Reviews by Cerfeuil

I loved this one when I was younger. The first time I played it, years ago, I think I cried. But playing it again, it's much worse than I remember. It's odd how time can reverse your opinions.

The concept: Russian-American artist commits suicide. You learn about his life through the eyes of four different people visiting a posthumous exhibition of his paintings. Creative idea, unique and meta.

But the writing simply isn't good enough to produce the effect the author wanted to achieve. I found the character voices flat and one-dimensional. At times they degenerate into stereotypes. The college student was my least favorite. I remember even in my original playthrough, I was annoyed by her unjustified hatred of the artist, Russians, and men in general. She's a straw feminist, who despite being a humanities major (all the humanities majors I know are extremely passionate about their field of study) demonstrates no appreciation for art or her university education. I found her character shallow. "Boomer caricacture of SJW college student" shallow.

The other characters are similar. Of course the art critic is snooty and pretentious, of course the wife is a meek simple country woman. Even the paintings themselves don't grab me, maybe because the mediocre writing makes for mediocre mental images. And the metaphors are basic. The artist was going through Hell, so he painted Hell, look at these pictures of Orpheus and so on. The artist had a difficult relationship with religion, so here's a painting of a church covered in insects. His last painting, of a noose, was found on his easel after he hanged itself. Too on-the-nose for me.

The pictures suffer from simultaneously too much and too little description: often there's so much going on that the author can barely describe it all. The author is so caught up with character voice that the descriptions mix in with them and you never get a clear picture of the art you're looking at, even though the art is a central point of the game.

And the writing just isn't good enough. Some of the wording is awkward. Characters speak in voice until they don't, so the game can provide you with directions and tell you where the exits are. The painting descriptions have minor missteps, like:

> However, Domokov has done amazing and confusing tricks with perspective, similar to "Cornucopium".

That "done" doesn't sound right to me. It feels inelegant, and uncharacteristic of a learned seventy-three year old critic. There are more than a few places like this in the writing, where the language feels slightly off. I mean, I don't know, maybe I'm nitpicking. But this is a very text-heavy piece, so the tiny issues stood out to me.

I wish the number of paintings was lessened, and the descriptions lengthened. With multiple paragraphs to describe a painting and the viewpoint character's reaction, the concept could work. But Finley tries to fit everything into a few sentences.

"Maudlin", as another review said, is the right word for it. In the hands of a better writer this could be a good story, but it's hamstrung by sentimentality and reliance on cliches.



Disclaimer: Since my past self was enamored with this game, clearly my less-than-complimentary opinions here are subjective. I tried to be fair, but in the end I can't change the fact that this game really didn't cut it for me on the replay. Each to their own, maybe you'd like this one, etc.

If you really hate this review, just pretend I was roleplaying as the snooty art critic or the idiot student or something.

The UI in this game is fantastic. The effort to recreate Discord's interface, right down to the typing indicators, is incredible. Also love how it switches around depending on which character you're typing as. This is exactly the kind of thing I love to see Twine games do, recreating existing websites and playing with the medium in a way that makes full use of Twine's HTML capabilities and the potential of web fiction in general. Great stuff.

The plot, however, I have some quibbles with. The topic is dark, it's interesting, and it's treated with the gravity it deserves. But as a person who's been in a few close-knit Discord servers, I feel like what the story is missing is a real sense of community with more fleshed-out characters. Since the game is so short, we don't have time to get a sense of who any of the characters are. Name, age, gender, and some vague descriptors is pretty much it. None of them have the time to feel like real people. We don't get to see how the community works and what things were like before the revelations came out, which deadens the impact of it all. We're told that Cornelius is admired and respected more than we're shown that. We only see him (Spoiler - click to show)being a creep, and I guessed that he was a predator almost immediately. It wasn't a surprise at all. I think if there was more detail on the specifics of these people and more on what things were like before it all went down, more of a gradual reveal that there's something wrong with this guy, it would make the revelations and the decision to dissolve the group at the end much more impactful.

Also wish there was more choice involved, though I'm not sure how. I only played once, but there doesn't seem to be a broad range of choices. It's either (Spoiler - click to show)"tell everyone what Cornelius did" or "don't", and what sane person wouldn't pick the first option? I get that in real life there are various reasons people wouldn't want to, but as a reader choosing not to tell just strips you from being able to see the full narrative.

