Reviews by Kinetic Mouse Car

BaoBao follows the trope* of a protagonist digging through a computer only to find a surprise AI. Our protagonist is Aiyo. Her mother recently passed away and she now needs to sort through the contents of her computer. Along the way she uncovers an AI.

Gameplay
Gameplay consists of the player rummaging through a directory system on a computer. There are several directories, such as recipes or notes, each of which contain a file named “baobao” and a string of numbers. The other files in the directories are of no interest. The player only makes progress by exploring the baobao files, but when they do an AI intervenes. The AI prevents the player from viewing the file’s contents but instead adds new commands to the home folder that expand the story.

The game also has the option making a cup of tea before returning to the computer. This added some ambience because the protagonist is trying to stay calm, and level minded in the aftermath of her mother’s death. It adds a nice self-reflective approach. And if the player wants to pause the game itself to make some tea, that is fine too.

The game's description is "A young woman is sorting through her deceased mother’s personal computer and finds an AI in her way." If I did not know otherwise, I would not have said to myself "oh wow, I found an AI!" It is more subtle than that. They only part that screamed AI was when (Spoiler - click to show) the game says, “Aiya, don’t try to hide your face. I can see you know. This computer got webcam. Aiyo. No make-up also,” implying that it is Aiyo’s mother, or at least a digital version of her, is present. These interactions are brief and sometimes it can be confusing to keep track of when the AI is addressing the player and when the player is merely experiencing the Aiyo’s thoughts, especially since they are both shown with the same white text formatting. It does not feel like you are interacting with an NPC. While I liked the subtly, this vagueness may disengage players.

Story
Game has some interesting themes on femininity, especially from traditional conventions. Aiyo has vivid memories of her mother and philosophies of beauty. Especially vivid ones are the smell of her mother's perfume or the fancy ornate patterns on her lipstick case the surface as she searches the computer. We learn that her mother was (Spoiler - click to show) always worried about her daughter's chances of finding a decent husband, one that would love her and never have affairs since her own husband had a beautiful girlfriend on the side. That was her main priority for Aiyo. She would often say that Aiyo was not pretty enough and that she should take things like makeup seriously. From the mother's perspective, this was not meant to be mean but to ensure that her daughter found a husband who would love and respect her. From Aiyo’s perspective this was stifling, and she was frustrated over her mother's attempts to find her the perfect lipstick shade colour or pressuring her to diet to maintain a feminine size and figure. These differences in ideologies come to light as the AI reveals more about the mother’s view of her daughter. They begin to come to an understanding.

I kept thinking that baobao is a pretty cool name for an AI until I found the translation. 宝宝 (baobao) is a word from the Chinese language that means baby or treasure and can be used as a term of endearment. The application of the word can vary, but this definition was the bulk of the results I found. So, is the (Spoiler - click to show) AI Aiyo’s mother or is it just a model of her personality and interests? Did her mother intentionally create the AI or was it accidentally formed from the clutter on the computer? There is a lot to consider with intriguing implications. The game ends with (Spoiler - click to show) the AI giving the player full access to every baobao titled file on the computer so that the Aiyo can finally see the parts of her mother that were always hidden, the parts where she genuinely loved her daughter but failed to convey it in life. In death it is as if Aiyo is relearning her mother. The game wraps this up on a graceful note that I found to be memorable.

Visuals
The game keeps it simple with the visuals but uses stylization to create the appearance of a computer screen. For these segments the game has a black screen with green text and blue links. Otherwise, it sticks to white text. The creative part was that the player could choose between clinking on links to navigate the computer or type them in. This added some nice interactivity to an otherwise basic Twine format.

Final thoughts
I really enjoyed this one. It is a thoughtful sci-fi game with a contemplative approach to death and memories. The dynamics between Aiyo and her mother were especially compelling and thoughtful. Throughout their lives they always seemed to clash in values but now Aiyo gets to see the possibility that she was closer to her mother than they both realized. Plus, I liked the cover art.

*Binary by Stephen Granade comes to mind, even though it has a different tone and subject matter.

Alco’s Infinity follows Alco, a crewmember on a four-person starship that carries out assignments for the Universal Corps. This is a world where it is commonplace for people to undergo body augmentation to better perform in their jobs and daily lives, and where almost everyone has a built-in assistant AI. Alco’s AI is named Eve.

The game touches on themes about transhumanism and how people view your own expression of self. What does it mean to identify as human in a society where advanced augmentations can make one seem more machine than (hu)man? Is there a boundary between being an augmented human and a machine with a human experience? I was pleased to see that Alco’s Infinity strives to incorporate these ideas into player-character interactions. By no means is this game a comprehensive discussion of this subject. But as a short Twine game it does give the player a taste of possible perspectives.

Gameplay
Note: Technically there is nothing that says that Alco is male or female so I will just refer to them as a gender-neutral protagonist.

Before the game begins, the player is told that they will have four opportunities to influence the gameplay. Normally I like Twine games that are a little more interactive, especially ones with lots of text in each scene, but I appreciate how direct the game is by giving the player an overview of its interactivity and how they should expect it to shape the story. Even though four opportunities do not sound like much it does make it where you feel like you can follow how your choices guide your path in the game. The easiness of exploring each route also adds replay value.

