Reviews by Kinetic Mouse Car

When I first saw Rougi, I thought it was commercial. It is not. But it is a demo.

In Rougi, the Paris Opéra Ballet is getting ready to put on Les Souliers Rouges, a controversial ballet thought to be cursed. And maybe there’s something to it. So far, it has been a string of accidents and delays. That is why you, a mere patron of the arts, have been tasked to find the truth behind the curse.

Actually, I think Les Souliers Rouges ( The Red Shoes) is an actual story with many adaptations in film, music, and other forms. Rougi happens to depict it as a ballet, which I believe has been done as well. But the version in Rougi is especially unique. The storyline is different than what I have seen (on the internet, that is), and I am curious to see its trajectory here.

Gameplay
The game begins with a brief intro before the PC enters the picture. We are merely the passive observer of a reception after a performance of Coppélia where ballerinas and crew members are mingling with the audience in the gallery. Two ballerinas, Élodie Sirand and Laure Bloch, are especially at the center of attention, each with their own crowd of admirers.

Élodie is the seasoned professional. The only danseuse étoile (lead ballerina, or prima ballerina) in Paris. Laure is the new, innocent talent who basks in the praise while Élodie watches her warily. At one point, Antoine de Forbin, a long-devoted patron of considerable power, informs Élodie that he must break off his relationship with her. She leaves. Angry. A young man chases after her. The scene ends.

It’s a pretty good intro. One that leaves you with questions. Both ballerinas are cast in Les Souliers Rouges, BTW. More on that later.

Rougi officially kicks off with some character creation where you decide on your name, pronouns, and social class. There are three social class (working class, bourgeois, and aristocracy) options that mildly influence the writing and character dialog. They also determine how you gain access to the Paris Opéra Ballet.

You’d never imagined you’d be able to enter the Palais, let alone stand in the secret wings behind its glittering halls.

You always begin with a letter invitation. For the bourgeois choice, you used your connections to weasel your way into an invitation, for the aristocracy option, you were simply invited. And if you choose the working class, you were tasked with making a delivery. Playing as different roles is fun and adds replay value.

Regardless of which social standing you choose to play in, your mission will be the same. At one point, you will meet the Director of the Opéra Ballet. He is strongly against Les Souliers Rouges but could not override the decision-making of other influential figures at the Opéra Ballet. He is a superstitious man, or at least when Les Souliers Rouges is involved. He will hardly visit the site while the ballet is in production. But he does so he could speak to you. He wants you to roll up your sleeves and investigate this “curse” before it causes (more) harm.

At heart, this is a mystery game, and there is a strong investigative feel in the gameplay. On the left side of the screen is a menu containing an inventory and a notebook section for clues. Some clues are added automatically, others only if you deem them relevant. It’s an organized system that is easy to use. The gameplay does use a higher word count, so it is helpful to have something that keeps track of vital details. The demo ends before we can make any real breakthroughs, but we still learn some neat things.

Issues
There are some dents in the polish. The only real bug hiccup that I encountered was with the achievements. When you unlock one, a message appears at the top of the screen before it is added in the achievements section. Often the game would say I earned one, but it would never be added to the list. The only achievement (besides the first two that are there following character creation) that managed to show up in the achievements section was:

(Spoiler - click to show) “Your Crown is Falling, Queen: Win Élodie's respect through an unexpected trial.”

None of the others appeared. I was hoping to see what they were. I must admit, I thought I would have to work harder to win Élodie’s respect, but no complaints.

Another error is how whenever you add something to your notebook, this happens: “There is a scrap of red satin near your foot. You surreptitiously pocket it.” If you repeatedly add a clue to the notebook, there will be no duplicate of the clue. But the PC will still pick up pieces of red satin to add in the inventory. They just keep piling up. Every time. Infinite scraps. I think that's an error. Either that or people keep leaving pieces of red satin everywhere.

Oh, and Laure is never added to the “Persons of interest” section. That’s about it.

Story
For context, the story takes place during the Belle Époque, a period spanning from 1871-1914 in France and the European region. In the developer’s notes, the date was said to be 1895 but I’m not sure if that directly applies to the game. Either way, it’s nice that the game gives us a historical context.

In Rougi, a character named Maestro Camille Fauré (or just Camille) wrote Les Souliers Rouges. It is about a young village girl named Clara who receives red slippers that are secretly cursed by the King of Darkness who wants to claim her, etc. Its original premiere is shrouded in controversy. Spoilers ahead.

(Spoiler - click to show) Before opening night, the lead dancer casted as Clara died. Her body was found mangled by the roadside with large amounts of blood on the red ballet shoes in her bag. The production was cancelled. Years later, it was attempted again, but its production was riddled with disasters and thus scraped.

Now, for some insane reason, Camille wants to give this another shot and managed to twist the arm of those needed to permit (not that they agree) such a show. Les Souliers Rouges will be attempted one more time despite everyone's fear of its mere name. Even the Director is convinced it is cursed. He almost has a heart attack upon seeing Laure in her red dance shoes.

That’s all I know about the story through this demo. The author has a blog devoted to the development which is definitely worth a look.

I can tell you that the writing is decadent and descriptive. One of the best parts. It also theatrically captures the drama as it unfolds.

Dancers crowd around the fallen ballerina, outstretched hands fluttering from her to their mouths in the most elegant show of alarm you’ve ever seen.

We can visualize the elegant architecture and lavishly attired guests, but also “staff-only” areas that are less glamorous and maybe… not haunted. Probably not haunted. That’s the perk of the Director giving you the green light for investigating a cursed ballet production. It carries the awe of stepping from the streets into a performing arts establishment of great renown, setting a strong atmosphere.

Characters
There are plenty of interesting characters who are eventually logged as entries in your notebook. But so far, the dynamics between Élodie and Laure takes center stage. A rivalry is apparent. Élodie is the best of the best, Laure is new, one of the best, and somehow manages to be the Opéra Ballet Director’s favorite. Besides, they have completely different personas.

Laure is the bright-eyed, up-and-coming new talent. She is clearly dazzled by the high life glamour that comes with being a prominent ballerina. For her, ballet is a portal into this extravagant world. She is giddy and excitable without knowing the grimmer side of fame. As we see at the start of the game with Élodie, fame brings patrons, but patrons can easily ditch their favorites and become entranced with something new.

