Ratings and Reviews by Cerfeuil

A very fun space romp. The story's punchy, flows well, doesn't waste words, gets to the main plot fast and resolves it just as fast. Fifteen or so minutes of fun.

Big fan of the spellbook - it has a nicely put together cover, too - and the symbol guessing minigame. Had a lot of fun casting spells you were not supposed to cast to get all the death endings. Hey, what if I cast this huge explosion spell inside a sealed space station? What could go wrong? The bad ending with Daffodil as a (Spoiler - click to show)weeping ball of flesh floating through cold space, eternally, sticks with me. The true ending is very sweet, though. Heartwarming stuff.

The characters are lightly sketched out, but the worldbuilding details are quite interesting. Besides the rad symbol system for spellcasting, there's the implication that the spaceside people are communists/anarchists (? - forgive me if I'm wrong, this kind of thing is not my forte) who "[provide] for each other according to need, not wealth". Sign me up. It's also pretty cool that both main characters use neopronouns. I'd read more stories set in this world.

"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!"

This game captures a moment with careful attention to detail. It's not a situation I've ever been in - the morning after a one-night stand with your coworker - but through the game we can peek into it and into the characters' lives, getting a sense of who they are. It's a very casual moment - no tension, no high stakes, just two people the day after a fling. The dynamics between them are somewhere between awkward and intimate. They know each other almost, but not quite. They're not entirely sure where their relationship stands now, and they're navigating new waters.

Appreciated the attention to detail in the woman's room, with the goth decor and her middle-school love of emo music. Or the randomly selected emo band you can talk about. Similar attention is paid to the protagonist - they're clearly a defined character, not just a blank slate. I like that they have a prosthetic leg and former ambitions of being an artist, which you can discuss briefly.

My criticism, I guess, is that the description says "try to convince [your abrasive coworker] to stay in bed just a little longer", which made me think there'd be more conflict in the game. I was expecting more pushiness from the protagonist, maybe some commentary on social pressures surrounding relationships, but there was a surprising lack of that. Seeing more points of tension with the relationship - how long have they known each other, do the other coworkers know, does the boss know, what do they really think about each other? - might make the story more interesting. You can pick various terms for the woman, from "lover" to "colleague" to "rival", but they don't seem to affect the narrative that I could tell? A touch of conflict could make the game more engaging. As studies in mood and character go, though, this is nice.

Playtime: < 15 minutes

I'm the one who submitted The Unholy City to Shufflecomp. It's a "song" (though more like a spoken poem set to music) from Thomas Ligotti, a severely depressed horror author with a severely depressing worldview. (TLDR: he thinks life is pointless and consciousness is a curse, a viewpoint maybe understandable when you live with devastating anhedonia and anxiety for decades on end.) With this game, there are now three Thomas Ligotti-inspired games on IFDB: Skulljhabit, this, and a third one called The Crooked Estate I admittedly haven't played. We're growing the Thomas Ligotti fan community, guys. At this rate we'll have 10 whole Ligotti-inspired games on IFDB by the end of the century!

In the game itself, you progress through a sequence of scenes relating to daily life, which start off normal and rapidly descend into horror. Eventually, inevitably, you end up drawn into the Unholy City. The city itself is never described - each scene ends with you "entering" it. There's only one ending I could find, which of course doesn't result in your escape.

Playing while familiar with the original song is a fun experience. There were moments that I could pick out as being directly inspired by the song, or drawing on it more strongly than other parts. I noted the mundane workaday nature of the scenes, at least at the outset. Before Ligotti became a horror author he was, by his own admission, a severely depressed anhedonic working an office job at a publishing company and having violent fantasies about murdering his coworkers. To say he hates corporate America and everything it represents would be pretty accurate. If you look at his larger worldview and body of work, it's clear that the Unholy City represents all of reality, or perhaps the state of existing as something conscious and capable of suffering. (Though one of the best things about his horror stories is, unlike his nonfiction, they're open to interpretation. You could view it as a real place, if you wanted to.) Knowing that, it seems to me that the game protagonist can't escape the Unholy City because they're already in it, and you can only leave through death. Or maybe I'm reading too much into this.

The game itself is short, so not incredibly expansive, but has a neat little collection of scenes. If I had any criticism to offer, it'd be that I wish there was more! Would be fun to see this concept taken to more extremes.