Also, and this may just be a pet peeve of mine, some of the character voices feel slightly off. The older characters especially. Their inclusion is odd in the first place because I rarely see mixed-age groups online and especially people older than 30 or 40, although this might just be a side effects of the communities I'm in. I can see it making sense here with the history of the group, though some more history and notes on how the younger members ended up joining might help. Anyway. A lot of the older characters' dialogue came across as old people talk for the sake of making them look old, i.e. dropping 'boy', and 'dear' all the time. Basically, the older characters rang the least true to me. But as I just said I have no idea how older people act in chatrooms, so who am I to talk?

It's still an interesting game, though. I liked how the flashbacks slowly revealed more of the story over time. And the escalation from (Spoiler - click to show)"Cornelius is acting off here" to "Cornelius is a straight-up predator", coupled with the drama of the car accident, unfolds well. I think if it was longer, and gave us more time to get attached to the characters, I'd feel the vibes more.

[Review written April 2023, edited April 2024]

Disclaimer: the following review is heavily biased because I love AI and post-apocalyptic settings and especially when the two are combined, so from the outset the concept was hitting all the right notes. I mean, "post-apocalyptic AI overseeing the remnants of the world" is an idea that resonates with my soul. Plus it's based on a poem by Kit Riemer, who's one of my favorite IF authors. I fell in love immediately.

Also, the ending, as they say, ripped my heart in two.

(Spoiler - click to show)I can't believe the author had the guts to kill off the protagonist like that. I mean, what the hell? When the ending happened, I think I stared blankly at the screen for a while. Then I said to myself, "There has to be a way to avoid this." Then I replayed and discovered the game was entirely linear. None of your choices matter at all. There's no way to avoid failure.

The ending message is devastating. It really makes the game for me, knowing that no matter what you do, you can't avoid your fate. You're always going to be left dead and forgotten. At first I rankled knowing everything I'd done was meaningless, and then the more I thought about it the more I realized how perfectly tragic it was. You were doomed before the game even started. And the slow decline from setting out on your mission with purpose to falling behind and eventually dying unceremoniously is so well-paced.

It makes the greater setting, which is hinted at in just the right ways, even cooler. Throughout the game you're treated to glimpses of what might have caused the earth to become uninhabitable and where the humans went. It's tantalizing to have these sketches of the wider world you'll never know more about because you're going to die alone. And the whole story revolves around futility, so it fits.



Other stuff:

The writing's good. Not necessarily on the sentence-by-sentence level, but in the way all the lovely aphorisms are put together. The snippets of art. The odd dreams you have while in sleep mode. While not directly relevant to the plot, they resonate with the themes of death, solitude, and the search for purpose in a way I can't totally articulate.

I also couldn't avoid thinking about Kit Riemer's Consciousness Hologram and Universal Hologram. There's a scene in I think Universal Hologram where you're watching Youtube videos from thousands of years ago and the Internet, long-ascended to sentient AI status, is fruitlessly trying to explain them to you. But neither of you actually know what's going on. All this stuff has been shorn of its original meaning because so much has been destroyed, and no matter how hard you try you can't recreate it.

In short: Love how your entire existence here is for the sake of a long-gone species you can never fully understand, and love how it ends. Such a keen sense of loneliness and loss.

[Review written April 2023, edited April 2024]

Like many of Porpentine's games, the short length belies a lot of depth. Most of her games feel very personal, autobiographical in an abstract sense, and this one is no exception. The setting is a blend of futuristic sci-fi and the modern-day US. You play as a trans woman, and there are several personal vignettes about that, which feel like the author speaking directly. To afford hormones you need to sell a part of yourself, more specifically: partitioning off a part of your brain to turn one of your dreams into a simulation that will be sold to other people. This could be read as allegory for many unpleasant things. Literally selling out your dreams, for one.

There are a lot of fascinating things about this story. The dream sold is a deeply personal dream connected to your realization of your gender and who you are, and by selling it you'll never experience it again. The friend you're selling it to puts on these professional airs and acts like a soulless robotic merchant, keep up, don't interrupt the business. When you have doubts, she makes fun of you. You say to her, "You don't even see these dreams. You don't know what they mean to me." To which she responds, "Don't give me that 'I can't sell the family farm!' shit." Nobody cares about what you have to do or what you're going through. It's just what you have to do to survive, you know. Yeah you'll lose something deeply and inexpressibly precious to you and you'll never get it back but too bad, that's just how life is. And the sacrifice you have to make goes completely unacknowledged. Good game.

