Ratings and Reviews by Cerfeuil

Disclaimer: I'm biased towards Bogleech since he made Awful Hospital. Awful Hospital is a fantastic interactive horror webcomic in the style of Homestuck meets Chandler Groover, and you should read it because I'm a complete shill.

Don't Get Spooked! is a good game in its own right, though. Bog has this signature comedy horror style. Surreal, grotesque, and more-than-mildly disturbing, but funny enough to offset all the horror. The setting and concepts are wildly inventive, the art is delightful (and all hand-drawn by him!). This game's heavy on visuals, and the main point of it is to go around looking at and interacting with the 60+ monsters on display. If you do the right things you get items, which can be used with other monsters, and on you go solving puzzles and expanding your inventory until you reach the end. Ultimately this is a light-hearted game, despite the subject matter. It's jampacked with references to various creepypastas, so you should definitely give it a try if you're a fan of internet horror.

Anyway, five stars. Mileage may vary, since the puzzles are admittedly not amazing and mostly boil down to 'guess the correct interactions to help you progress', but for me the art and writing more than make up for it. I love Bog's style, which does a great job of going between high-kilter parody like this:

The SKELETON WHO POPPED OUT downs the ECTO COOLER in a single gulp and does a RIGHTEOUS FLIP as he SMASHES the empty juice box against his SKELETAL FOREHEAD.

He gives you TWO THUMBS UP as his RAD SPEX fly off his face and land DIRECTLY ONTO YOURS.

It's okay, he had a SECOND, IDENTICAL PAIR under the first.

The BODACIOUS CADAVER proceeds to SHRED THROUGH THE ROOF and DISAPPEAR INTO THE SKY, his skeleton finally RAD ENOUGH for RAD SKELETON HEAVEN, which is in fact the ONLY KIND of HEAVEN.

I have seen the black. It is a black without end, but not without life. Squamous figures writhe and flounder in that shunned abyss, groaning and gibbering forms that flock to an intruder's warmth and breath like moths to a flame. I can still see their dim lights through the windows, eyes like swampfire bobbing in the distant gloom.

"CHITTER CHATTER! CLITTER CLATTER! TWITCH AND TINGLE TO A LUSTFUL REUNION OF SCABROUS ORIFICES BENEATH A FLY-BLOWN MOON."

"All you brats have been put through Vomit School, but you're the only one who learned anything there. And you have the motivation. Turn this business around, and you stand to inherit something."

A surreal business management sim about vomit. The gameplay is pretty bare-bones. Once you figure out a good set of expenditures - which is mainly a matter of changing the vomit formula - you can more or less stick with it. I won on my first try. (If only running a successful business in real life was that easy...)

A lot of the stats can be ignored - I didn't touch QA or training or processing, for example. The game could also stand to be way more clear on what some of the stats actually do. Right now most of the gameplay is "tweak stat, see if it does anything, repeat". Besides the vomit formula, the other stats I got the most mileage out of were wholesale price, varieties, and gallons produced. (Particularly, increasing varieties to 10 seems to up demand with no downside. What's up with that?) The formula guessing minigame is slightly fun, but also somewhat tedious. (The controls for changing ingredient percentages stat by stat can be really annoying, so I wonder if you could make different formula presets and have shortcuts for setting the balance to a specific formula?

Random events each quarter change the calculations, and though they initially have little impact, I found myself getting surprisingly invested in changing the numbers to max out profit. Capitalism, baby!

The little dialogue snippets you get every quarter are the real gem of this game, though, not the gameplay. Simultaneously hilarious and disturbing. Best of all, the background events aren't totally random but follow a fixed storyline, and you can feel the economic shocks influence your decisions. (In other words: the war is the best part.) The author said this is just a proof of concept, and I hope we get more. Lots of storytelling potential here.

Excerpt:

"He's got his own vomit factory now?"

"Fuck no. He says that's unnatural. What he's started is a center for holistic vomit. That douchebag is telling people they need to rediscover their cultural heritage and reclaim the means of vomiting from the soulless clutches of fat cat industrialists."

"So?"