For example, the first choice that you make (Spoiler - click to show) summarizes your life’s mission and determines the sightseeing activity that you do later in the game. The worldbuilding is rich and vibrant. It is the type of metropolitan spaceport that could even attract the player if such as place existed. It is an alien urban setting with noodle bars, creative alien species, museums, and an infinitely diverse range of businesses. The gameplay only devotes a sliver of time to explore these areas, but the author knows how to cultivate a diverse landscape, however brief.

An important point near the start of the game is (Spoiler - click to show) when the crew meet with two ambassadors of an alien species that requires both parties to communicate via integrated AI. Halfway through the conversation, one of the ambassador’s AI goes haywire. Alco transfers Eve to the ambassador’s system to run some diagnostics. This brief separation from Eve almost gives Alco a panic attack, but this ends when she returns (I recommend playing the scene in Alco’s hotel room where Eve speaks about this moment while Alco swims in an ocean simulation). Everything seems to go back to normal, but later the story proves otherwise.

In the final segment of gameplay, (Spoiler - click to show) the crew is tasked with investigating an alarm at an abandoned outpost. As they search the area Alco notices that Eve seems to have disappeared. Suddenly Alco and Wen stumble into a room to find an android strangling Aego. On the ground is Brav, dead. The android addresses everyone in Eve’s voice, but it turns out that Eve was never Eve in the first place. This is where the story reveals itself.

Story
When (Spoiler - click to show) Eve transferred into the ambassador’s system to repair the glitching AI, she was altered in a way that would allow her to exercise more control over herself when she returned to Alco. “Eve” explains that the name Eve, along with the female gender, were attributes programmed during manufacture. The identity of Alco’s AI was truly a genderless AI named Api. Being forced to perform as Eve was a frustrating experience for Api but they had no way of conveying that.

Now, my initial guess was that (Spoiler - click to show) Eve did not return after running the ambassador’s diagnostic and was replaced by an imposter AI named Api. This would mean that Eve was still out there waiting to return. This is false. My first reaction to this was disappointment. Previous gameplay consisted of Alco having an endearing relationship with Eve, his trusty assistant. But now I feel like this twist is more thought provoking and interesting. It does not assume that the only role of an AI in a story is to happily assist human protagonists. Nor does it go down the vengeful AI route where Api rains down on humanity, though I anticipated that when we find Brav’s corpse. Api’s intent at the outpost was to inhabit an android body to escape but accidentally triggered an alarm. Api also claims that they killed Brav out of self-defense and asks for Alco to allow them to leave and live an independent life. The last choice in the game is for the player to decide whether to accept that request. Oddly enough, each outcome is a positive one. Whichever choice you make Alco and Api seem to reach an understanding.

The game says it has (Spoiler - click to show) nine endings but that sounds like a stretch. It feels like there are three endings each of which have three small variations in the concluding text. It is the difference between "You have a long and happy life, and feel that you have assisted and loved others as much as you possibly could" and "You have a long and happy life, and feel that you have contributed as much as you could to the universe."

Characters
Alco’s crewmembers are a bit polarized. On one hand we have Brav who is strongly biased and upfront about his view that heavily augmented individuals, including his own coworker, are essentially robots instead of humans. Of all the characters he seemed to lack depth since he is solely portrayed with a stereotypical brash self-centered leadership type that makes the other characters roll their eyes when he speaks. I found the other characters to be more interesting.

Then there is Aego who has more augmented parts in their body than organic ones and is tired of being viewed as a machine with a human brain. In terms of self-expression Aego still identifies as human even if their extensive augmentations make people categorize them as otherwise. This is offset by a somewhat neutral Wu who wants everyone to get along and acts as the peaceful middle ground between Brav and Aego. The player than gets to choose which “side” they are on which influences interactions with NPCs.

The second main gameplay choice (Spoiler - click to show) is your viewpoint on whether augmentations alter what it means to “qualify” as a human being. Later the crew moves to a hotel where the player makes their third choose of deciding if they want to visit one of the crewmembers one-on-one. Your response from your (Spoiler - click to show) second choice determines the dialog that occurs in this scene. I felt that this was a basic but straightforward way of comparing different character perspectives because it encourages you to replay the game to mix and match the second and third choices to explore each NPC’s response.

Visuals
Not much to comment on here, but with Twine games I still like to provide an overview. Uses a standard black screen with white text and blue links. Everything is organized neatly on the screen without any noticeable spelling errors or awkward formatting. Keeps it simple.

Final thoughts
At the time of this review, Alco’s Infinity is the author’s only game. If this is what their first game is like I wonder what (or if at all) work would come next. They have a knack for pairing familiar concepts and ideas about technology into a fun sci-fi game with interesting characters. While I would have loved to explore the setting a little more, I was impressed with the worldbuilding. The gameplay is worth your time, and I would recommend it to anyone interested in the subject.