Élodie’s character is a sharp contrast. She has years of experience, not just in ballet but also the industry. Because of this, she is cynical, sees fakery from a mile away, and hostile towards those who waste her time (so, everyone). But she has secrets and has been burned by individuals. There is, perhaps, a genuine motive, though self-serving, to protect Laure from making the same mistakes that she did as a career ballerina because she knows too well that success attracts powerful people who call the shots.

Perhaps. Élodie strikes me as an individual who dislikes others but is not one to stand by and watch someone, especially if that someone was once her, make the worst possible mistake because of inexperience or vulnerability. Laure seems to be that someone. But it’s just a hunch, and one that may be disproven as the story develops.

Drama, drama, and more drama
It’s bad enough that Les Souliers Rouges is cursed. Now, two new developments have increased the scandal. (Spoiler - click to show) The first is that Laure is cast as the lead, Clara, instead of Élodie. The second is that rather than having a male dancer play the character of the King, Élodie will. Or maybe the King’s character is changed to female. I’m not sure. Either way, people see this as scandalous- for reasons I’m still trying to piece together- because Élodie claims Laure as a bride via the character roles. Is the gender change part bold, or is it just the rivalry between the two lead ballerinas?

Laure herself is shocked about this news but reassures those in charge that “I would do anything to become an étoile.” Anything? You can probably finish that thought. The demo ends after (Spoiler - click to show) Élodie and Laure dance in a duo piece, which only makes you want to know more of this catastrophic show. Is it really cursed?

Visuals
The visual design goes well with the atmosphere and subject matter. It conjures up the image of velvet, wine, and... blood? Maybe I’m just jumping to conclusions. Oh, you can also change the colour scheme for the display mode, a superficial feature (in the best way) that wins me over every time. The one I just discussed it the default is called "Nuit," which means night. The other theme is "Matinée," a show that takes place in the day. The colour scheme for Matinée is creme and light blue. The best part is that it all contributes to the concept of performing arts.

More importantly, the text is easy to read. You can also adjust it in the settings. The super fancy cursive is great for flair but having it for everything would eventually be a pain to read.

Final thoughts
I have played games about the performing arts, but this is the first based on ballet. It’s exciting and dramatic with a strong feel for mystery. I want to know the truth behind Les Souliers Rouges.

I recommend it to players interested in historical mystery games with an emphasis on the characters and story. As a mystery Twine game, it steers away from deductive puzzles and instead has the player carefully glean valuable bits of information as encounters arise. If you like the Lady Thalia series, you may enjoy Rougi but know that it is a complete change in tone and technicality.

One more thing: I'm going to be a spoiled brat for a moment. This is another polished, excellent demo that I've seen on IFDB (there are quite a few) that I would love to see continued. The author says that Rougi will be updated over the next few weeks. My understanding is that it was published about a year before it was added to IFDB. So, I am not sure when the next update will be.

I hope it continues to be developed without adding tons of pressure (that’s the last thing I want to do) for updates. If the author is reading this, just know that you have something with a lot of potential. I say that for a lot of games, but I would not say it if it weren’t true.

Earth is inhabitable. Its ecosystem is destroyed, and high levels of radiation are everywhere. Roughly 1000 humans have been selected to live in an underground bunker until conditions on Earth return to safer levels. The bunk is self-sufficient and designed with infrastructure to sustain a scaled-down version of society. It is thought that it will be safe to leave in about fifty years.

However, this sanctuary requires a particular kind of decision maker, someone to call the shots when something major happens. A neutral party with no personal stakes or biases. A person (you) has been launched into space to live on an unnamed space station with the sole purpose of keeping tabs on the bunker. The surviving humans consult you from time to time for serious matters when they need you to make a decision.

Otherwise, you spend your time in suspended hibernation until you are summoned once more.

Gameplay
Ultimately, the gameplay revolves around one major decision that ends your mission and the game: opening the bunker to allow the humans to explore and populate Earth again. It also marks your death. And no, that’s not a spoiler. The PC knows right from the start that this is going to be a one-way trip. You continue until you expire (this is one of those rare games I’ve encountered where hibernation tech does not preserve your body from aging) or open the bunker door on Earth.

The Last Sanctuary has high replay value and involves strategy. Most of the gameplay involves trade-off decisions where choices are made to preserve one system or resource over another. For every scenario there are two possible options. You may encounter the same scenario more than once, but the repeated success of either decision is variable. It forces you must keep track of decisions that are high-risk and high reward. If your bunker is crumbling away, play it safe. But even that is uncertain.

A stats page with colourful visual indicators is provided so you can keep track of the population size, bunker conditions, supply stocks, data stores, and communications levels. The most important stat is the one measuring radiation levels on Earth. It takes years for it to go down to zero. Your sleep cycles depend on the inhabitants. They may wake you up after six years, sometimes just after one.

When you open the bunker door, (Spoiler - click to show) the game gives you roughly four assessments. Earth’s habitability, genetic diversity based on surviving population size, the level of tech and data remaining, and the long-term state of humanity’s new civilization. This can range anywhere from thriving to dying thanks to radiation sickening within hours. Experimenting with different outcomes will keep you busy. You get a final score that is stored in the game’s high-score page. My highest was (Spoiler - click to show) 815.

My only complaint is with the achievements. When you open The Last Sanctuary, it pulls up a menu page where you input commands, such as “play” to start a new game. This menu includes an achievements page that keeps track of secret endings, how many encounters you have found (including special encounters), and how many general endings you have completed. The achievement reads as (Spoiler - click to show) Locked: (14/22) Endings, which means that there are 22 endings total and I only found 14.

I have no idea on how to get the remaining endings and seems to have reached a wall. My guess is that (Spoiler - click to show) some are about failing in certain ways, but it is actually quite difficult to fail before you open the door because you die of old age before your decisions wipe out the inhabitants. Speaking of which, it is impossible to lose every inhabitant. There has got to be an achievement somewhere for that. Nor can you run out of food or have total failure of the radiation shielding. The reason why I am going the destructive route is because I have exhausted the other (more optimal) outcomes in the game. These are the only unknowns left to explore, but I cannot seem to play the game long enough to see them through. I feel like the game is too tightly constrained in this regard. Plus, there is a secret console achievement that I want to reach.

Story
The premise of The Last Sanctuary reminds me of another Twine game called Seedship. Both put the player in charge of the remainder of humanity after Earth becomes inhabitable and involve making tough decisions. If you like The Last Sanctuary, please try Seedship, and vice versa. They have a lot in common while still being distinct high-quality pieces of sci-fi interactive fiction. Let’s take a closer look just for fun.

