Reviews by Kinetic Mouse Car

It is the midst of an ongoing zombie apocalypse. Night has fallen and your best option for shelter is a small hotel, perhaps one with resources that you can salvage. But surely it is not empty. You know that everyone you expect to encounter will either be long dead or undead.

Gameplay
After a brief intro the game begins on the second-floor hallway of the hotel, right outside of Rooms 207 and 208. The objective is to quietly go from room-to-room, scavenging for items that will ensure your survival once you leave.

Each room is organized as a grid within which the player shuffles around with a flashlight. Imagine being at the top of the ceiling in a dark room while pointing a medium-powered flashlight at the floor so that a few feet of floor is illuminated. That is what the gameplay looks like. What makes this unique is that the game never says, “you see a coatrack and window.” Instead, objects are represented by single letters such as “C” for coatrack or “W” for window. If someone opened a pack of magnetic letter magnets and spilled them across the floor that would describe how they look in the game.

When you click on a letter, a popup box appears with more information. Within it are links to learn more about the object or to take it and add it to your inventory. The player begins with an empty backpack at the start of the game with a status of 0%. Each time an item is added the percentage increases. If this exceeds 97% the game requires that you lighten the load. To resolve this the player can open their backpack to drop* items. When they are finished with a room they return to the hallway. The game (Spoiler - click to show) ends when you visit Room 202. If you try to enter this room right away the game will say that you need to visit the other rooms first, but in truth all you need is to step into Room 201 for this requirement to be satisfied.

At first the game gives the impression of having puzzles. There are items in every room just waiting for the player to snatch up, and the management of items in the backpack adds a fun challenge. However, (Spoiler - click to show) you do not need a single thing to complete the game. While the protagonist’s identity as an apocalypse survivor provides a reason for ransacking the place, none of the items that you collect have any application. I did not realize this during my first playthrough and I had a great time. Afterwards, however, I was surprised that the game turned out to be mostly puzzle-less. Nonetheless, the game is still worth replaying for its visual effects and atmosphere. Even if objects seem like mere props, the writing and setting carry it through.

Story
There is no backstory about the protagonist or the overarching zombie apocalypse which the game gets away with. Normally I like it when games include background information that explains why their world is in an apocalyptic state, but this game manages to fit into the vaguely-described-zombie-apocalypse trope where you assume it builds from the same mold: an outbreak occurred, zombies attacked, and daily life is now a matter of survival. While I certainly would not have minded if this game were built on an elaborate backstory, it does not seem to be lacking without it. As a zombie piece I enjoyed it.

The final (Spoiler - click to show) segment of gameplay is effectively thrilling and the highlight of the story. When you step into Room 202 there is nothing to click on but a shoe rack. The popup box says,

No shoes by the door. An acrid smell stings through the staleness of the room.

You barely have enough time to read this when the text changes to:

Something in the room just moved.

Then a zombie ambushes you. These pauses were incredibly effective in creating a sense of horror. Furthermore, the game (Spoiler - click to show) implements a mild jump-scare of angry, quivering descriptions of the zombie as it lunges at you. There are no pictures, just text, but it effectively adds an element of surprise.

The only real criticism I have about the game’s story is that (Spoiler - click to show) there is only one ending and that the gameplay choices have no sway over it. During this final encounter with the zombie a link appears telling the player to “RUN!” I wondered if stalling would result in being eaten but there was no difference. I even deliberately weighed my backpack down to see if that would slow the protagonist down, but that had no effect either. No matter what you do it seems like you always escape the hotel and win the game. Then again, perhaps that is not such a bad thing. I wonder how other players will feel.

Characters
While the game does not say so outright it is suggested that the protagonist is male when the player goes digging through the clothes in the dressers and coatracks in each room. In every other aspect the protagonist is neutral in description and identity.

This is not a zombie hunter game or one with combat. Instead, most of the content on zombies is suggestive. For instance, (Spoiler - click to show) if you try to open Room 205 you will hear a zombie try to break the door down. Even though you never see the zombie from the room the atmosphere and writing convey the horror in this scene. The only time (Spoiler - click to show) you see a zombie is near the end of the game. Otherwise, the player only encounters corpses during the gameplay (speaking of which, be prepared for such things).