The premise of the story is that you have been abducted from your house by an alien species who call themselves the Inuop. They put you in a room with instructions to solve the puzzles within. If you solve it correctly, they will not invade Earth. If not, you are sucked into the vacuum of space. Currently I have not completed every puzzle in the game to see this outcome.

There is nothing in the game that flat-out says, “you have been abducted by a UFO,” but the introduction depicts a PC minding their own business in their living room when they are suddenly transported onto an alien vessel. That seems close to the abducted-by-an-UFO trope. I do not know if we ever get to meet the aliens directly in the gameplay. Hopefully they will keep their word about not invading Earth.

Based on what played I have played so far it appears to be a one room escape game, although I cannot say for certain until I finish it. The gameplay begins with a timer permitting the player 11 turns before the airlock opens. This adds some momentary suspense until (Spoiler - click to show) the player finds a way to disarm the timer. After that, there are no time restraints on the gameplay. The room has mostly Earth-familiar objects such as a desk, wardrobe, and couch. Later, this is combined with more alien technology. There are in-game hints, but they cut off when you reach the gameplay with alien gadgets.

I enjoyed the puzzles. They are simple and familiar but still require the player put their puzzle-solving hat on. It is not a difficult game either, but I must admit that I am currently stuck on one puzzle that is preventing me from making any more progress. I am stuck at the part where you (Spoiler - click to show) press the buttons on the panel to reveal the glass container that contains an alien device. Trying to open or break it had no effect. The game does suffer from some light implementation issues. One obstacle was:

>open glass container
It isn't something you can open.

>break glass container
The container remains undamaged. There must be some other way to get it open.

Looks like you are supposed to open it. If only I could figure out how. Oddly enough, there is (Spoiler - click to show) an eye printed on the glass container. If you stare at the eye it appears to move. Is there a way to communicate with it? The game implements the BLINK command but so far blinking has done nothing towards solving anything. After a while I decided to stop there. If I ever finish it, I may update this review. In the meantime, I still recommend this game. I enjoyed it and it has a nice balance of refining things down to the basics without being sparse.

What is this game about? I still have a hard time with understanding the premise but let me do my best in explaining the backstory. While at a New Year’s party you had the impulse of getting a Texas Instruments calculator surgically implanted in your brain. You found some medical staff who worked for Texas Instruments and gave them drinks in exchange for the operation. You wake up in 2003 by a man and a group of children who inform you that Y2K had passed, during which robots enslaved humanity. Since technically you are a cyborg, you supposedly have a better change at overthrowing the robot overlords. I think. I would love to hear from the author or other players about whether I summarized this accurately.

This game describes itself as a "math adventure." It has math themes, not math puzzles. Do not expect something like A Beauty and Cold Austere.

Gameplay
I have always liked Texas Instruments calculators. My first graphing calculator had a screen that displayed things in (gasp) colour! There was nothing revolutionary about this. The only difference was that it was a little more expensive than a black and white one. But still, I liked that I could use colour-coded lines in my graphs. These recollections inspired me to play this game.

The setting appears to take place on a train. As the player defeats and/or interacts with robots, they meet all sorts of creative, though often confusing, character. Usually, the player is presented with two options at a time to advance the story. Each playthrough is short and the game is meant to be played multiple times.

The gameplay consists of clumsy humor. Consider this scene of trying to overthrow a robot in a train car (mild profanity warning):
(Spoiler - click to show)
You point at the calculator jutting out of your head. "I'm not a human anymore. Cyborg. So piss off."

"NEGATORY. *YOU* PISS OFF."

Which I did find humorous at times. I did smile. Maybe not the pinnacle of comedy but the sheer wackiness sometimes draws a laugh. But most of the game’s content is too disjointed to sustain its humor.

Story
Texas Instruments Theater is an entrant in ShuffleComp. Its train setting and storyline of a cyborg protagonist facing off against robot overlords adheres to some of the songs that the game is based on. There are other songs as well but were harder to pick out from the chaotic gameplay.

There are multiple endings (14 total!), which is great, but they feel abrupt without any substantial resolutions to the story. If you click on the “Options” button at the bottom of the screen you can choose to revisit different plot points which makes it easier to experience every ending. One ending (Spoiler - click to show) features a built-in ad for eBay (or least a pretend ad).

Visuals
The game’s appearance is not quite your default Twine look. It has a cream-coloured background with black text and blue links, but the top and bottom of the screen have a black band with large beige links. This provided a bit of a unique look although I had to zoom out of my browser window because the edges were cut off.

Final thoughts
The game is short enough that if you are in the mood for some bizarre story content, I would recommend this. Or if you are curious about a story based on Texas Instruments calculators. After all, that is what drew me to this game. To put it simply: Confusing but unique, with bits of humor.

This is a story-centered game about returning to an old passion after it slipped away. It follows a protagonist whose view of an ideal life is to live and work on a ship with a close crew. Though the past never guaranteed this lifestyle, a change in life circumstances may make things brighter than they were before.

This is also a ShuffleComp game. It incorporates song lyrics into the radio that the captain listens to on the ship. Not particularly novel but still works.