Seedship is about an AI of a ship carrying 1000 frozen colonists with the task of finding a new planet for a human colony. Just as the PC in The Last Sanctuary sleeps until woken by the bunker dwellers, the AI snoozes until the ship either reaches the target star system or is awakened mid journey by an unexpected event. You also make judgement calls that often make you sacrifice one thing for another (ex. Do I allow the sleep chambers to overheat or the construction system?).

The player manages stats that include scanners, ship systems, and data storage. Everything leads up to one all-encompassing decision that determines the outcome of humanity: landing the ship on your chosen planet. Like The Last Sanctuary, you get a score on your performance. The AI has cultural and scientific databases that colonists use to retain levels of technology and a heritage to Earth. If these are incomplete the colonies are less likely to build a flourishing colony. This value on preserving human memory is also shared with The Last Sanctuary.

If you have played Seedship, you are probably nodding your head. But this review is about The Last Sanctuary, and it ultimately offers a separate experience. Seedship, being in third person, makes you feel more like an observer. Meanwhile, The Last Sanctuary captures a stronger sense of self. You feel like the PC, and not just because the story is told in second person.

Every time the PC wakes, we get a glimpse into their thoughts, and the writing captures the feel of being a lone person on a space station trying to guide the remainders of humanity on Earth. We start to see what it is like to go from an Earthling to a permanent human satellite with only one purpose. That sort of atmosphere shapes and defines the game.

The Last Sanctuary also allows the player to see the effects of their everyday decisions on the people whom they are responsible for. Frozen colonists* have little opportunities to throw temper tantrums at your choices. But the humans in the bunker have no qualms about talking back, (Spoiler - click to show) starting cults, breaking things out of spite, and (Spoiler - click to show) demanding to be let out of the bunker at their own peril. If you think about it, the only reason you wake up is when they want you to. You definitely get that human dynamic.

*Actually, you’d be surprised at how frozen colonists can mess with an AI, but you’ll just have to play the game.

Visuals
The game goes creative with its visual design. The screen is just one big animated starfield that makes you feel like you are cruising through space. The settings allow you to control the speed of the stars (which was more fun than one would expect) including stopping them entirely which was smart since the starfield gets distracting. I would just stare at it and forget what I was doing.

Smack in the center of the screen is an illustration of an IBM computer. Appropriately, the game's text appears on the computer's screen, and the font and text colour also contribute to the “digital” appearance. There are even a few computer buttons you can toggle, although they don't seem to have any particular purpose aside from turning the screen off and on. Still, points for interactivity.

Most importantly, the use of computer visuals highlights the fact the protagonist is doing the same thing as you: sitting at a computer screen while weeding through inhabitants’ requests. The coolest part of the visuals was how the game makes an illustration of your civilization when it presents your score.

Final thoughts
The Last Sanctuary is a fun but introspective game where you, and only you, are responsible for providing some semblance of leadership to people you will never meet face-to-face. You call the shots for humanity’s survival and yet you are confined to a space station with no hope of returning to Earth once it has been restored.

But you can look at it both ways. You have the chance to put humanity back on the right track, and these themes were compelling to explore. In essence, it is a strong story with irresistible gameplay.

Horror with a bite. Poor you.

You share a flat/apartment with friends Kayleigh, Sam, and Meghane. The four of you are discussing plans for later via group chat. Meghane's cousin Chloé is supposed to meet up to join the festivities. Tonight. Her cousin is meeting up with everyone tonight. Problem: Everyone forgot. Exasperated, Meghane goes to add Chloé to the chat...

Gameplay
The mechanics of gameplay are simple. It takes place in a chat group environment where you tap/click the screen to see each text message as they appear in the chat. Sometimes you have opportunities to respond. For these, a menu will appear at the bottom of the screen with a list of responses.

At first all you see is causal, crowded banter. Tap, tap, tap. You are just skimming through the messages while your flatmates argue about cleaning out the fridge. Throughout the game, NPCs will switch between being on and off the chat as they do other things, triggering notifications. It really creates a chat room vibe. Soon, things kick off when Meghane’s cousin is added to the group.

In Chloe Is Home, you are a clueless little player who gets sucked right in the mess. Stay far, far away from this review until you give the game a playthrough. I’m always touchy about “preserving” the suspense, but it’s true. Want the full horror experience that comes with not knowing what is in store for you? Play it first. Otherwise, it will ruin the fun. Don't be all, "oh, reading this review will help me be more informed when I play it." NO. Play the game first.

(Spoiler - click to show) But Meghane's cousin is not the one who joins the chat... Someone else does. Technically, I think the game’s description is a super light spoiler, “A flatmate group chat unknowingly welcomes an uninvited guest into their midst,” although only a stickler will probably feel the same way. No matter. There’s still lots to discover.

Now that the cat is out of the bag, I'll just refer to fake-Chloe as the Stranger or “Chloe” under these spoiler tags. This is the crucial detail: If you take a closer look at the user, it is shown as Chloe not Chloé. See it? It's that little line about the “e.” If you totally missed it, you're not alone. For the first playthrough I assumed it was Meghane’s cousin, although it does not take long for you to have doubts.

Story + Characters
I’m going to use this section to look closer at the story’s pacing and structure which is critical for a horror game. It’s going to be one big spoiler-fest (which I’ll tag), so again, browse wisely.

Pacing is excellent. Mechanically, the game skips pause effects. The rate of text messages is based on however fast the player chooses to tap or click on the screen. And yet, there is a feel of everything speeding up. You feel out of control. The effectiveness of the pacing is achieved through staggering story events.

It closely resembles a horror movie sequence where you know what’s going to happen but see separate shots of Character A being resourceful, Character B cluelessly walking into a trap, the culprit going up the stairs where Character D has just managed to put two and two together. These shots (with other elements) are then woven together to leave you at the edge of the seat in a nervous wreck because you know exactlywhatisgoingtohappen.

Obviously, a Twine game is not going to harness the cinematic techniques used in film, but it manages to recreate this concept closely. (Spoiler - click to show)

The Stranger just keeps getting more unnerving. They inquire about you being home alone and start a game of 20 questions with prompts on your personal information or how you want to die (if you were to, that is). The zinger is when you ask a question about either their pet peeves or whether they are an introvert or extravert. Their act as Meghane’s cousin completely falls apart and they go on a rant of why they hate about people. Then, bam. “Chloe” again.

Oh, and they have your address. You gave it to them, remember?

Chloe:
I'm literally 5 minutes away.