Visuals
The visual effects make The Second Floor a bit of a gem because it shows how special effects can be used in a Twine game to tell a story. For this game these effects are notably used to establish setting. Shapes, patterns, colours, and timed pauses work together to portray a grungy and powerless hotel during a zombie apocalypse.

For me the most memorable visual element in this game is the hallway: simple and effective at establishing the setting as a hotel. The hallway consists of a strip of bloodstained carpet running vertically across the screen. On each left and right side is a door that allows access into a room, and at the top and bottom of the screen are arrows that lead to other sections of hallway.

Typically, the game’s screen is black, but the author adds more details for the hotel rooms. There is a thick boarder that creates the illusion of a room’s perimeter. At the bottom of the screen is a backpack icon that keeps track of the player’s inventory percentage levels.

The floorspace is explored in sections with arrows that the player uses to move through the room. Your location is marked with a faint box-shaped yellow that replicates the beam of a flashlight. This block of light provides only a few feet of visibility which really makes it feel as if the protagonist is exploring a room with nothing but a flashlight to guide them. Paired with the player’s freedom to roam around the space, these special effects make everything feel more immersive.

Final thoughts
Most zombie games that I have played are parser games, but this Twine format brings something new to the table. It you like zombie games in general then I highly recommend The Second Floor. It may also be of interest if you are seeking out gameplay where scavenging is a central feature. It is also a great example of a Twine game with free range of movement, allowing the player to navigate the game’s world like a parser game. On top of that it has great atmosphere and successfully incorporates horror elements, especially with its (Spoiler - click to show) text version of a (sort of) jump-scare. I can see myself returning to this game in the future.

Also: If you enjoyed this game, consider playing my father's long, long legs. It is also made with Twine and has similar horror vibes. Both games share the visual technique of navigating a space with a flashlight but successfully use this concept in a unique way that sets each game apart.

*Rather than (Spoiler - click to show) dropping the food it would be nice if the protagonist could at least eat some off it. This is the zombie apocalypse, after all. Wasting food probably is not the best idea.

You are strolling along the countryside with the intention of finding a horsehair extension. Apparently, horsehair extensions are made from hair collected from horses and processed into hair pieces that can be worn by both humans and horses. In this game, you looking to acquire one for a horse.

Gameplay
The game begins with the protagonist strolling across a field when they see the words “HORSE HAIR EXTENSION” scrawled across a wall. This turns out to be a trail of messages leading the player towards the possibility of finding an extension. The player passes a farmhouse and reaches a branching road. Since the game ends when the player takes the first path down the road the other paths are the focus of the gameplay.

One of the roads leads (Spoiler - click to show) to a ditch with a hole that runs to a sewage tunnel. Inside the tunnel is a merchant who sells extensions for $5. There are two ways to acquire $5 which adds a little variety to the gameplay. Since the merchant will only sell one extension per customer the protagonist uses the extra $5 to buy ice cream at the end of the game.

Characters
The gameplay is mostly NPC-less. There are no defining characteristics about the protagonist, they are neutral. There are (Spoiler - click to show) two other characters. The first is a horse that you find on the second path at the branching road. If you search the bush a horse will appear and follow you for the rest of the game. This part is optional but influences the ending. The second character is the mysterious shadowy merchant who sells horsehair extensions in the sewer tunnel.

Story
The first part of the game has an ominous atmosphere. There are messages about horsehair extensions in your surroundings. When you (Spoiler - click to show) enter the farmhouse the game says,

You find the inside of the ruined farmhouse rather melancholic. The space appears to be completely devoid of horses, large or otherwise.

This is deeply disturbing to you.

Leave this place

This was effective in making me wonder about the backstory, especially about the farmhouse. The horses are gone but someone has engraved brief messages about horses on the surroundings, almost like a trail. I was eager for an answer on why the messages were left behind. It is eerie and makes you anticipate when you reach the end of this trail of odd messages. But the (Spoiler - click to show) messages only lead to the branching road and then they stop without any further explanation. The farmhouse too is never revisited, except for the clutter outside.

We also never learn why the protagonist needs a horsehair extension. It seems like the protagonist’s goal is simply to acquire a horsehair extension and then attach it to a horse, but the implementation of this goal is flimsy. If the player (Spoiler - click to show) takes the first road without finding an extension the game just ends. All it says is that you walk until you lose track of the road that you came from. Then you forget about horsehair extensions altogether. Providing some exposition would have sculpted the story a bit more for the player. No matter what, there are no comments about the protagonist’s reason for seeking out a horsehair extension in the first place. And even the outcome of finding an extension is lackluster. The overall effect is that it feels like random gameplay.