Gameplay
Submerge begins with the protagonist (I believe they are unnamed) seeing Mira after a long absence. Mira is the ship that was once the protagonist’s home and workplace until it sank. As they set to work with restoring the ship their mind relives flashbacks. Most of the gameplay takes place in the past.

The game has some brief moments of interactivity such as deciding on which part of the ship to examine or choosing how to respond to another character, but it does not go further than that. While none of these choices influences the outcome of the scene or the game’s overarching story, it does add some variety. Expect gameplay that focuses on story rather than player choices.

Story + Characters
The downside was that the story was hard to follow. Even after playing the game four times, I still cannot confidently summarize its key plot points. The flashbacks, though interesting, made the order of events difficult to grasp. There are two story elements that appear in the narrative. The first is about the protagonist’s personal life struggles, while the second covers their experience with their fellow crewmembers on the Mira.

Protagonist: The game does not explain the name or gender of the protagonist. My guess was that they were male, but I do not want to be too hasty in assuming that. I think the story would have been stronger with more attention to protagonist details. What we do know about their story is that they (Spoiler - click to show) lost their job and got in trouble with the law over drug possession. They were assigned to a parole officer with whom they often conflict with. Life deteriorated. Then Leslie, their significant other (spouse, perhaps?), leaves them as the eviction notices and unpaid bills accumulate. But they have already been passionate about the sea. Their best memories are of being employed on a fishing ship. But when (Spoiler - click to show) that disappeared, they feel into despair. Or at least, I think this came after their experience with Mira. Like I said, it was hard to follow.

Crew: When it came to the second story element about Mira’s crew, the game skimps on detail. The gameplay frequently mentions a handful of characters, such as Jamie or Wendy, but we are never really introduced to them. There seems to be some resentment about the ship’s captain. He was slipping in his leadership abilities due to alcoholism, leaving the crew feeling undervalued and overworked. Then (Spoiler - click to show) a storm changed everything. The ship ran into a coastline of sharp rocks. Wendy was swept overboard, and apparently drowned. Everyone else survived but had no plan of what to do next with their lives. I assume this is when the protagonist’s life spiraled down.

The ending is a bit vague but the gist of it is that (Spoiler - click to show) the protagonist runs into Alex, a former crewmember who brings up the idea of regrouping with old acquaintances to retrieve and restore the ship on their own funds. Once completed the ship could open opportunities for self-employment, or simply just provide a sense of closure. The game ends with the protagonist agreeing to this idea and looking forward to a new change in life. Ultimately, I liked aspects of the story and its core messages, but its content lacked substance. It had all the signs of an emotionally charged story but fell short.

Visuals
The game has flashbacks but not the type where the game says, "10 years ago..." Instead, flashbacks are represented by background colours. They pulse in and out in a dreamlike manner, almost like a passing thought. These colour coded backgrounds try to organize the narrative a little more. Pale blue background for the protagonist’s memories with their crewmates on the Mira, light blue green for memories about their own living situation. They fade out and return to the protagonist’s present-day reality of repairing the ship. These scenes are shown in a dark navy-blue background. Occasionally this is paired with changes in text colour. I have seen lots of colourful backgrounds in Twine games, but few experiment with fade in or transitional effects. I like the game’s use of this technique because to creates a daydream feel.

Final thoughts
Submerge is an interesting game but not a particularly memorable one. If anything, its visual effects are the most distinguishing part. Nonetheless the game presents a detailed story and is reasonable in length, about 15 minutes. For me, replaying the game was more inspired by the visual effects rather than experiencing the story. I do not think that this will be the case for all players. Though it is a confusing story it is also an emotional one with the theme of a protagonist trying to land on their own feet after a negative chapter in their life. With that, I encourage players to give this a try.

The game's visuals and subject matter has faint similarities to the Twine game Tangaroa Deep which also features a marine setting (though with completely different gameplay mechanics) and the use of backgrounds with blues and greens.

I was lured in by the cover art. It looked like a surreal, tropical island. In this game you spend the day fishing only to have your boat break down, leaving you stranded on an island. To leave you must fix your boat using materials found on the island.

The gameplay has its merits. There is a health meter which is always an exciting prospect in a game about survival, and I liked some of the scenery, such as the palm tree (I like palm trees in games that take place on an island). But if I am being realistic, implementation drags everything down. Consider:

> x boat
Hmm... it looks like there is something under the boat.

> look under boat
I don't understand your command.

Now, if I click on the link "Broken Boat" (this is Quest, mind you) to access the small menu of options for that object there is an option that says, "Look under the boat." Click on that and the game will let you look underneath, revealing a (Spoiler - click to show) hole poker. In fact, relying on the small menus was quite helpful. I learned that you need to (Spoiler - click to show) fight the bear and to poke the palm tree with the hole poker to get the sap.

Here is my advice: If you want to get anything out of this game USE THE LINKS. TAKE ADVENTAGE OF THE QUEST FORMAT AND CLICK ON THE LINK. Otherwise, you will probably quit out of guess-the-verb related frustration. Not that it eliminated every frustration.