Ha. Ha. Oh no.

The reason behind the Stranger’s presence in the group chat is revealed when Meghane notices that she mistyped Chloé’s (the real Chloé- again, fancy é) number. Which confirms that yes, you’ve been talking to the wrong person, and you warn your flatmates. Meghane adds the real Chloé (whom we briefly meet) and starts searching to kick out “Chloe.” And then:

Chloe changed their name to Chloé.

The Stranger won’t go down so easily. This is where the staggering of events really starts to shine.

It kicks off with the Stranger sending you a picture of the flat before asking Meghane for the code to the door. Now, your friends are a tad sluggish about your warnings because they’ve been on and off the chat for the past half hour. They don’t realize the extent of this mix-up, yet. So, seeing the fancy “e” in the altered username, Meghane assumes that the Stranger was removed from the chat. She happily shares the code.

Meghane:
The code is 3042! 💋

Naturally, she realizes this mistake afterwards. The entire time the player keeps yelling, “don’t do it, don’t do it, just don’t!!!” The suspense is sharpened to a point. The sluggishness of the NPCs only heightens the urgency. Like watching characters in a horror film as they make clueless blunders right when it matters.

Meghane, Kayleigh, and Sam finally get with the program. Pacing intensifies. The Stranger narrates their movements toward the door. Everyone is panicking. One friend is calling the police. One friend is rushing home. One friend is alerting the neighbors. But despite this, you are still the only one at the flat. Then you hear a knocking sound.

An actual knocking sound effect. Followed by someone fidgeting with the door. I often forget/fail to turn on the audio for games. Half the time I don’t even notice they come with sound. But I managed to get the memo this time. It is a basic sound snippet that serves as the finishing atmospheric touch to a chilling horror game.

I’m going to switch things up and chew the fat about the story a little more. Again, more spoilers.

I was hoping for (Spoiler - click to show) more than one ending. After experimenting with multiple playthroughs, I could not find any alternatives. What frustrated me was that there is a pivotal moment in the gameplay that railroads the player into making one choice that ultimately determines the ending. This moment is when “Chloe” asks for the address to the shared flat, claiming that they lost Meghane’s instructions somewhere back in the chat. No matter what, you give it to them. And now they know where you live.

Given the dialog leading up to this point, all (or at least most) of your nerves are whispering stranger danger. Something’s off. The player feels it, and the PC feels it. You can lie about the address, dodge the question, or drag your heels, but this only leads to you having to send the address. Eventually you will.

🗨 Choose a reply
Sure
(Send it)

Throughout the game are dialog options that allow the player to tread lightly and approach this “Chloe” with skepticism. The responses involve refusing to dole out information, giving vague answers, or calling out inappropriate statements. The gameplay enables you to read between the lines. So why is it that you are ultimately forced to give out the home address?

What type of ending would I be asking for? It does not have to be a positive ending, just one that recognizes when the player goes the extra mile in assessing the Stranger’s identity. It was clever how you can catch their bluff by claiming that Meghane mentioned that they were going through a tough time without going into specifics. “Chloe” assumes that Meghane was talking about the real cousin and goes along with the charade by making something up. You then respond with skepticism that chips away at their act. I thought that if you pestered them enough, they may reveal their true colours or admit to being someone else. That would probably put the story on a different trajectory.

So… What happens? I think the PC’s chances of survival are not that dire. Then again, a character in a horror movie might say the same thing. The opening words of this game are rather ominous.

Kayleigh:
Omg, guys kill me. Shanon wants another meeting...

Visuals
I have always enjoyed Twine or choice-based games that mimic a digital interface, especially personal devices. The idea is cool both visually and in terms of functionality. Sometimes though, there is the risk of this functionality being hindered by design elements like wide margins or awkward scrollbars that do not prevent you from playing but do detract from the polish. Chloe Is Home avoid this. It uses the phone interface idea without overwhelming the player with its features. Note: I love it when authors go wild as long as functionality is preserved.

This game keeps it relatively simple while adding some flair. It tastefully replicates the appearance of a smartphone device with tall but narrow screen dimensions. The borders are purple with shadowed edges that give it a more 3D resemblance. Character text bubbles are colour-coded and set against an off-white screen. A general, strong look.

Plus, some embellishments. Emojis, symbols, and even the occasional GIF!

Final thoughts
Yes, I really enjoyed Chloe Is Home. It has a lot of strengths. Pacing, suspense, clever visual design. Players, I think, will get a rush playing it. There is enough variation in the gameplay to encourage multiple playthroughs (plus, it’s a short game), but when it becomes apparent that (Spoiler - click to show) there is only one ending, players may leave it at that. Regardless, it is a high-quality piece that offers an urgency that is hard to capture in a Twine format. Highly recommended for horror fans (especially choice-based horror).

I hope the author(s) continue to produce more work. This was a great first piece.

If you are interested in any more horror chat room stories, I suggest Disharmony, a Twine game about investigating the absence of a member from your friend group via an online messenger platform by the same name. Worth playing with the lights off.

You play as Noah. Kiera, your sister, texts you with a request. She wants you to visit a relative’s former house on Laurel Road to retrieve items for your cousin, Quinn. But you and Quinn have never had the best relationship. Not ever since they transitioned. Returning there will bring up bad memories, and afterwards, you will have to bring the items to Quinn. Will you do it? Or will you shy away from the task?

There is a genre of games about rummaging through a house one last time after a drastic event to gather items and relive memories. Exploration is largely NPC-less with a profound sense of melancholy, leaving the player to decide one what the PC gets out of the experience. I am reminded of the Twine game Another Cabin In The Woods and the TADS game Past Present. I know there are plenty more out there.

Gameplay
Quinn is the younger cousin of Noah and Keira. They lived their entire life under a different name- of which we never learn- but now go by Quinn. If it was not obvious, they also now identify as “they.”

The house on Laurel Road has been abandoned for months, but the furniture and belongings are still there. It is also a former crime scene. There is a brief intro before you travel to the house. Once there, you can travel from room to room in search of items. For the gameplay mechanics, you either click anywhere on the screen to move to the next passage or click on links when they are offered.

Gameplay involves reliving memories by examining items in the house. There is the (Spoiler - click to show) sketchbook that Quinn used while hospitalized for self-harm (I thought this scene was well done. It does not tip toe around the subject but also treads lightly on the explicit details). A boardgame that Noah thought was dumb, but Quinn liked to play. The home videos that Quinn’s father smashed out of anger. Oh yes, there is a lot to unpack. Overall, I would not say this is a sad, gloomy game, but there is an undeniable sense of tragedy that emerges as you sift through the near empty house.