The endings are nothing spectacular but there are multiple ones, which adds some replay value. I can recall (Spoiler - click to show) 8 ending variations. The optimal ending is (Spoiler - click to show) to buy a horsehair extension, clip the extension onto the horse, and then buy ice cream.

Visuals
The game's strength is its simple background graphics. Set against a light grey background are basic sketches of nature in what reminds me of a thin black sharpie marker. The wheat field design was my favorite because it conveyed a basic yet polished look. When I first saw a screenshot of the game in its cover art, I was compelled to play it. The gameplay with the (Spoiler - click to show) underground merchant deviates from this design. These scenes have a black screen with a white spiral pattern. The only downside is that the font, which is different from the rest of the game, is a bit hard to read. Otherwise, it captures a "down the rabbit hole" feeling that was appropriate for the setting.

Final thoughts
The game has some interesting ideas but feels unfocused without providing any insight on the protagonist's objective of finding a horsehair extension. I recommend this game if you like short and surreal Twine games that rely on atmosphere rather than story content. You may also like it if you are a fan of horses. The graphics are nice to look at and I can see this being a good potential "lunch break length" game.

Review title: A humorous Twine take on the story of Orpheus and Eurydice
This game is a fanciful retelling of the Greek story of Orpheus and Eurydice where you play as Orpheus in his quest to revive Eurydice. The game takes about 25-30 minutes to play, and its gameplay features some replay value.

Background
Here is some background context for this game. Some may not consider these as spoilers, but I will still tag key plot points. In Greek mythology a man named Orpheus loses Eurydice, his wife, when she is bitten by a snake. Orpheus decides to go to the Underworld to bring her back. He is extremely skilled at the lyre and (Spoiler - click to show) plays such a bittersweet song about Eurydice's death that even Hades and Persephone, gods of the Underworld, agree to give him a second chance. They allow Orpheus to lead Eurydice out of the Underworld with the condition that he does not look back until they both reach the realm of the living. Along the way, however, he grows suspicious because he cannot hear the footsteps of anyone behind him. He turns, only to see his wife, and loses her a second time. But upon his death Orpheus is reunited with Eurydice once again.

As is the case with most Greek mythology there are variations in a story, but the story of Eurydice and Orpheus always seems to share the same theme: that (Spoiler - click to show) love can endure in life and death even if two individuals reside in separate realms. Orpheus: A Tragicomedy in Six Parts sticks (mostly) to this storyline but adds a comedic twist.

Gameplay
As explained in the title the game is broken into six acts, all of which are evenly paced. The gameplay begins after Eurydice has died. After moping around Orpheus decides to go to the Underworld.

Whenever I read about Greek mythology there seems to be a process for reaching the Underworld. Usually, you are required to take a boat across a sea before reaching the gates of the Underworld. In this game (Spoiler - click to show) the player can throw caution and planning to the wind. They travel to the Underworld on their terms, completely contradicting the original story in a humorous and creative way. The player can even try to kill off Orpheus, but the game always has some humorous way to keep this from happening. No matter what, he never wavers from his goal.

While the gameplay in the Underworld is (Spoiler - click to show) influenced by your previous choices the game still presents you with three characters, one of which you can ask for help. You can choose either Heracles, Achilles, or Sisyphus. Each character brings unique dialog which adds replay value.

The game may not be accurate from a historical standpoint but that is the main defining feature in Orpheus: A Tragicomedy in Six Parts. It is a humorous and outlandish take on a traditional story while also sticking with familiar characters and key plot points.

Story
The writing is hilarious. My favorite part is when (Spoiler - click to show) Orpheus tries to talk to Persephone and Hades only for them to act as if the encounter is nothing more than someone trying to make an appointment at the hair salon.

Hades grabs a dayplanner off his sidetable and starts pawing through it. "Yes... this afternoon. Though it looks like we're double-booked. Unless..." Hades starts scribbling something down in his dayplanner, apparently forgetting that you're there.

Who would have thought that Hades, God of the Underworld, would use a planner to manage his kingdom? There are multiple dialog options that let you choose the tone of the conversation, but the (Spoiler - click to show) outcome remains the same. Hades and Persephone will initially turn Orpheus away until he whips out his lyre and proceeds to wow them with his music. This is also the case in the original story.