If you try to go north while inside the cave the game says "It's locked! It looks like you need to press letters in the correct order." What is locked? Is there supposed to be a door? Are there buttons? The only thing (Spoiler - click to show) visible in the cave is the bear, and even when the bear is gone there are no doorways or barriers in the room description. Just as I was about to give up, I simply typed “none shall get out,” which was written on the bear after you defeat it. The back of the cave opened, and I was pleasantly surprised that I was able to continue playing.

Some implementation issues merely detract from the polish whereas others simply bring the gameplay to a halt. An example of the former is when the game exclaims that there are fish but when you try to examine the fish the game says there are none. Also, the description of the boat is, "Hmm... it looks like there is something under the boat," even after I (Spoiler - click to show) already retrieved the hole poker. These did not seem so bad. The roadblock I encountered was fixing my boat. (Spoiler - click to show) The back area of the cave has rocks, which seems to be the last material needed to repair the boat (I think). But when I tried to fix it with each material I would get these weird error-like messages and then the material would disappear from my inventory. Eventually I stopped there. It seemed like I was getting close to the end, but I could be wrong about that.

I like the simple puzzles and concept, but I am giving this one star because it is incredibly buggy. It has potential, it really does, but it needs testing and refinement before it can be a finished piece. If an updated version become available, I would love to play it!

Containment touches on a familiar concept, a nuclear plant on the verge of a meltdown. The game pairs this with the trope of a lone security guard who runs into a crisis that they alone can fix. This setting and premise come together to create a story of danger and suspense. You are a security guard working the night shift for the city's RPV-1 power plant. After falling asleep on the job, you are awakened by an alarm that informs you that the plant is in danger. The one technician assigned to your shift is seemingly absent. It is up to you to prevent a disaster.

To ramp up the heat the UNDO command is forbidden. Oh yes, save often.

Gameplay
A coolant line malfunctioned and the reactor is about to go critical. The main objective is to activate the failsafe device but the door to the failsafe room is not functioning. This leaves you with no option but to take the long route by navigating the lower levels of the facility to reach the control room’s back entrance.

Containment centers its gameplay around a single puzzle type of manipulating hatches, valves, and other machinery. Each level has a water reservoir stacked on top of each other, almost like an elevator, and on top of the water sections are walkways that are raised and lowered by turning valves. A reservoir must be filled to a level before it can be explored.

While this concept is straightforward the puzzles were challenging to complete. This was a game where I needed to draw my own map. It was hard to visualize my progress as more hatches and valves were, and as I made small adjustments, I often felt that I was undoing my work. Because of this I became stuck relatively early in the game and had to use the walkthrough. The idea of being the only person in an unstable facility with mysterious circumstances is a thrilling concept, but the technicality of the puzzles sometimes dulled the thrill.

This was my initial progress: (Spoiler - click to show) The first two valves encountered in the gameplay are the drain valve and backflow valve. If both valves are open you can walk across reservoir 1 but not reservoir 2, and the opposite occurs if both valves are closed. But once you make it across reservoir 2, an overflow valve is added to mix. While I could alternate between levels one and two, I could not figure out how to use all three valves raise the water level 3. That is where I resorted to a walkthrough.

There is some roughness of implementation. If you try to open the failsafe room door at the start of the game you get “A door stands defiantly in your path, refusing to open. Something is very wrong here -- your security badge should provide unrestricted access to all areas of the facility. Perhaps a closer look at the door is in order.” If you examine the door, you get the same message, and if you try “x badge” the game says, “You can’t see any such thing.” I feel that a little more attention to these details would refine the gameplay.

Story
The protagonist is gender-neutral and has no other details aside from their job at the facility. The game is not story intensive, and its premise does not need an elaborate storyline. There are five endings. To reach a (Spoiler - click to show) decent one you simply need to fix the failsafe device and leave, but you can improve the outcome if you investigate the whereabouts of the maintenance person who was supposed to share your shift.

There is an inherent build-up of suspense (nuclear plant about to go critical) during the gameplay that makes you eager for an explanation of what caused the malfunction of the failsafe device. But the ending seemed somewhat dismissive. When you are in the failsafe room (Spoiler - click to show) you realize that the door was sabotaged so that it could not be opened on the other side. Your first guess may be that the technician was behind the malfunction. That is, until you open the cabinet and find the technician’s body. This means that some unknown entity was behind the thwarted accident and death of the technician. But who (or what)?

Even with the (Spoiler - click to show) best ending we never know what agents or potential agents are responsible. The protagonist escapes, tells emergency responders about what happened, and become a local hero for preventing a catastrophe. I understand that the game focuses on gameplay mechanics rather than story, but I was expecting a little more context into what happened. The game does not feel incomplete, but it does leave the player with unanswered questions.

Setting
Now, this game has effective ambience of approaching doom. As you burrow into the innerworkings of the facility the game throws out phrases such as "A low rumble in the walls heralds the growing instability of the reactor core" which create a strong sense of urgency. But now that I think of it, is it possible for the plant to go off while you are inside? If you (Spoiler - click to show) leave without activating the failsafe, you get the ending where everyone dies within a mile-plus radius. But if you wait with the intention of running out of time to see what would happen, well, nothing happens. I think part of the thrill is to be racing against the clock. On the other hand, given the technicality of the puzzles it might be frustrating to have to start over because you ran out of time. I wonder what other players think.

