.

The game world is like a small sandbox with some timed events as well as characters who move around. Besides basic exploration and information gathering, one major gameplay feature is that you have four different masks which you can wear to subtly influence other characters' reactions. Overall, it's the most complex and ambitious Quest-game I've played so far, and it deserves props for trying to do something unique.

Unfortunately, it could've still used some more polish and testing. The general implementation is spotty: not everything that is critical for completing the game is highlighted, which forces you to keep switching between clicking and typing instead of being able to comfortably choose your playstyle. Some items are unnecessarily difficult to find, for instance (Spoiler - click to show)the metal key inside the Walnut Desk is tricky to notice since the only time the game even mentions it exists is in the room description while the desk is open. Some characters seem to have little dialogue, with nothing to say about some topics that they should know or care about. The entrance to the Bridge is to the west, but you go there by walking east. And so on... In the end, I had to use a walkthrough to figure out some of the game's logic and be able to successfully complete it.

The writing is something of a highlight. It's imaginative and expressive, and it creates a solid 19th century and slightly steampunk-ish feeling. Although, like the gameplay, it too has some unpolished spots here and there, such as a few typos.

As far as the use of multimedia is concerned, (Spoiler - click to show)the game utilizes graphics and audio during the finale sequence in a way that works really well for creating otherworldly suspense.

The game should take at least an hour on your first time through, and the multiple different story outcomes may give it some replay value too. My biggest gripe with it is the slight roughness around the edges, which I hope will be fixed in a post-Comp edition. But even as it is right now, the game should provide some enjoyment for someone with a taste for a mystery/horror game at sea.

What Heart Heard of, Ghost Guessed is a parser-based game by Amanda Walker, published in 2021. It's a kind of a gothic horror adventure that takes place in Goldengrove, a grand old house with some dark secrets of its own.

The game uses a set of unique verbs, which is something explained quite shortly after you begin the game: (Spoiler - click to show)you are a ghost who is unable to interact with the physical world via regular means. However, your strong emotional responses can cause a variety of haunting-like effects ranging from mirror shattering to limited telekinesis. These new verbs give the game a bit of unique flavor and also make the exploration feel more fresh and exciting than in your average parser adventure game.

The overall gameplay feels pleasantly streamlined and accessible both because of the unique set of verbs that can be recalled at any time but also because of the compact world design. The compactness makes the game feel as if you always have some type of an idea on how to progress, even without the prose containing too much blatant hinting or tutorializing at any point. In a word: the design is elegant.

The writing is somewhat terse and possibly slightly more utilitarian than I would've expected in gothic horror, only dispensing enough details to create basic impressions of the scenery and drive the story forward. It's not particularly lavish or indulgent in any way, which I suppose is another thing that contributes to the game's exceedingly neat and elegant air. (Even the cover is elegant!)

The technical quality is fairly good, with almost everything making sense and working as intended. I did notice a few typos, but it's nothing major. The difficulty seems fair, although I did personally resort to using a walkthrough twice since I couldn't figure out how to get past one door and also missed an important semi-hidden object in one of the rooms.

If the game has some real flaw, it's that it's possibly a little bit too neat and compact. For instance, parts of the game world can feel like they're mostly there in service of the puzzles, although to be fair, this is a pretty common thing in adventure games which rely heavily on puzzle solving. Perhaps the subtle dissonance between gameplay and story necessities felt slightly stronger here since the game does bank a lot on an immersive setting and a solid storyline, and so it stands to lose more compared to a more casual adventure-puzzler that doesn't care about story.

Regarding the story, (Spoiler - click to show)the narrative is centered around various types of emotions as you discover the truth about yourself and Goldengrove, but the comparative simplicity of the execution and character motivations, etc. among other small details kept me from fully connecting. Although I found the story tragic and interesting, it didn't grip me on every level that the game's blurb and the prose might have intended.

The estimated play time of around 2 hours seems accurate, at least if you take your time exploring and avoid the temptation of using hints or walkthroughs. Overall, it's a polished and thoughtful parser-based adventure, and probably worth trying out if you like gothic horror.

Taste of Fingers is a choice-based game by V Dobranov, published in 2021. You are a business man hiding in a cafe somewhere in Hong Kong after something very bad has happened outside.

The gameplay is fairly linear and simple, basically consisting of clicking on text links to unveil optional text or progress reading the story. (Spoiler - click to show)Most of the narrative is focused on exploring your memories, and you have six different memories you can sink into. You only have a limited number of choices regarding which memories to explore, so it's not possible to see all of the game's content on a single playthrough. The game has no branching story paths beyond that, but keeping the player in a passive role makes sense in a story like this which is focused on introspection and fear.