The game captures Orpheus' uncertainty as the player (Spoiler - click to show) clicks on the "Don't look back" command. But no longer how long the player clicks on the button they do not reach the exit of the Underworld. They only have one other option: "Look back.” Orpheus loses Eurydice and the player is presented with two choices that determine the ending.

The player can choose to (Spoiler - click to show) kill themselves or keep living without Eurydice. Choosing to continue living leads to the happy ending because when Orpheus does die, he is reunited with Eurydice in a joyful manner. If the player chooses for Orpheus to kill himself, he is reunited with Eurydice but in less-than-ideal conditions where loneliness pervades.

Visuals
I love the stylizing of this game. It uses a black background with mustard yellow text and accents. Sometimes characters will also use their own font. The top and bottom of the screen have a basic maze-like appearance and the game occasionally includes graphics of the characters. Some are portrayed in mustard yellow against the black screen while others are more ornate. These visuals were one of the best parts of the game and created a polished look.

Links that are tan and underlined result in popup boxes containing a few verses that the protagonist players. I am pretty sure that they are NOT actual verses from real-life texts but instead a simplified version with a joking undertone. I felt that these boxes added a little more interactivity and a splash of humor. The game also has links that lead to YouTube videos some music mentioned in the game. My only complaint was that these links are dark blue and difficult to read against the black screen.

Final thoughts
This is a great game if you are hungry for something with Greek mythology, especially one that strives to be a funny retelling rather than going for historical accuracy. It is fairly short game and has simple yet detailed visuals.

Another game I recommend from IFDB is called Eurydice by an anonymous author. It is a parser game uses a modern and much more somber take on the classic story. It is one of my favorite games and is a nice way of demonstrating how different authors can make a unique game based on the same concept.

The story is one of finding a place in a welcoming community. You have been granted a cottage in a town on a new island and have access to a range of locations and townspeople. With this new start, you find ways of making the cottage your home.

There is one thing I want to say about content. When I first played this game on itchio it came with one of those “You must be 18+ to view this content” popup warnings but there is little explicit content to be worried about. The game’s content warning includes (Spoiler - click to show) language, violent events, and brief blood, which is true. However, after playing the game I sincerely feel that the content implemented is nowhere near an 18+ rating. I am only saying this because the +18 rating may discourage some players from even trying it which would mean missing out on an excellent and light-hearted game. That is my take on it. I would describe this game as not for kids but reasonable for most ages.

Gameplay
The gameplay is broken into days. Each day begins at the player’s cottage. At the start of each day the player can travel, harvest their garden, craft items, read books, and invite people over if they have a good enough relationship. Sometimes the player will get notifications in their mailbox about events and festivals held by the island community.

The travel locations are the town, forest, coast, and river, each having one main character that the player can build a relationship with (and possibly pursue romance). At each location the player can scavenge for raw materials and then craft items from them. You can then sell these creations at the market or give them to other characters as gifts. Sometimes new locations will briefly be available, such as (Spoiler - click to show) a shipwreck.

You can sell and buy things at the market which was exciting at first. However, it does not take long for you to buy out everything in the market. It also felt unrealistic that you can harvest a fresh crop from your garden every single day. Selling all that produce contributed to the excess of coins that I accumulated. I was surprised there was no way to customize your cottage beyond books and plants. A room extension or remodeling would burn off those extra coins.

One of the biggest strengths in this game is that quests are smoothly implemented. Quests usually involve finding and talking to new characters for information or crafting special items. Even though quests follow a similar model they avoid feeling repetitive. Sometimes they overlap which makes the game’s world more fluid.

Story
The ultimate goal is to become a happy member of the community but there is no variation in endings. The only ending is to (Spoiler - click to show) complete every task and achievement which is shown in a list. Because of this, players may not be compelled to replay it. I could see this as a game that you play again several months later when you stumble across it and decide to revisit it.

Characters
The game requires that the player become friends with the other characters. The only way to move forward in character interactions is to (Spoiler - click to show) alternate between giving them gifts and talking to them. It feels sort of awkward to have a heated interaction with a character and then earning points with them by giving them things out of nowhere. It is like in the Sims games where you give someone a high five until they become your best friend. Nonetheless, characters are richly implemented. They may be found strolling along in locations you normally would not find them, giving you an opportunity to chat. I also liked the idea of (Spoiler - click to show) recruiting the characters as teachers if you decide to turn the abandoned house into a school because it ties back to the theme of community building.