Story
As I mentioned at the beginning, 13 Laurel Road is a piece where the story is centered around a defining Event that occurs before the game begins. You just merely pick up the pieces of a shattered past. The big plot twist is that (Spoiler - click to show) Quinn’s father, Glenn, shot and killed his wife, Joyce. You are visiting the house months after the incident.

While this is not a graphic game, there are poignant indicators of the violence that took place, such as bullet holes or suspicious looking stains. The game gives few details about this plot element, and it’s unclear if both Quinn and Joyce were shot, or the fate of Glenn. Did he kill himself? The only certainty is that Joyce is dead, and Quinn is now living on their own.

If anything, this story is about Quinn. Nearly a year ago, when Quinn requested to be called "they," Noah screwed up and said some things that hurt Quinn, and then started an argument with his sister, prompting Quinn to leave. Noah has felt bad about that ever since, and yet has not been proactive in making up for his behavior. Hopefully, this excursion into the past to find Quinn's things will be an opportunity to come to terms with what he did.

Sure enough, you end up being the one who (Spoiler - click to show) meets with Quinn in person to return the items. You have a few choices on how to respond to that encounter.

Characters + Themes
Let’s take a closer look at the character dynamics, particularly Noah’s relationship with Quinn since it is a long relationship filled with instability.

Noah never took Quinn’s transition seriously. Not transphobic, exactly, but indifferent to the challenges and implications brought by this personal growth. Quinn came out to Noah and Keira before ever bringing it up with Quinn’s own parents. Noah and Keira were supposed to be a support system, but Noah made little effort to respect his cousin’s change in identity.

In one of the memories, Noah recalls hearing (Spoiler - click to show) Quinn’s father, Glenn, talk about Quinn in shocking ways. While the game never actually uses transphobic slurs, it's implied that such slurs and statements were said in these past discussions. Even worse, Noah also remembers not trying object to (Spoiler - click to show) his uncle's comments or feeling any need to defend Quinn. (Note: This is a good game if you want to explore these ideas without dousing you with explicit content. Such games are powerful but sometimes you may feel like playing something more subtle.)

At the same time, the game highlights the uncertainty that can come with learning about a person’s, transition in gender and pronouns when one (Noah) is unaccustomed to concepts about transitioning. Noah would retreat to the use of Quinn’s previous name and pronouns as a defense mechanism when he felt insecure about the fact that people’s identity can be fluid. It is a big unknown for Noah. Unfortunately, Noah’s lack of open-mindedness caused harm to Quinn, especially as they struggled back at home. It was not until (Spoiler - click to show) Glenn killed Joyce did Noah realize how little support Quinn had.

How the player chooses to engage with this determines Noah’s willingness to admit- really admit- that he was wrong. That he chose the easy route and ignore when faced with his cousin’s requests to use different pronouns.

Visuals
Though the game features a familiar appearance of white text against a black screen, it seems like the author added the slightest variation to the default stylization. The white text large and easy to read, maybe in a different-from-default font. Paragraphs are neatly organized onscreen. Never is the screen swamped with text. Neglecting paragraph organization and text space is something I see in Twine games from time to time. Finally, the red links offer a nice splash of colour.

Final thoughts
While not particularly advanced in the technical department, 13 Laurel Road is a simple Twine game with a potent story about identity and revisiting a broken relationship. There are a lot of variables to consider. The game shows the impacts, often the more subtle impacts, that come with misgendering someone or not respecting their wishes (hopefully I analyzed the story correctly). Ultimately, it offers redemption but only redemption that is sought out earnestly.

A memorable slice of life game worth checking out.

This is a tough game to play. And I don't mean the forgiveness rating, which is Merciful, thank you.

This morning I go on IFDB and see that some new games were posted, two of which are made with a development system that I had never heard before, Construct 3. So, I gave this one a try. You play as Tamsyn Snyder, a god-like being (I think) set on a rampage during a pro-choice rally. Right off the bat, this game heaps on the violence. I was not even sure if I should review it, but I also don’t want to shy away from controversial (I have a feeling this will be a controversial game, not that I am trying to make it as such) games either. I am stepping out of my comfort zone, here.

This is probably the most violent interactive fiction game I have ever played in both written content AND visuals. Especially visuals. I’m used to violence in the text, you know, parser, but Knight of the Living God embraces visual elements to tell this story. The game uses animated pixelated artwork that provide an engaging gameplay experience. I liked the bright colours. The result is a visually interesting game. In this regard, I’d say it showcases the technical potential of Construct 3.

It is straightforward to play. You are traveling down a street with a lot of people walking along the sidewalk. You click and select a person to learn more about them and choose to either spare or kill them by swiping the screen. The only way to make progress is to kill. After enough people have died (I did say this game was violent), the game moves to the next stage which only increases the violence. Just when you think it can’t get more violent, it does.

Knight of the Living God is offensive, gory, and shocking. Hateful, even. But also compelling, bold, with lots to think about. I think. I really don't know how to process it. There is no deny that it is unique. I always try to leave a star rating for my reviews, but quite frankly, I don't know how to rate it. Honestly, my impulse was to give it one star because it seems to be violent for the sake of being violent without a strong structure. At the same time, I wonder if I overlooked any smaller, more meaningful details. I just don’t know. After playing it three times, I have more questions than answers. And I don’t feel like playing it anymore.

Is this supposed to be satire? I can't even pinpoint the author's stance on the subject or the intended audience for this piece. If I were to guess, I’d say that the author is promoting (or at least depicting, which seems clear enough) an anti-abortion perspective. I want to be careful because you don’t want to assume that content in a game is an automatic reflection of the author’s perspectives, but this game seems to be heavily skewered towards one side of a debate. The final stretch of gameplay turns into an (Spoiler - click to show) active shooter with violent statements about religion. In fact, religion is probably the dominant topic. Themes about abortion take center stage, but the gameplay is all over the place.

Do I recommend this game? No. But I would not discourage you from playing it either. That is, unless you are sensitive to its subject matter (abortion, gun violence, depictions of blood, etc.) This game could really use a trigger warning at the beginning. It is an intense game where you have to know your own boundaries. That said, it is always good to see authors who are unafraid of making bold choices in their work. Just... proceed with caution, okay?