Final thoughts
This game is perfect for players interested in fiddly mechanical puzzles. The gameplay has an exciting atmosphere and features multiple endings. For non-technical players you may want to consult a walkthrough halfway through the game to get past stubborn puzzles so you can experience a winning ending. Still, it was fun.

Also: The gameplay in Containment reminded me of the game Oxygen by Benjamin Sokal because it focuses on mechanical puzzles. While Oxygen does not feature a failing nuclear reactor it has another type of crisis: a mining station is running out of oxygen after an explosion, and you need to decide on how to allocate it.

It is a casual day at home. You are lounging around and suddenly find yourself in the mood for a cold drink. But when you stand to leave, a vortex opens in the living room and deposits a small creature that starts wrecking everything in sight. You flee to the kitchen which is now your sanctuary. Using resources from your surroundings, you need to find a way to defend yourself.

Gameplay
While hiding in the kitchen you have access to the fridge, counter, and cupboards that have spices and other substances for cooking. Inventory items are listed on the screen. It would have been nice if you could examine things to learn more about them rather than automatically picking them up for the sack of hoarding them in your inventory.

The player can call the protagonist's mom or Alex, an acquaintance. Neither character picks up. The only option is the hotline. Its number is written on a label in the fridge. The player calls the number to ask for help on dealing with the creature. The operator however wants to engage you in random conversation before providing help. There is a phone puzzle where the player answers questions that increase the operator’s willingness to help.

These questions range from whether you any kids or if you play chess. The objective is to respond in a way that makes the operator pleased and entertained. For each response you get right the more helpful the operator begins. The game keeps track of this by adding notes such as "The playful operator is now a little helpful." The challenging part is that a question may have multiple right answers, but the answer that is correct at the moment is difficult to determine since there seems to be not structure to the questions. I think that the game is trying to be humorous with its dialog, but it needs polish. I like the concept of strategically using conversation through trial and error to persuade an NPC, but the phone puzzle is frustrating and lukewarm.

Once the player (Spoiler - click to show) satisfies the operator’s desire for conversation, they are asked to provide three details: the creatures colour, its physique, and its behavior. Using these details, the operator explains a basic recipe for banishing the creature. You can also just (Spoiler - click to show) guess by throwing ingredients into the bowl and flinging them at the creature. When I first played, I brewed and threw a scalding mix of random ingredients and it worked. Probably chance. Still, at least it gives you a chance to test out the kitchen.

Story
There is no explanation behind the creature and the portal, nor is there any discussion about the hotline except that it was found in the fridge. I feel like this left some loose ends. Here you have a normal house setting and suddenly a creature appears out of nowhere. I do not think that this game necessarily needs a broader story, but it could have integrated things a little more. The game is solely focused on the puzzle of finding a concoction that will eradicate the creature. This some potential story about Alex but they never answer when you call their number.

Visuals
1-555-trouble has some spectacular graphics for an Ink game. The backdrop is of different areas in a house, about six total. Not grainy or awkwardly scaled ones but showroom quality. The text space is set against a white semi-transparent background with orange boxes and links. The text is light grey, and the title of the room is shown in a black rectangle that reminds me of those slender sticky notes that you use to mark a page in a book. Everything looks crisp and modern. I encourage Ink authors (or anyone, really) to give this game a look if you are looking for some visual inspiration.

Final thoughts
It is a short, interesting diversion. The game has some interesting ideas, but its presentation is lacking. The phone puzzle could have been smoothed out, for example. Then again there are some polished features. There are no bugs as far as I can tell, and its strongest point is the graphics. It may not be the best of quality, but it is a completed piece.

You are peacefully snoozing away in cryosleep when an alarm wakes you. The ship has not reached its destination and there is an unknown emergency. Sound familiar? Yes and no. This game draws upon recognizable themes of a starship running into trouble in space and pairs it with creative gameplay mechanics. Because the game is unfinished the goal of this review is to offer feedback over its strengths and weaknesses. (This is also probably my longest review yet so hold on………!)

Gameplay
Basics
This is a multi-protagonist game. You start as Jake, the ship's physician. Once you start to wake up the crew the game uses the command “switch to [character name]” to let you play as a different character. The characters remain in one spot until you return. Other games have probably used this mechanic, but it was relatively new for me, and I enjoyed how it shaped the gameplay.

So far, the inside of the ship has about 19 rooms to explore plus locations outside of the ship accessible via spacewalk. I have been unable to get past the retinal scanners that lead to the cockpit and cargo bay. I appreciated how the game allows to you choose between nautical directions and compass directions. Yeah, yeah, I know nautical is more realistic but with IF I am always tempted to just stick with compass directions when I play. Is that lazy of me? Maybe.

Cyberspace
Part of the game takes place in cyberspace which was cool. Accessing the computer is done through VR where the user dons a set of goggles and navigates cyberspace with an avatar by touching links and opening folders. Locked folders require a key, and some contents are protected by encryption. The game says that you need a pass to decrypt the files, but I have not found one yet. I especially liked (Spoiler - click to show) the puzzle of learning how to operate the pods by accessing the instructions in Aleksey’s folder.