There is also a mild stat system that is used in character dialog. Gameplay choices affect your Sanguine, Melancholic, Choleric, and Phlegmatic levels. There is no way of checking your stat levels and it is not clear on what choices contribute to a particular stat, but it does add some extra depth. You might be presented with a list of options such as these: Here is an example of three links you could click on to respond to a character:

'Sorry. I didn't mean to intrude.'
'You left your door open.'
(Choleric) 'Looking around. Who are you?'

Each one of these would be a response to a character. If you did not have a high enough Choleric stat for the last option, it would be crossed out. Using stats in Twine games always adds a little complexity to the gameplay and Ataraxia is no exception.

Visuals
Game uses a simple colour scheme of teal background and orange text with occasional text effects in some of the quests. Everything is easy to read and navigate which is especially helpful in an RPG game where you are constantly flipping through inventories and stat statistics. I think its appearance is one of the game’s strongest points.

Final thoughts
Ataraxia is a nice ambient game with lighthearted themes of aspiration and productive community-building (along with just a touch of fantasy). Its gameplay is complex but not puzzle heavy and is an excellent example of a choice-based RPG.

Paid parental leave in Sweden has led to a change in parenting methods. Many fathers are now considered as "Stay-At-Home" dads, a concept that is rather novel in places like the U.S. In this game you are a father named Björn. The game begins in your kitchen where you are drinking juice and thinking about yourself as a parent. Note: This game came out in 2016. No doubt the landscape of childcare has evolved (for better or worse) since then.

Gameplay
The gameplay is shaped by your choice of perceiving the world with either a realist perspective or an optimist perspective that offer two separate paths. I liked how the game presents two simple but clearcut ways of experimenting with the story. Unfortunately, both paths end abruptly with the realist path being slightly longer.

Optimist path
In this first path Björn is reflecting on when he first met his wife Agatha at an office, thinking about how attractive she was. Then he moves on to when they bought their first house which has started to feel like a home. Suddenly (Spoiler - click to show) the game interjects with "WHAT COULD BE ANY BETTER THAN THAT?!" Then the credits appear. This path does nothing towards portraying the subject of paid parental leave. It is just feels like a brief fantasy trip.

Realist path
At least this path does briefly look at paid parental leave. It covers Björn’s daily routine with his daughter Abby. His wife, Agatha, works in finance in another area. He drives Abby to school tries to complete basic tasks such as grocery shopping. Before paid parental leave he worked in a nut processing factory. Because the factory is not particularly exciting, he decides to apply for a new job. (Spoiler - click to show) Unfortunately, the game randomly ends with him thinking about different types of nuts without further exploring the topics of childcare.

Discussion
The game describes itself as being about "Swedish fathers with a lot of time on their hands," which we never learn about. In both the optimist and realist paths the game never breaks down how fathers commit themselves to childcare or how they manage their free time, especially over longer time periods than the ones shown in the game. For instance, how have societal factors influenced fathers’ role in childcare that resulted in the wave of stay-at-home dads? At least the realist route skims the surface of the subject. It mentions grocery shopping and applying for jobs but discussion of the subject ends before it can begin. I was not expecting a vast Twine piece that covered every aspect of paid parental leave. But when I saw the game, I thought it would have gone into greater detail.

Visuals
The visual design is one of the strong points in this game. It features beautiful gradient backgrounds with large glowing text that is easy to read and creates a nicely stylized effect. The glowing text is subtle without being hard to read. The optimist and realist paths each have a unique gradient background that was aesthetically pleasing. If this were a blog, I would upload a screenshot of the background. Since that is not possible you will have to play the game to see them for yourself.

Final thoughts
Despite its incompleteness there are two reasons why I would recommend the game: A, it has information on parental paid leave in Sweden at the end of the game and B, shows some nice examples of gradient backgrounds used in Twine. This too is mentioned at the end.

Even though I have multiple criticisms about the game I am glad that the author chose this topic because parenting is always a relevant topic. Based on my experience (other players may feel otherwise) with interactive fiction I have encountered more games about motherhood than about fatherhood, and I think that this game is a nice addition to the mix.