Haiku was submitted to the Twiny Jam (hosted by Porpentine, yay!) where the rules were simply to make short Twine game with no more than 300 words. This was partly to make the idea of submitting a game to a jam/event less daunting since it can be easy to talk oneself out of participating, you know, just in case everyone submits a longer and better game than your own creation. I'm part joking, but there is truth to it. Submitting a game to anything can be a big unknown. Narrowing down the word limit to 300 reigns in the expectations of scale while also encouraging innovative cleverness though a word limit.

The game's title borrows from a traditional Japanese poetic structure known as a haiku. These are short three lined poems with specific rules on how many syllables can be in each line. Haiku lets you compose a poem by clicking on each line of a haiku provided at the start of the game. I believe the terms a replace macro. It’s a common sight in Twine games. Each line has about five choices to choose from. You swap each line out with another until you are satisfied with your creation. Here is mine:

A pond full of carps
Tells a story to the child
Lies among the grass

The game then ends on a peaceful, reflective note.

I must say, Haiku is rather minimalist, even for the game jam. From a gameplay standpoint the haiku creation process is not particularly advanced. Clicking on a bunch of links several times is not necessarily going to be a hit with players, but offsetting this through other characteristics that engage the player transforms the gameplay experience.

In this case, I’d say that the writing would be the characteristic that keeps the game afloat, and I think it mostly succeeds with this. The first haiku line had some cool options, but the options for lines two and three were not quite as potent. It did not quite feel as satisfying as I expected but I still enjoyed it.

The author plays with some simple but appealing visuals for ambience. The background is off-white colour with green text. The bottom of the screen has simple artwork of riverbank surrounded by grass and cattails. The artwork uses basic brush strokes and is merely meant to be a vague impression.

Haiku captures the idea of less is more, which only enhances the minimal yet potency of haiku poetry. Simple and subtle things can work together to make a finished work more complex than its individual components. Now, I am giving this game three stars instead of four because its premise could have been a little more evolved with how the player interacts with the poetry. That said, it still captures a strong sense of serenity through its haiku concept and visual design that makes it enjoyable to play.

If you are shopping around for anything to do with poetry in interactive fiction, I recommend Haiku.

Habeas Corpus is a short game submitted to a jam with the rule of being no longer than 1,000 words. It is a surreal story about finding a way out of a decaying place, and yet this is not a typical escape game. I have a habit for writing excessively long reviews so I will try to do the same thing here!

You awake in a decrepit moving fortress, unsure of who you are. Even your own reflection is unfamiliar. All you have are five rooms to explore: Dormitory, Armory, Engine room, Concourse, and Nexus, where the game begins. The gameplay predominantly uses the “approach,” “examine,” and “talk” command that are available in certain rooms. Some rooms seem to be merely atmospheric. While this game is largely exploratory, there are some small puzzles about searching your surroundings to finding clues about your whereabouts.

There is minimal exposition on the story. It's ambiguous but no means incomplete, either. We are not sure of why we are in the fortress or the protagonist’s backstory. It left me with some questions. For instance, (Spoiler - click to show) is the dying body in the dormitory supposed to be yourself? Are you dead? That was my initial impression. But for a game of no more than 1,000 words it does well in sewing together a story out of a surreal concept (although I know the jam gives you more wiggle room than other jams that only allow 100 words).

The game’s description explains that there are multiple endings. I only found two: (Spoiler - click to show) LOTUS-EATER and FIRMAMENT, the second appearing to be the “good” ending. It’s a nice ending enough ending about (Spoiler - click to show) escaping with the harpy that effectively concludes the gameplay.

The appearance is snazzily stylized. The text is white with an angular font. Links are either dynamic animated black 3D boxes or glowing peach colour links. The latter bounces when you click on it, cycling between two to four words that provide extra descriptions. The background is horizontal black and dark grey stripes. Meanwhile, the top of the screen is a panel of red and dark red horizontal strips with a grey border. Slowly, these panel colours change as you explore. The panel has buttons for each room, next to each are door icons. I’d say this is a polished and clever design!

It is not a particularly memorable game or one that I would play again, but it is one that I enjoyed and replayed to find the endings. Some of it even has a few Porpentine vibes. If you are a fellow fan of Porpentine or of G.C. Baccaris’s other works (be sure to try Heretic’s Hope, it’s quite a thrill), Habeas Corpus is a fun option.

It is late morning and your mother texts you about going to a restaurant together. Spending time with your mother and eating food sounds like a great idea, but there is anxiety looming in the back of your mind as you agree to meet. Part of it has to do with language.

Gameplay
差异 // Disconnect uses a mix of Chinese characters and English. Occasionally, Chinese characters are substituted with phonetic spelling. The game begins with a short text message exchange between the protagonist and their mother.

11:05 AM MOM: I know a good restaurant, have 手拉面

The first Chinese characters, 手拉面, initially did not have the translation, prompting me to immediately reach for an online translator. I thought this was interesting because the protagonist did exactly just that after I did. It was a brief moment where I could relate to the protagonist, although less so since I lack any working knowledge on the Chinese language. I got "hand-pulled noodles," as did the protagonist when they used consulted Google. It was a neat moment.

The remainder of the gameplay takes place at the restaurant. This seems to be a story where the PC feels like they are messing up more than they are, but the awkwardness so, so real. A noteworthy scene is when the protagonist is trying to give the waitress their order. Their menu is written in Chinese with an English translation, and automatically find themselves reading the translation. But when a waitress comes over to the table, they feel pressured to order in Chinese.

You review the pinying over again in your head. Wǒ yào niúròu shǒu lāmiàn tāng. How hard can it be?

Trying to use perfect accent and pronunciation while on the spot, they trip over the words. You can either try again or bail out and switch to English. Either choice serves to serves to put the player in the protagonist’s shoes to show what it is like to sit on a fence between your closeness to the Chinese language as part of your heritage, and the everyday convenience of English that you rely on in daily life.

What I did not like was how quickly this game ends. It happens sort of out of nowhere. I would have easily given this a rating of five stars if it had more of a conclusion. When you sit down to eat, I thought the game was just getting started, that there would be a little more dialog or examination of other cultural norms. The game is far from incomplete. In fact, it’s excellent. However, I was invested in the story and looked forward to seeing more the protagonist’s experience.

Story + Characters
The story is told in second person, and it seems that your character is gender-neutral, although there is one section that slightly suggests that the protagonist is female. I’ve opted to use “they” instead. Yes, so they feel anxiety and regret about their broken Chinese and how it has shaped encounters with their mother and older family members. They especially remember being pressured into attending Chinese language school when they were younger, but now feels guilty about not making the most of what they learned. They are left as someone who understands Chinese but is unable to speak it with the same proficiency of their mother.