The user interface is quite smooth to both use and look at. It also uses color to create an impression of the weather and time of day inside the story, which works well for setting the mood.

The story successfully creates a feeling of anxiety and hopelessness. It also feels quite topical: (Spoiler - click to show)unrest in East Asia, viruses, isolation, racism, social collapse... a lot of the individual strands of the story here seem to have at least some type of an indirect connection with current events, which gives the story additional dramatic weight as well as potential to depress.

My playthrough of the game took around 20 to 25 minutes, but it does have a bit of replay value if you want to see all of its content. Overall, it's a somewhat short but all the more grim horror story that takes place in a contemporary setting, and it should please those who are looking for one.

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.

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.

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.

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.

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.

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...

Symetry is a short parser-based horror game by Ryan Stevens, or Rybread, published in 1997. It's about a posh aristocrat who has an encounter with a haunted mirror.

With a small game world and a completely linear story, the gameplay basically boils down to figuring out the next command that lets you progress; sometimes it's easy, sometimes hard. The design is usually not very intuitive; for instance, the first item you find is a letter opener, but you don't even use it to open the envelope that you are carrying. The worst part is (Spoiler - click to show)the finale where plot-critical clothing - a night gown - appears on your character out of nowhere in the middle of a frantic timed section. I don't think this section is impossible to figure out without a walkthrough, but it's still quite nonsensical and unfair to the player.

The writing style is both pretentiously ornate and riddled with typos, like a bad imitation of classic gothic horror. The poor writing and the pompous yet crude tone almost makes Symetry seem like some sort of a parody game. Who knows, maybe it is? But to the game's credit, some of the imagery is otherworldly enough that it does have a somewhat memorable or unnerving effect.

The game has some bugs too. On my first playthrough I somehow managed to turn off the lamp so that I ended up in complete darkness with nothing happening afterwards, although I no longer remember what command created this result.

The game comes with a walkthrough as well as some other "bonuses" which seem fairly random.

With a better implementation and writing Symetry could have been a decent horror title. But, as it stands, it's closer to a clunky curiosity. It could still offer some fun for 15 minutes if you're willing to accept a few design shortcomings and other peculiarities.

The Old Church is a fairly short parser-based game by Eva Vikstrom, published in 2004. I gave it a try because I wanted to try out some obscure horror-themed adventure, and so far the game had no ratings on IFDB.

The main character is a tourist visiting an unspecified European church from 13th century. After some exploration it turns out that the church is haunted, although strangely no one seems to mind.

The setting is one of the best things about The Old Church. The layout and description of the church makes it seem like a fairly believable location; sadly the game world suffers from a lack of implementation. There isn't much to interact with, which hampers the exploration part of the game.

The writing is clear but stilted, with a few typos and wrong word choices. The overall tone of the game is not scary at all - it almost feels like an educational piece with all its low-key explanations of how various rooms of a church work as you move around the place. Any remaining tension is finally deflated when you discover that (Spoiler - click to show)the "villain" of the game is essentially a non-malevolent church mouse.

It's fairly easy to navigate in the game world since the exits are listed whenever you need them. However, in other respects the game isn't always user friendly. The conversation system is implemented rather spottily, making it hard to know at times if not being able to talk to a character about some topic is because they have nothing to say about it or if your command was wrong. The worst example is how (Spoiler - click to show)in one part of the game you have to talk about "Axel Gyllenpil" to progress. The game only accepts the full name, giving default error responses for both "Axel" or "Gyllenpil". Fortunately the game comes with a walkthrough for cases like this, but still... And regarding the ending, (Spoiler - click to show)according to the walkthrough there are two endings, and I imagine the alternative ending has something to do with cheese and the church mouse, but I couldn't find the correct command to do anything with the cheese.

The overall design is linear and somewhat contrived. The player has the option to explore the area freely, but the events that progress the story can only happen in a certain order. So in practice, you need to wander around aimlessly until you hit the first few story beats by accident. The most egregious part is (Spoiler - click to show)the sword magically appearing in the crypt only after learning about it, and the cheese conveniently falling out of your lunch box right after you pick up the sword.

One last unpleasantness with The Old Church are some sound effects which hit suddenly and loud when examining certain things around the game world. Yes, this game has jump scares, although I'm not sure if they were even intended to be jump scares or just normal sound effects for the purposes of immersion. In any case, I recommend lowering the volume before you start.

The Old Church is one of the first games made by the author, and unfortunately it shows. It's not always smooth to play and the payoff isn't always there, but you could give it a try if you're hankering for something very obscure and only very mildly terrifying.