(Note: If you click on the link to the article in the credits page, you may be hit with a paywall. But if you type in the name of the article "In Sweden, Men Can Have It All" into a search engine you will still find some interesting and relevant material on the subject.)

You are a passenger on a ship called the Space Cruiser DONTPANIC. It is just a basic business trip until an alarm goes off while you are asleep. One step outside of your quarters reveals that the ship is in a state of emergency, leaving you with no choice but to go to the control room to radio for help. But ground control has other plans.

In the control room you learn that ground control has gleefully nominated you to be the first human to enter a black hole. The player than can choose from a short list of outlandish survival options before they are swallowed by the event horizon (that is, the point of no return, where even light cannot escape). For atmosphere, consider looking up NASA’s first picture of a black hole. While I cannot claim that this game is an accurate depiction of what it would be like to fall into a black hole, the concept is still an interesting one to contemplate.

I am giving this game a rating of two stars because there not much substance to the gameplay. It is meant to be humorous and comical, but it does not offer much in terms of interactivity or variation. Initially, I thought it would have been one of those games where each time you die you learn something new that will let you get a litter farther in the next playthrough. However, the game usually results in the same outcome and the player’s choices do not seem to matter.

Most of the endings (Spoiler - click to show) lead to same thing: The player entering the event horizon and watching the first forms of life in the universe coming into creation. There is no explanation as to why ground control chose to sabotage the protagonist, nor is there any mention of any other characters on the ship because the layout of the ship suggests that this was a multi-person ship. There are only (Spoiler - click to show) two other endings: falling asleep after the alarm wakes you up and trying to teleport yourself out of the ship. The second one was probably the most interesting. I could not help but think that it would have been kind of cool to see a CerebroVat in action.

I often like to briefly acknowledge the visuals of Twine games. This one is basic but shows how a few style choices can add some uniqueness. Its appearance is a slightly more stylized than the typical white text and black screen. The text is set in a dark-grey rectangle with round corners against a black screen. Links are enclosed with a slightly lighter-gray rounded rectangle. I felt like this was a nice example of a basic Twine design.

In conclusion, the game may not be particularly substantial, but it still has merits. It is a brief and humorous diversion, and I recommend it to players who enjoy the disaster-in-space genre.

This is a surreal game about a branching train of thought inspired by field research in a rainforest. Everything is sensory. The smell of the forest, the moisture in the air, and the sound of the wildlife are all captured in succinct but vivid detail, which is why this game captured my attention.

You are an unnamed and undescribed (presumably human) protagonist who wanders the forest until you reach as group of researchers with a makeshift ecology lab. The researchers, unbothered by the fact that you are rummaging around in their equipment are studying plants, birds, insects, trees, the ocean, and other parts of the forest. Maybe they are even studying you.

Either way, the gameplay consists of clicking on links that lead to one
When the protagonist observes the scientists’ field work, they ponder the different forms of research that humans have conducted about life and proceeds to bounce between identities. (Spoiler - click to show) First, you are a scientist studying ecology in Biosphere 2, a real-world facility that studies closed ecosystems. Suddenly you are analyzing messages sent by a radio dish to another solar system with instructions on how to reach Earth. Then you are an alien landing on Earth for the first time. These rapid changes are all smoothly implemented so that it forms a blended narrative. Games with this structure run the risk of being tricky to follow but FIELD WORK was streamlined and easy to understand.

The end of the story is a slightly unexpected but interesting outcome. Eventually, (Spoiler - click to show) your mind snaps back to reality. Rather than merely collecting samples to ship off to a lab, the researchers explain that they are actually studying the forest to form a musical composition by using technology that takes microscopic samples and transfer their structure into sound. The game then ends with (Spoiler - click to show) the protagonist listening to the sounds in silent reflection which felt like a thoughtful conclusion.

The visuals are sleek and polished. For most of the game the text body is contained in a white square with rounded corners against a slightly darker white background. It uses black and white text with green links and symbols. The game uses basic visual effects in creative ways. For example, I like how (Spoiler - click to show) the text box darkened so that it was reduced to a white circle that simulated the view of looking through a microscope. The downside is that the box containing the text is incredibly small and is swallowed by the back screen. There are some cases where the black text is somewhat faded and difficult to read against the white screen. In addition, the text size may be hard to read which may discourage some players.