These differences go beyond spoken language. The protagonist has the urge to hug their mother when they see her at the restaurant but refrains from doing so since older members in their family typically did not do that. It was something "reserved for your friends and younger, Westernized relatives.” There are all sorts of subtleties that contribute to a feeling of disconnect. I have always liked games that show the inns and outs of cultural interactions that would otherwise go over your head. The point is not to be a crash course on culture, just a glimpse into a single story.

Visuals
The game keeps it simple but visually appealing. Links are a cheerful yellow. Most of the Chinese text is highlighted in yellow that, when clicked on, reveals the English translation. Text is a mix of black and grey against a white background. I liked the simplicity of the cover art.

Final thoughts
So, this game got me thinking about the title. Courtesy of online Chinese-to-English translate, 差异 means “difference.” Someone better correct me if I’m wrong. Difference // Disconnect. Based on what I learned from the gameplay, it seems the title means that linguistic differences- and other differences- have formed a disconnect between the protagonist and their mother. It is a caring relationship but not always a seamless one as we see in the game.

I really enjoyed this game and recommend it to anyone interested in a slice of life game about family dynamics and Chinese culture. As someone largely unfamiliar with the ins and outs of Chinese language/culture, I found this to be an insightful piece on a human experience.

From the yellowed plastic windows of Borok Singh's penthouse at the top of the Gardeners' citadel, I can see the whole arc of it. The shanty streets. The corpse-processing factories. The sagging footings of the geodesic dome.

This is the first game published in 2023 that I am reviewing. In The Green, you play as a Gardener named Imrik Tso who lives in the city of Klay. Something happened that made all plant life deadly, a phenomenon simply known as the “Green.” Humanity is left huddled in a barricaded city while scientists and firefighters work to keep the lethal greenery out of city limits.

Lately, Imrik feels like this has all been a band aid. He thinks he may have discovered a real piece of hope: a cure. But this means leaving the city.

Gameplay
The gameplay is ultimately a perilous journey out of the city and into the unknown. The first half is about gathering supplies and finding a discreet way to exit the city, of which there are multiple paths. Some choices are tagged as "risky” or “chancy” which can lead to different outcomes. Saving is advised.

There is some resource management woven in. You begin the game mildly infected. Supplies are meant to stave of the infection’s spread, so it does not kill you before you reach the three towers. Even then, you will be crawling across the finish line. And for good reason. Life is deadly outside of the city. Peach trees and daffodils are replaced by venom roses, choke apples, butcher's bloom, and other botanical monstrosities.

At the top of the text space is a circle depicting a diseased handprint. The circle’s outline gives a quick assessment of your health. As you become more infected, the longer the green border grows. Physical injuries are shown with a red border. Clicking on the handprint provides a description of your state.

Not bad. A few small stains. A tinge of green on the webbing between my fingers.

It's not pretty. This function reminds me of playing Vespers where your body is slowly infected by the plague. Beholding the physical transformation of the PC is all part of the experience.

The stain on my left arm is getting worse.
(Oh dear.)

Every time you move, the green border creeps forward. There’s no stopping it (right?), only delaying the inevitable. It gets the player neurotically checking for increased signs of infection, emphasizing the touchiness of the protagonist's situation.

In the second half, the gameplay gets a little repetitive. When you finally leave the city and enter the wild (Green) yonder, everything is about survival and rationing your supplies when you encounter toxic plant life. Hint: It’s everywhere. In a nutshell it consists of ouch, ouch, ouch, don’t step here, don’t step there, ouch. Do I dodge this field of deadly vines or run right through it?

I liked doing battle with killer shrubbery. But it feels like the game is repeating what we already know: The plants are deadly dangerous. Meanwhile, drastic plot elements are handed to the player, detracting from the more investigative themes we see at the start of the game. I’ll discuss this in the next section.

Story
As you can see, I opened this review with the first passage from the game. It is descriptive, atmospheric. It immediately makes you curious to know more about the game’s world which is a powerful trait to have. For some additional context, Klay is run by Borok Singh- or the High Reaper- who orders Gardeners to develop new ways of combating the Green. Imrik managed to hack together a cure but needs to take it to three towers several miles out of Klay. It is thought that those towers are the origin and source of the Green. Because Singh would never agree to this, Imrik must be sneaky.

No living thing (besides deadly plants) survived the Green. Surviving life resides within the walls of Klay. The turning point is when (Spoiler - click to show) Imrik encounters moths flittering casually amongst the plant life and realizes that he was misled. Instead, the Green appeared to be selective, not this all-encompassing beast that sterilized every ecosystem it touches. He concludes that the Green was a human engineered weapon designed to kill specific targets. Human targets. Seems like it got out of hand. There is some ambiguity here. While (Spoiler - click to show) discovering the moths were a surreal moment and a good opportunity to build the story, the scene lays out the plot twist in one go without the subtlety of the earlier gameplay.

Before, you would learn exposition through small choices, whether it would be opting to go through the tunnels to leave the city or to spend some optional time talking to another Gardener. With this, bits and pieces trickle down to form the post-apocalyptic story. But now, the game gives you the big reveal all in one paragraph that feels like the plot twist is being told instead of shown. It’s a tough balance to explain. I think my reaction is partly towards the differences between the first and second halves of the game. It goes from a light investigative piece to a more linear one.

There are still plenty of subtleties to appreciate. A thoughtful perspective emerges with the protagonist’s observations of the Green as he travels. It appears that the Green becomes (Spoiler - click to show) less aggressive the further you are from Klay. There is a perimeter around the city called the burn-back that marks where humans combat the Green with fire, herbicides, and other weapons. Terse, bitter plant life appear to be chopping at the bit to infiltrate the city. But this becomes more mellow, though still dangerous, as you leave the war zone behind. I feel like this offer commentary on our relationship with the natural world, on how our trying to “control” and refine a landscape can only make it more resilient towards our efforts. While The Green takes this to the extreme, it draws similarities with real-life scenarios.

I only found two endings, not including when you die prematurely from the infection (Spoiler - click to show)(although you ultimately die at the end of the game anyway). I’m still not entirely sure of how the cure works, and honestly, I was left with some unanswered questions about the Green and city of Klay.