"So, he's charging people to come vomit in his ugly-ass clay pots."

"You mean he's paying them?"

"No, he's charging them, and those gullible fucks are eating it up!"

"...the new confessionals proliferated. They assign penance through complex and unknowable mechanisms, utilizing the latest advancements in computational theology. To many, confession whispered through a handset feels closer to God. Machines, after all, are humanity's bridge to the divine."

Really liked this game. Intimate, heartfelt, and true to life. Quite beautiful too.

The concept of coin-operated confessional booth is wonderful. It's the unity of man, machine, and divinity that gets me, the idea of God living in the wires and responding, in God's unknowable way, to what you have to say. And I love the concept of anonymous messages whispered in the dark, where you don't know who or what will ever hear you. Messages offered to anyone out there, if anyone's there at all.

It reminds me of websites out there where you can read anonymously-sourced confessions (https://loneliness.one/confession and https://postsecret.com/ come to mind, though a brief web search reveals dozens of sites like them). An alt-universe Internet, of sorts.

I thought you might be playing as someone offering a confession to one of these booths, but you're actually playing as the machine. Which is a killer concept, cherry on the cake really. There's only a limited amount of interaction you're allowed with people, because you can only interface with them through the machine. They can confess their deepest, darkest secrets to you and your only way to respond is through the perfectly mechanical choice of whether you accept the confession or not, and if you do, how many Our Fathers and Hail Marys you assign to them. You can't respond, you can't comfort or criticize them, you can't let them know you're there, even though you are. Yet the confession is only given because the interaction is so mechanical and impersonal that it's almost like nobody is there at all.

I'm also a fan of the setting: an alternate world much like our own, with comparable technology but a new history and new countries that imply a beautifully strange world beyond the confines of the tiny place we see. Reminds me of Disco Elysium a bit. And I gotta mention the sound and visual design, which sells the "just another night in a strange city almost but not quite like our own" ambiance. You see the city sleep, and you see it wake up again. Incredibly immersive. This game is great.

A nice slice-of-life story about family. The protagonist and their father go on a fishing trip together - the stuff of an old-timey family tale - but towards the end it's gradually revealed (Spoiler - click to show)the fishing takes place in OUTER SPACE and this is a science fiction story, hence the title. But despite the grandiose backdrop, the story focuses on the minutiae of everyday life, the intricacies of father-child relationships. The other stuff, really, is just a backdrop. (Spoiler - click to show)Even though humans have advanced to the outer boundaries of the solar system, family and all the complicated emotions that come with it still hold strong.

I wish there was less linearity in the story. You can make choices, but they don't influence much and some are never brought up again after you make them. There were also a few grammatical errors, which at times made it hard to parse what was happening. But I liked the overall atmosphere, especially the Twine theming. Blue-grey color scheme goes hard.

Finished in ~10 minutes.

It starts with one of those classic "you wake up confused and bound in an empty room" openings, but things quickly go haywire from there. As you eventually find out, your job is (Spoiler - click to show)containing demons for a temple by serving as their human vessel. All you have to do is let yourself be bound, then sleep in peace. Easy, right? But something's set the temple on fire, and the voices in your head are getting louder...

The game makes good use of its situation - at the start your past is uncertain, your identity is in flux, and there's multiple confusing voices in your head telling you what they think you should do. But as you play, you realize what your situation is and that makes the "right" choices more clear. In other words, this is one of those games that benefits hugely from repeat playthroughs. I played it four times and got, I think, all the endings. I think I can safely say (Spoiler - click to show)the voices in your head are supposed to be some degree of ambiguously evil. After I realized this I stopped murdering people, though to my disappointment it didn't seem to impact the endings at all.

(Spoiler - click to show)Demonic possession is kind of overplayed, and there are slightly unfortunate implications with the whole "people who hear voices are psychotic murderers" thing, but I'm personally fond of "voice in your head" narratives, and it did work well with the song.

Took me maybe ten minutes to get all the endings (lots of repeat text between the different paths). Having more story differences between the paths, or more elaboration on the world in general/what exactly are the voices in your head? could make the game feel more substantial. It was fun nonetheless.