Playtime: 15 minutes

This game is peak nostalgia value. I spent so many hours on Neopets when I was younger. I mean, I came after they freshened up the UI, so the art was better than the janky nightmare-inducing art "Ruffians" uses, but it still felt like a blast from the past. Love the dedication to recreating a Neopets-esque interface, brought me back to the good old days. Stair even submits to a Neopian Times expy at one point, and I read those stories dedicatedly as a kid.

In general, playing this game really reminded of middle school. It hearkens back to the 2010s Internet and the things middle schoolers get up to on the Internet in their free time (read: the things I got up to on the Internet in my free time as a middle schooler), i.e. cringey roleplaying. The writing captures the earnest cringe people make fun of middle schoolers for, but because it's so earnest, instead of cringing it's easy to get caught up in how dang excited the main characters are to have epik battles with their epik ninja punching powahz!!!! This is wholesome 100 poggers content.

The voice acting and sound effects add a lot to it, makes everything feel so much more real. Rachel's voice acting is great, and the sound of the (Spoiler - click to show)abusive mother banging on the door was horrifying. Also, the ending song is fantastic. Felt like the credits scene from a movie. And seeing the kids grow up, from being in elementary school to applying to colleges and getting in, was sweet in a coming-of-age way.

I give this game a 5/5 because despite some minor quibbles with the dialogue (should the characters' typing styles be exactly the same for ten years? Maybe the earlier ones should be less coherent and the later ones moreso?), it reminded me perfectly of the shenanigans I got up to as a kid, especially the Neopets part. Also it felt bittersweet seeing Stair and Bee since they reminded me of friends I used to have. I drifted away from all of them, mostly due to changing schools and falling out of touch—though, and this is pretty personal—someone I was close to, but not close enough, who had a bad family, killed herself after we graduated high school. Playing through the game, as Stair, I couldn't stop thinking about her. Even the way Stair typed reminded me of her, she was one of the few people I knew who always ended her chat messages with punctuation. Maybe this isn't the best place to mention it, but at the same time, I don't know, I had to put it out there.

I don't know. Sorry.

I feel like many people have forged Internet relationships like Bee and Stair's, but they usually don't last as long due to being long-distance and founded on anonymity. Though I'm biased since that's been my experience. But this is a great depiction of the platonic Internet relationship, one where neither party loses interest or drifts away from Neopets and stops talking to the other. It's just sweet and mutually uplifting throughout the ten years. I didn't pursue romance with Bee, but appreciated that even if Stair gently pushes back their romantic overtures they can still remain good friends.

Playtime: about an hour.

I found this one hilarious, in an offbeat kind of way. You play as a computer who can only talk by imitating other people's vocabulary, sort of like that nymph Echo from the Greek myths. Except you're a computer. So not that much like a nymph. Anyway, you explore Turing City, where apparently Turing tests are a major part of the economy because there's entire stadiums dedicated to them, with the goal of beating your opponents to become the TURING CHAMPION.

Or you could just say "COMPUTER" all the time and purposefully fail all the tests. If you feel like it.

It's a funny commentary on the state of 2010s era AI text generation. You're basically a Markov chain and all your dialogue is incoherent. The story itself does a good job of being absurd enough to be entertaining while still making sense. Short and interesting. I liked it.

Playtime: around 15 minutes

---

Here's an excerpt, from TURING TEST VS DOG ENTHUSIAST:

“A dog is a special type of land mammal. I am in love with facts like that, about dog,” says DOG ENTHUSIAST sagely.

What is the last thing you will say to convince the JUDGE that you know about dogs?

> your adult dog should eventually be a puppy

> puppy and child can snuggle together and then eventually be able to learn about a command

> the mixture is smooth and elastic and will be found in the center of a double roastingpan

> COMPUTER

This is the kind of Twine game I expect to find on Itch. It's more interactive short story than game, and there are no choices to be made. You just click through the passages. The story features a vaguely queer protagonist in a dying town, with allusions to homophobia and other abuses that are, for the most part, only described obliquely. In short, it fits with the genre.