Ecdysis is a parser-based Lovecraftian horror game by Peter Nepstad, published in 2007. You're a man who wakes up at night to a pounding headache and weird visions. You get up and eat some pain medication, descend down the steps, feel strangely sweaty... and from there things only get more and more strange.

The game is very short - under 10 minutes long - so there isn't much else that can be said about it without spoilers. But in general, I think that the writing is descriptive and memorable, and the game definitely has a certain "shock" factor to it that makes it worth trying despite its brevity.

While the game world is rather linear and small, the implementation can get bizarrely detailed at times. The author gave the main character individual body parts like hands, feet, head, eyes and yes, even sweat, that have their own descriptions (Spoiler - click to show)that change as the adventure progresses because of... you know. There are also some non-standard verbs like "think" and an optional side quest where you put a blanket on one of the children. So, if you're the sort of player who likes searching for secrets and details in the game world, Ecdysis has some interesting things to find.

It should be noted that the game has a lot of glitches too, although to be fair, they don't hinder a regular playthrough at all. I guess you could think of them as just another "bonus feature" for the observant player. For instance, (Spoiler - click to show)you can make your own body parts fall off using the buggy "cover" verb. Try the command "cover me with eyes", for instance. A glitch like this suits the body horror aesthetic of the game surprisingly well, though.

Ecdysis is short and sweet. Well, maybe it's more sour and horrific than sweet, and its short length keeps it from being absolutely essential playing in my opinion, but it's an interesting title to try out if you have a bit of time and like parser-based horror.

Afflicted is a parser-based horror game by Doug Egan, published in 2008. You're a health inspector who is supposed to inspect an extraordinarily seedy bar called Nikolai's Bar and Grill. The core gameplay involves moving around the bar and gathering information by examining things and talking to people; there's some light puzzle solving to do as well.

You have a notebook that you can use to mark down any health code violations you find. Using it acts as the game's score system too: every infraction you list makes Nikolai's Bar and Grill lose points. A big part of the game's charm lies in simply finding as many infractions as you can while reading colorful descriptions about the Bar's filthiness and seeing the score sink deep, deep into the negative.

The game is pretty easy on the player. While there are some actions that lead to untimely game overs, it's easy to deduce from context when doing something is a bad idea. The game doesn't lock the player out of success either; like the IFDB-page of the game says, it's always possible to reach *an* ending.

The writing is generally good. There is dark comedy in how over-the-top it can get, not to mention some of the multiple endings are also quite humorous in tone.

Sadly, Afflicted could have used some more polish. One example of this is the slightly inconsistently handled player scope. To simulate outdoor areas and windows, the game often adds things into player scope that are not in the same room as the player. This can be mildly confusing, and in one case it directly makes a puzzle harder to figure out: (Spoiler - click to show)at the start of the game "x window" gives you the message for the Bar's front window no matter your location. This is bad because there are three different windows in the area and you have to "knock" on a specific one to progress in the game but the buggy examination message makes it seem like there is only one window.

Another example of slightly lacking mechanics is the (Spoiler - click to show)anti-climactic end game. The villains aren't programmed to do anything very threatening - they just hang around waiting for you to solve some more puzzles.

Besides that, some descriptions lack a punctuation, examining the mirror gives a slightly buggy message, some objects in the game world partially share a name which leads to constant disambiguation questions... Small rough spots like this can be slightly immersion breaking.

Still, Afflicted is a decently fun way to spend one or two hours. The game is not too difficult to complete, especially since it offers an internal hint system for any subjectively tricky moments. It has personality and some gruesome imagery, so you'll probably like it if you're a fan of parser-based horror.

The Coffin Maker is a short choice-based game by A.M. LeBlanc. You can get through it in less than 5 minutes, but it has multiple endings for some replayability.

As you start playing The Coffin Maker, it quickly becomes apparent that not everything is right in the world. Mysterious illnesses seem to plague people and you... are the coffin maker. *title drop*

The core gameplay loop is simple. A few different local people come to you for a coffin, but you only have a limited amount to give. Your choice as to what type of a coffin you want to give (or none at all) plays a major role in regards to what happens afterwards.

The writing is cryptic and terse. It evokes gloomy pictures but doesn't say many things straight. Most facts about the seemingly apocalyptic setting are left ambiguous on purpose, and it doesn't help that (Spoiler - click to show)common terms like "winter" and "coffin" seem to have a vastly different meaning in this grim fantasy world than they do in real world. But the ambiguity gives the game a sense of mystery as well.

The only error I noticed in the game was that (Spoiler - click to show)if you don't give the mayor a coffin, a sentence says "Your workshop is permanently." I presume it was meant to say "permanently closed"?

While short and light, The Coffin Maker has the potential to engross and provoke thought. Personally, I like its dark and mysterious tone. I don't regret trying it out.