After a while, navigating these folders can be tedious because each time you enter cyberspace you have to unlock each file individually and ensure that you have the proper keys. While I think that the character avatars are a bit childish* (anime cats?) and detract from the gameplay’s more somber tone, I like how the contents of each crew members’ personal folders share some insight into their personality.
*Childish given the context.

Stopping points
There are two points in the game where I ran out of progress. The first is (Spoiler - click to show) with diagnosing the crew and the second is (Spoiler - click to show) the phenomena found in Wu’s spacewalk.

The issue with the (Spoiler - click to show) crew stems from the alarm that goes off at the start of the game. The alarm reveals that Aleksey died in his pod. If the player performs an autopsy on Aleksey, they find a small crystal burrowed into his head. The crystal is a nanomachine and likely responsible for his death. The gameplay does not go any further into this. Three other crewmembers have mysterious brain damage and are comatose when you open their pods. Jake keeps saying that he needs to further investigate the crew's condition by running an MRI. But is that possible? I cannot find an MRI machine anywhere in the sickbay. That was as far as I could go.

The second progress stopping point that I reached was (Spoiler - click to show) having Wu attempt a spacewalk to fix the subspace jumper. But Wu’s spacewalk is completely different than if you spacewalk as Jake or Gail. When you step out of the airlock your spacesuit disappears and you are surrounded by mist with voices in the background. There is also a creature lurking about. In the dead of space. Strange but exciting. Furthermore, the game does not let you switch with other characters. If you try the response is "You're not getting out of this that easily.” This effectively created suspense and a sense of danger. Trying to wake up also brings an interesting response. You seem to be in a dreamful state.

When you listen in the mist, you hear voices. I followed the voices’ instructions of "wait, wait, wait, search, search, look" and then got ambushed by an unknown space creature which caused everything to plunge into darkness. Then what? There is more whispering, but it leads nowhere. This felt like a dead end. Still, it leaves the player on an interesting note.

Story
For trivia, the game takes place in 2149. Not bad in terms of advancements in space exploration! Humanity is now heading out of the solar system.

Some general background: The ship’s mission is to travel to a planet named Aglaea to establish humanity’s first presence on a world outside of Earth’s solar system. Ideally, the crew remains in cryogenic sleep until the ship reaches its destination. Once they construct a prototype colony the crew goes back into cryogenic sleep and return to Earth. I can tell you now that things do not go as planned.

The alarm at the start of the game is (Spoiler - click to show) caused by Aleksey’s death in his pod. The only bit of story connected to that is the nanomachine crystal that was implanted in his head. Was it put there to kill him? Is there any data on the crystal? We do not know yet. In some cases, if you examine Aleksey, you will notice that he is wearing a helix ear piercing. Wearing metal accessories in cryogenic sleep is unsafe. That is why everyone keeps their jewelry in the crew quarters. In fact, (Spoiler - click to show) there is a single helix-shaped titanium stud in the jewelry box that most likely belongs to Aleksey. Perhaps there is something deeper, but it is too early to say.

There is potential story about the encrypted files. (Spoiler - click to show) Commander Adam Connor has files in his personal folder mentioning a cargo list, classified objectives, and other subjects. But unlike the contents of the other folders these files are encrypted and require a decryption pass. The player can pull him out of his pod, but he is unresponsive. I have a feeling that answers can be found in the cockpit, but the door scanner does not let you scan his eye while he is unconscious. We also do not know what damaged the subspace jumper that left the ship stranded in space. How (or if at all) these events are connected is unclear, but they raise interesting implications, nonetheless.

Characters
Games with the wakeup-in-a-cryopod trope tend to focus on NPC-less exploration, and if there are NPCs, they are often non-crew characters. Usually, the protagonist is the sole crew member weathering themselves against the elements, but Aurora diverts from that by using multiple protagonists (not just NPCs) that each have a different role to play on the ship. Currently there are three playable characters: Jake, Gail, and Wu, introduced in that order.

Gail and Jake are married which was a surprise since usually you do not see this (for me, at least) in games with similar content and storylines. In fact, they were assigned as a pair. Gail had a specialized pod built to accommodate her issues with low blood pressure to ensure that they could both be part of the mission. It is a refreshing change, and I found their relationship to be endearing.

Most of the characters are (Spoiler - click to show) unresponsive even when you pull them out of cryogenic sleep, but their cyberspace profiles provide some details about their backgrounds and personal interests. There are even character drawings for the crew dossier in the ship’s computer. If you give this game a try, be sure to check them out. Look for the folder called (Spoiler - click to show) “Shared” under the DOCUMENTS section of cyberspace. If this game is further developed, I look forward to interacting with the other characters.

Writing
Dialog (or lack of) is probably the weakest part of the game. I am going to devote a section for this for the sake of feedback. Certain scenes lack dialog, such as when (Spoiler - click to show) Gail or Wu first see Aleksey’s corpse. There is simply no response. Other scenes have random banter that could be smoothed out.