The cover art and title lured me in with the promise of an immersive sci-fi adventure and I am pleased to say that I found a unique Twine game that incorporates current areas of research into a short story. It is surreal but not too intensive or too long. It also has a cool trailer on its itchio page that contains some of the locations mentioned in the game. If you like the themes mentioned in the trailer (or this review) then this game may be of interest.

You are an Ensign on a ship called the Invisible Hand. Its mission is to ferry goods to different locations, but the last job ran into some issues. The cargo is a sentient gelatinous substance call Lumen Fish. It is extremely valuable which means the reward for delivering the cargo will be high. Unfortunately, a group called the Lex Evisceratum heard about this and now hunting the Invisible Hand. To make things worse the ship's FTL (faster than light) drive has been damaged, leaving the ship vulnerable in space.

Gameplay
The goal of the game is to fix the drive. The player can explore different rooms on the ship although the rooms themselves are usually minimal in interactivity. Most locations consist of a room redescription and a character although a few have objects you can interact with. Some characters have prerequisites for interacting with them, or for entering their spaces, which form most puzzles. A fun bonus is the achievements at the end of the game which is nice since it gives incentive to replay.

The weak point of the game is its premature endings. The first one that left me confused is (Spoiler - click to show) the Bio-Purification Unit in the infirmary. If you examine it the game ends without describing it or explaining its function. Is it a human-sized version of a garbage disposal? The protagonist just keels over in pain and that is that.

Similarly, the game (Spoiler - click to show) randomly ends if you examine the beast in the lab. There is not even an option to return to a checkpoint. Nor is there anything that says, "the end" or "game over." It gives the impression of a broken link. If it is meant to an official ending is extremely under clued. All you did was examine the beast. It escapes and causes chaos but there is no story structure behind its escape. It has absolutely nothing to do with repairing the drive or delivering the cargo and could have been implemented more smoothly.

Story
The story is a bit one-dimensional. It follows a familiar model of the genre: recognizable archetypes of crew members, a premise of transporting strange cargo, and a dispute between galactic powers, in this case being the Laissez-Faire Trade Federation vs the Lex Evisceratum. Then again, that model is also part of the allure. It may be familiar, but the author can always add a unique twist.

Escape from Cluster Zeta is light on background material. It does not weigh the player down with detail about planets, politics, and logistics. Such detail is desirable but for small games it can be overwhelming. This game balances length with background content. The immediate story could have been more fleshed out. There is not much content on the protagonist or any elaboration on the cargo's bounty and the Lex Evisceratum, but it is still enough to make the player curious enough to play. There are also Star Wars and interactive fiction references (plus other subjects) sprinkled about. If you enjoy these things, you may find humor in this game.

Visuals
This Twine game uses a black screen with simple white text. A notable feature is the awesome photos of characters. The editing for most of the alien species looks a bit corny and overedited but I appreciate the effort of making them more diverse than just having humans with secondary alien characteristics. The stylizing for the human characters, on the other hand, adds just enough flair without overdoing it. I am curious to know how the author produced the graphics.

Conclusion
Its strong points do not quite make up for its weaknesses but is still an interesting piece none the less. If the game focused more on story structure and the cause and effect of player choices the piece would much stronger. Though it is rough around the edges it is not a sloppy piece. The author clearly has clearly put much care into its creation and the eagerness shows. I would be curious to know if they ever produce a game in the future.

This is surreal Twine game about wandering a seaside landscape in quiet contemplation. The world is infused with cat motifs and underlying feelings of loneliness, serenity, and self-reflection. There are no puzzles or plot twists, and yet, there is plenty to see and do in this game’s world.

Gameplay
The game really captures the feel of wandering aimlessly in a seaside setting. Its design is simple: clicking on links to navigate your environment. But there is an underlying complexity. It heavily uses cycling links, just small ones within each location but also ones that are strung together across locations. It is how you find yourself slowing moving from the waterfront to the lighthouse to the open sea and onwards. You might click on a link that takes you to a previous direction, but you can easily retrace your progress. The writing and the way the links are imbedded in each other really create a smooth effect. It feels less linear and more adaptive to the player's choices. It also creates the excitement of stumbling across a new location that you overlooked.