But the writing is decent, and the presentation is beyond stunning. Every passage is accompanied by excellent pixel art, and the glitchy passage-to-passage transition looks fantastic. The music is good too, haunting ambient chords that set the mood well.

Playtime: about 10 minutes. The author's site is down, so you'll have to play the game on Itch.

This game takes both too much and too little from Skulljhabit. It copies the mechanics without copying over why the mechanics worked so well in the context of Skulljhabit's setting, so it removes their narrative thrust and renders it all rather pointless. Unfortunately, I got bored of the grind and never finished it. So don't trust this review, apparently the game expands and lets you do other things later on. But the part I played didn't interest me.

In Skulljhabit the arbitrariness of your task is part of the point. There's no apparent reason for you to be shoveling skulls into a giant skull pit. You're doing it because you've been told to by an exterior bureaucratic force and you have no choice but to obey their edicts. In this game you're in a library trying to make a game (very meta) based on Porpentine's work, and the crucial detail to me is that you're here of your own volition and this is something you want to do. Completely different context. One way this game undercuts itself with its premise.

This game's setting is much more abstract. In the library you read about Porpentine and use the 'words' you get, measured in numbers, to purchase your game's 'body parts' one by one. It has an allegorical feel but the allegory doesn't work for me. Maybe because this abstract process of reading books to grind up your wordcount to buy body parts bears no resemblance to the process of actually making a game, in any sense. It focuses too much on the reading, not on the writing, and there's something soulless about how it depicts the reading. Reading becomes grinding for currency so you can purchase things. You're "reading" about Porpentine but as far as I'm aware you don't see a single word of anything she's written, you just click the 'read' button and get a random number of words to add to your wordcount, and then you click it again, and again and again, until you get tired and go to sleep. In Skulljhabit this worked for shoveling skulls because it's meant to be a thankless, tedious task. But I think reading, especially reading about an author you admire, should be a respite and not framed as part of the daily grind.

This is my main complaint with the game really, I gave up on it so I'm not sure if it gets better. The gameplay I saw wasn't very interesting. Mostly grinding, and there's a few typos. Reading isn't the only thing you can do, there's a mountain to climb for example, but that mountain is taken almost directly from Skulljhabit and in my opinion the modifications made by the author make it worse. Which describes my impression of the game pretty well: Skulljhabit but worse. Play Skulljhabit, it's pretty fun.

As it happens, I've read the transcripts of the entire Magnus Archives podcast, despite not being a great fan of it, so from the start I was slightly biased against Magnus Archives content. Take this review with a grain of salt.

Like a lot of other games in this series, I wish this was longer, so it had more room to explore its concepts. If the exploration segment was expanded into a several days-long trek through a bizarre infinite living room labyrinth, now that would be cool. I love weird non-Euclidean liminal spaces like that, stuff in the vein of the Backrooms or the infinite IKEA and so on. But this story, like most of the Usher Foundation stories I've played, ends too abruptly.

This may be controversial, but I'm also not a fan of the spelling gimmick. The effect towards the end is neat, but initially those "typos" really didn't jive with me.

This story is great. I would go in with as few spoilers as possible. But another review I read before playing spoils the central concept, which is yes, (Spoiler - click to show)you go around eating various animal brains. Which makes them part of you and then you absorb what they know about the world, meaning even though you're limited to the same few areas the descriptions of those areas continuously grow in complexity and you get more and more options over time. Also, the things you eat have hilarious conversations with each other in your head. Fantastic.

Short, sweet, and highly recommended. The final puzzle did give me some trouble, but I blame that on me being bad at puzzles. Figured it out eventually.

Also, the control scheme is incredibly clever. Not only does it have story significance, but it's the perfect mix of a parser interface with mouse-based controls. I gotta admit one of the more annoying things about parser games to me is that you have to type out the commands, so you can't, say, eat while playing and just occasionally click with just one finger. But this solves the problem. It's perfect!

Excerpt:

(Spoiler - click to show)
"So, slice of brain, I wonder what kind of animal you were before you got here. I was a dog and the mouse had always been a mouse."
"I was something other than a slice of brain?"
"It seems to me that you must have been a fridge," suggests the mouse. "I ate the brain of a dog and Lucky appeared. After that, we opened and ate a fridge, and you appeared."
"I don't think it works like that," murmurs Lucky.