For instance, the game is nebulous about Klay. Remind me, is Klay the three towers or the city where the game begins? Both? No one knows? All I know is that I found the two endings. (Spoiler - click to show) One is where you use the cure against the Green, and the other is where you decide not to use the cure and let the Green run its natural course. I was hoping for more answers, but these endings suffice.

Visuals
This game gets high marks for visual design. It is also another strong example of visual storytelling. I am glad to see Twine authors going the extra mile to offer something new.

Now, go outside and find a dense patch of moss, trace a circle, and then clear away the moss inside of it. That's what the artwork looks like: a slab of moss with a circle for text in the center of the screen. The text margins and scroll feature was a bit of a hindrance, but that can be expected when trying to fit chunks of text into a circular text-"box" space.

The circle is a cream colour that turns pale green when you leave the city and enter the Green. Around it is a faint green shadow that turns red when you are severely injured. The text will sometimes blur to replicate the protagonist’s blurred vision as he is further infected or injured. These surprise splashes of red added nice contrast. The result is an effective visual experience that makes the gameplay more vivid.

Generally, the colour palette for this game is- big surprise- green! Everything in meant to conjure up plants, plants, and more plants. There are also illustrations of your supplies which are shown on the left half of your screen. The game experiments with clickable icons, such as the journal icon that opens to pop-up window with journal entries. This really gave the game a professional look. Even the save menu has greenery growing on it!

These quality visuals make up for some of the gameplay’s deficiencies. Without them, the experience would be less potent. Yes, this sentiment could apply to any Twine game, but some can hold their own with or without special designs. While the overarching story in The Green is strong, there is a lull in the later gameplay. If this game stuck with the generic black screen + white text look, it would not command the effect that it does. Part of what I like about The Green is how it demonstrates the extent visuals can go to make a completed piece into a polished one. All the power to it. Visuals can go a long way.

Final thoughts
The Green is a unique and compelling game about sacrificing everything to undo the apocalypse. A one-way trip, so make it count. The gameplay combines two cool elements- survival and resource management- which will likely be a draw for players. If post-apocalyptic games interest you, The Green is worth checking out. Plus, the visuals are fantastic.

If you liked the themes in this game, I highly encourage you to check out the game Calm. It’s an Inform game about apocalyptic spores that, when inhaled, kill people if they fail to remain calm. Calm is not the most polished work out there, but it has a unique appeal. I know I played it longer than I expected to. For more subtle plant dystopian Twine games I recommend Defrosted and The Soft Rumor of Spreading Weeds.

P-Rix – Space Trucker told in third person past tense from the perspective of a PC named P-Rix, a trucker who agreed to a sketchy delivery with the promise of earning a high reward. But partway through the journey and accident occurs. The ship had a collision with an unknown object. A collision that damaged the cargo bay. You know, the place where the super-secret cargo is held.

It is also a demo. For future reference, that’s what this review is about.

Gameplay
The game begins with a message saying, "Alert! System Breached! Alert!" that pulls P-Rix out of sleep. Here, the bottom screen faintly blinks red to simulate an alarm going off. Just one of many cool visual effects found in this game.

The first few puzzles are about fixing the ship’s critical status. The ship is losing oxygen and fuel, and a careless mistake results in death. There are plenty of insta-deaths in this game. The player typically has two options at a time to search and fix the ship. I liked the sense of danger and urgency that is conveyed right from the start. If only I knew what was in that cargo…

Story + Characters
As expected, the story is minimal. We know that a client, an ambiguous “they” looming over our heads, made the request for a delivery to NA-Dux 16T-8R, one of the most dangerous areas of the universe. Given there is a demo, we only see a little of this pan out. We do hear a mention of a contractor named Mr. E in regard to the cargo. The client, maybe? The game ends when you (Spoiler - click to show) finally get the space trucker’s rig up and running only to have to seek out more extensive repairs at the nearest interplanetary mechanic stop.

Likewise, info on the protagonist is also limited. There is some repetitive swearing that loses its potency after a while, but the game never breaks from P-Rix's flustered character. It's hard to tell if he is a slacker or just had been dealt a really bad set of cards. We only get a sense of his situation beyond dealing with an immediate emergency. It should be noted that the only reason why he agreed to the delivery was because of the number of zeros at the end of the payment. Makes for a compelling story.

Visuals
This, in my opinion, is the main event in this game. So far, at least. I was really impressed with how visual elements are used to tell the story. Attractive appearances go a long way, but when they enhance the storytelling itself, that's when the bonus points start coming out. Hence my long discussion of it.

After a brief intro, the visuals transform into a large console-like text box against a pink tinged star field background. The console is broken into six panels, the main two being the top half that shows the ship's status, and the panel beneath it where text is displayed. I wish that part was a little bigger, but it is a minor hindrance. There are also stats (yay!) for the cargo, oxygen, and fuel, although the game is not long enough to really see these features in action.

The game occasionally switches things up with a new screen depicting a diagnostics page with a striped green and black backdrop behind a large green text box area in the center. It uses a mix of scrolling text and glowing letters to add to the atmosphere. Even some character graphics are introduced, but the game ends soon after that.

The star field takes up a little more than a half of the backdrop space, starting from the top of the screen and moving downwards. The bottom half is black with a curved glowing edge, like the event horizon of a black hole. Everything, both the backdrop and the console, has a rose red pink colour that later turns purple once the ship is repaired. A ship icon then appears on the display panel. Then… the animation kicks in.

What's wild is when the star field then moves towards and under the bottom half to create the impression that the ship is moving. Have you ever stood on a pier at the ocean and feel like the pier was moving when in fact it is the motion of the waves giving that impression? It’s like that. But with Twine. This was brilliant. This is what I meant by the game using visual effects to tell the story of traveling through space.

A similar example can be found in another Twine game, To Spring Open. It uses a bouncing text effect to simulate a ride on a subway train. Both cases demonstrate the merit of experimenting with visual elements to change how the player experiences the story.

Final thoughts
Lately, there have been quite a few high-quality Twine demos floating around IFDB made by a wide variety of skilled authors. These Twine games are beautifully designed with either elegant simplicity or with impressive visuals. They make waves as quality demos, often with eye-catching cover art. I just hope that the authors continue to pursue them. Including this one. No pressure but including P-Rix – Space Trucker. The title alone is worth checking out.

THIS IS THE END OF THE DEMO. MORE CONTENT WILL BE ADDED IN THE FUTURE! THANK YOU FOR PLAYING!

Please, please, please, keep developing this. Finish it. I want to play more of this space truckin' adventure. It's already off to a great start.