There is a sense that you are the only person there- well, technically you are. You are not ambushed by cuddle piles of cats. In fact, there are no cats you can directly interact with. You only see hints of them here and there in the corner of your eye. But paying close attention to these details almost creates a meditative experience. One of my favorite details is (Spoiler - click to show) in the larger boat, The Flying Fish. It is empty, but you cannot help but notice that the furniture has traces of cat hair.

Story
The author has such vivid imagination that shines in this game. Rather than a broad story that encases the entire game, the story lies in bits and pieces throughout the setting. Different areas are infused with memories and small narratives that help you form your own idea of the history of the seaside setting and the locations connected to it. Besides, the world is just so fascinating to explore. At the waterfront there is a warehouse called "Feline Industries Recycling Center." It is not exactly clear as to what type of facility it is, only that when you explore it you catch hints of cats scampering about the rafters. You get a taste of the story’s world without really knowing what it is.

One of my favorite bits of writing is part of the location description for Feline Industries Waterfront:

Far to the north, beyond a barren expanse, pale light reveals a small town. The sign pointing that way says: “To Centaur Square”. It looks like a short trip.

When you click on “It looks like a short trip” it changes to:

Trying to follow its directions however makes the town appear more distant with every step. Only a solitary line of paw prints marks the way.

There is something about that writing that really resonated with me. Just think about it...

Is there an ending? I believe the answer is no. I certainly did not reach an ending, nor did I find one while digging through the source code that the author posted. But this feels like a game that needs no ending. It ends when you feel like ending the experience.

Visuals
I applaud the visual design. It is crisp and simple. Main appearance of the game is a white square against a second off-white background. The text is spaced within the square with black lines and accents. The text is well-organized and easy to read, and the name of each location is neatly printed at the top. Occasionally, the writing is augmented with basic but pretty artwork of the setting. All of this created a polished look.

In case you want to compare notes, I found (Spoiler - click to show) five pieces of artwork in the game. The locations are Engine room, Feline bedroom, Ground Floor, In a boat at sea, Round Chamber.

Final thoughts?
So, what is it like playing Kitty and the Sea? Imagine this: It is past noon, and you are playing a Twine game, one that lets you roam around, almost like a parser game, but also one that is heavily based on writing. You are groggy and tired. It is tempting to take a nap, but you convince yourself not to since you want to break the bad habit of sleeping late in the day. You are not really reading; you are just clicking. Whenever you try to focus on the writing, as if someone asked you to read it and then summarize it at the drop of a hat, you just feel so tired. But then slowly your brain starts to focus on the text on and suddenly it does not seem so vast. You go from being in a mid-afternoon dazed to suddenly super-focused on this game that you suddenly realize "wow, this game is actually quite captivating!" THAT was my experience (and this is not the only game where this has happened to me). That was my personal experience. Go see where it takes you.

The game starts with an intro that explains the post-apocalyptic circumstances. In 2017 a short global war turned the planet into a wasteland. More than a century later in 2163 survivors have managed to pull together communities. However, controversy and strife remain. You live in a village called Mountain Mission which is under threat of being attacked by a clan called the Alpha Revolution. This section of the game has a cool map that shows the location of Mountain Mission in relation to its surrounding areas, giving it a survival-like edge. Your village is about to be attacked and how you respond is up to you.

The main gameplay begins in your shack in Mountain Mission. You have some money and some weaponry. Your only choice is to go out. Once outside you can go to the market, the barracks, or decide to leave the village. No matter what you choose you (Spoiler - click to show) always end up at a gate with attackers on the other side. You have two choices: defend or hide. The game immediately ends soon after. Here is an example of a sequence, starting outside of your shack: Go to the barracks > Hide > Stay hidden. Then the game suddenly says, "Thank you for playing Alpha 1.0!" Beneath it is a link saying to restart. It was the ultimately feeling of "that's it?" I feel that the author could have at least add more of a transition between the player choosing their final action and the game ending. Choosing to defend stretches out the gameplay because you can choose how you fight although it too ends in the same way.

Like the gameplay, the story has yet to develop beyond the intro. The game hints at letting the player dabble with moral choices. How do you respond to newly sprung conflict amid a post-apocalyptic setting where daily life is still fragile? Unfortunately, the game ends before these choices can be explored.

The game may be incomplete, but the author says that they plan to update it. I am not sure if that will happen, but I hope that happens since apocalyptic/post-apocalyptic themes in interactive fiction can be a draw for players. And if it does happen, I will definitely revisit this.