It is impossible to TELL anyone about anything to advance the story. If I use (Spoiler - click to show) "tell Gail about Aleksey" with the intent to inform her that I found Aleksey dead with a suspicious crystal in his brain she says, "I want a kitten" or "I'm sorry, I was distracted by your handsomeness." These seem to be the stock response for queries not yet programmed in the game, but the subject matter of these responses distracts from the game's story (Spoiler - click to show) (death in space) and setting (broken starship). I get that Gail likes animals (so do I), especially since she has an animal slideshow in her computer files. But saying “I want a kitten” while the ship is in a state of emergency completely severed the momentum of the conversation.

The game also needs to have proper responses for some basic and critical topics when you ASK another character. If I ask (Spoiler - click to show) Gail about Aleksey she may say "I only answer programming questions. What's that got to do with programming?" I know it has nothing to do programming! I just thought you would have a comment about his death. This goes for topics such as the mission, speculation over the (Spoiler - click to show) funky crystal in Aleksey’s head, the state of the ship, or even your fellow crewmembers. Hardly any of this emerges in character dialog. Even if the subject is out of a character’s expertise there are some topics that everyone should acknowledge. Just because you are (Spoiler - click to show) not the ship’s surgeon does not mean you have to be opinionless or lack a reaction about Aleksey’s death.

The game explains that it does not provide hints but says, “Maybe one of the other crewmembers can.” In all honesty, the crewmembers are a tad useless in this regard. They have little to say about topics that match their own specialty. For example, (Spoiler - click to show) Gail is a programmer. Jake identifies the crystal from the autopsy as being a nanomachine. Perhaps Gail has some insight.

>ask Gail about nanomachines
"I only answer programming questions. What's that got to do with programming?"

Okay, fair enough. But then:

>ask Gail about programming
"I'm not the girl to ask about that, sorry."

Or

>ask Gail about ship's computer
"Come back when you've got a computer question."


I think that the puzzles are reasonable in length and difficulty. The game is not particularly puzzle intensive. But when the player runs into a roadblock, it is challenging to make any progress since there is little guidance. Using the characters as an in-game help system is a great idea, but it currently needs more polish and refinement.

Final thoughts
Development for Aurora seems dormant. There was activity about it at the IF Forum which died out. For all I know the game is abandoned. If you are reading this, katz, I want you to know that this game has a lot going for it. This review is not meant to pressure or persuade. It is simply to share feedback. As for players, expect this to be an incomplete game. I recommend playing it as far as you can, especially since you might discover things that I failed to notice.

This is an autobiographical game about undergoing chemo for breast cancer. The game does not go into detail about the chemo treatment itself but instead the aftermath and effects on the author’s daily life when they come home.

Gameplay
The gameplay is in second person. My impression is that you do not play specifically as the author in the but instead as a relatively neutral protagonist who portrays the author’s real-life experiences. I could be wrong about that. Either way the emotions and struggles experienced during chemo shine through and paint a picture of what it is like to manage basic routines in life when you feel sick or have physical and mental fatigue.

The player has tasks that they need to complete such as showering, washing the dishes, meeting with friends, and devoting time to personal projects. As chemo continues, they have less energy to work on these tasks which requires that the player prioritize even though it means leaving other things unfinished. They can also ask their partner for help which demonstrates how a person can be a support system in your life but also conveys how asking for help can make one feel like a burden.

The game rates the protagonist’s state of mind with the phrase “You don't feel much shame about the chaos in your life," which changes as life grows more hectic. Next would be “You feel a little shame about the chaos in your life,” and so forth. I thought that this was effective in demonstrating how the effects of chemo accumulate both in mundane things such as maintaining an apartment but also how it shapes more complex areas in your life, especially self-confidence and anxiety. As chemo advances so does the protagonist.

Story
The writing was heartfelt and descriptive. One that stood out to me was “all of a sudden the big wave of energy you've been riding crests, and washes you up on your sofa like a dead jellyfish.” This illustrated how a moment where you feel uplifted and capable can fall flat because of a new development, such as needing to return to the hospital for another round of chemo despite wanting to spend your day on other things. The writing lets the player glance into this daily experience.

Then there is the (Spoiler - click to show) overwhelming sense of triumph of having gone through chemo and emerging knowing that A, it has helped in assuring that you are cancer-free, and B, that you can now regain your life with renewed enthusiasm. The best part is at the end of the game when the protagonist comes home “The Day After Chemo” (this milestone also shares the title of the game) after the whole chemo ordeal is over. There are no dishes or laundry or chores that need to be done. Just an open block of time. The protagonist decides to use that time to make a Twine game about what it took to reach that point.

Visuals
There are three cycles of chemo that each consist of a few days. The game alternates with different colour backgrounds as each day passes and incorporates colour-coded text with links. Occasionally a few are difficult to read but most were a fun splash of colour. There are occasional text effects which added some movement to the gameplay.

Final thoughts
The Day After Chemo is a candid game about cancer and recovery, and I am glad that the author chose to share this story through a Twine format. Its short gameplay balances the daily struggles of chemo with the rewards of having a good day. It is basic, straightforward, and well worth playing.