Reviews by Kinetic Mouse Car

For the spirit of Halloween, I have to review at least one EctoComp game.

Buggy is about a relatively featureless PC riding on a rickety buggy with a brother named Everett (nicknamed “Ever”) as they try to escape from some unspecified pursuers.

In this game, if there are no bugs, you are doing something wrong. In fact, the PC’s brother will call you out on it. The gameplay begins on the buggy and ends when you crash.

If you make an error, such as, "lookj" (a command typo I make when typing quickly) we see that everything destabilizes, to Everett’s horror. The buggy goes out of control. Errors also consist of verbs that are not implemented, although more often than not Everett will interject a reference about said verb.

"Oh my heavens it's another error," whispers Everett. There's a large crack. The buggy jolts. Everett starts swearing but then switches to praying when he sees you watching.

Endings provide suggestions on other verbs to try, and through this you will learn how to win the game. Super short, excellent length if you want to play a game standing up.

The only story content that I could see was how the protagonist is grieving for someone named Lenore and killed a demon. I am not sure if the two are related. The description of the sky was a potent indicator of their feelings. I was not expecting to be able to (Spoiler - click to show) take the clouds or moon. I did the all-encompassing "take all" only to get "moon: The sinister clouds are in the way." That made me laugh. Still, I feel for them.

It is an amusing experience if you are familiar with simple parser commands, and, arguably, flat-out hilarious if you are not. Either way, approach this game with a grain of salt and you will have a fun time.

One Way Ticket is a surreal custom choice-based game about being stuck in a strange town after your train runs into an accident… the railway is covered in a big mountain of corn. These circumstances only get stranger. If you want to leave you will have to show initiative by pestering the locals, worming your way into off-limit areas, and maintaining your sanity is this odd, odd adventure.

This is a town where (Spoiler - click to show) people use golden sand as currency, night and day are determined by adjusting the arms on a clock, buildings have legs, everyone only eats corn, and lions hang out in the valley. There is also an NPC (Spoiler - click to show) who has arms and hands in place of legs and feet. Soon after your arrival, the mayor gives you a town map that already has the broken-down train marked on it, almost like a historical landmark. His also attitude suggests that the train (which, by the way, has *(Spoiler - click to show) eyes for wheels) and its passengers were meant to be trapped here, but that won’t stop you from looking for a way out.

Despite this weirdness, this is not a horror game, more akin to a demented version of Thomas the Tank Engine (not Thomas himself but the human characters). These themes are subtle, and that is the whole point. If you like vague, slightly unsettling themes right under the surface in a surreal game, this might be for you.

Gameplay
After an intro in the train, you are essentially dropped into the middle of town to fend for yourself. This means wandering around and asking people questions. Later on, the gameplay becomes more complex.

The gameplay is structured for convenience and frustration, a surprising combination. The central mechanic revolves around the two icons at the top of the screen: a satchel icon (for inventory) and a notebook icon. The satchel icon keeps track of clues and observations which are added as you play. Any noteworthy information in a scene is underlined and sent to this section for future reference. For me, there was a learning curve with how the gameplay implements these two icons. In an interaction you can open the notebook or satchel to select an entry to be used in the encounter.

"By the way, if you want to eat or something else, say, do not hesitate!" she added cheerfully, without turning around.

Say goodbye.
Ask about the driver and conductor.

Above is an early scene where you talk to the hostess in the tavern. “Say goodbye” and “Ask about the driver and conductor” are action links, the latter of which only appears if you open the notebook section and select the clue about the driver and conductor’s whereabouts in the notes section. Easy enough. The problem is that later in the game the objectives and puzzles become increasingly cryptic, technical, and confusing. I found myself just randomly trying every clue in an encounter until I found one that did something. At times, the number of clues and details can be overwhelming, especially if you have a hard time following the story.

The reason why I am giving this game three stars instead of four is because the last third of gameplay involves excess backtracking for solving the dozen or so final puzzles. You navigate by opening and clicking on a map which translates into, (Spoiler - click to show) go to the tavern, the trolley, another trolley, the cemetery, the trolley, another again trolley, the tavern, the southern trolley, the workshop, the southern trolley, the tavern, the- and so forth. Usually this is just to switch between night and day via the tavern, but it feels so repetitive, even more so since this is a long game. At least it was fun to see the night and day art for each location.

Story
The gist with the story is that a mountain of corn is covering the train tracks, and that the only way for it to be removed is to eat it…………..it is hard to keep track of events in this game. It largely has to do with (Spoiler - click to show) dealing with the lions in the valley, but to get to that point you must do all these odd jobs (like obtaining some golden sand so you can actually buy something) to acquire the resources need to achieve that.

I was using the walkthrough for most of the second half of the game (Initially, I thought I was making speedy progress, but when I saw the walkthrough, I realized I had a long way to go). By the time I finished I was not even sure of what I accomplished. It was (Spoiler - click to show) snowing and everyone seemed miffed that I banished the lions. I can’t even remember if I managed to leave.

It feels like you have to jump through hoops just to get some answers about the story. It is not as if the game simply skips over discussing exposition about the town but having played it for several hours, I find myself unable to piece it all together. While it is not really something I plan to play more than once, the optional achievements and bonus art galleries make it awfully tempting.

Characters
The game vaguely suggests that the protagonist is male, but there is a scene on the train that may or may not be an opportunity to choose your own gender. It has to do with examining and entering the bathroom doors, but it does this so vaguely that I cannot say for sure.

I thought it was interesting how the game uses a first person and past tense narrative. The protagonist is telling a story that already occurred, which I do not see as often in interactive fiction. We also do not get much background on the protagonist, only that they are on the train to leave an old life behind. Obviously, this debacle with the corn-oriented town derailed (hey!) their plans of starting a life somewhere new.

Some of the NPCs are a little intense, but others are mysterious in a cool way. It is hard to pinpoint characters’ motives. Combined with being stuck in a strange town, that is a little worrying, but also the whole point.

Visuals
I really like the art which uses basic lines and shapes to form an image but at times it’s a little unsettling. Imagine taking several sticks and lining them up perfectly side by side except for one that is slightly bent. It is barely noticeable, but something at the back of your brain thinks, “huh, that’s weird.” This is not a complaint since it contributes to the bizarre weirdness that is lurking about. Most of the art though, is not like that. A great feature is a gallery section that collects the art you have found. There are quite a few.

There is also a handy in-game map of the town that expands as you explore more areas. You just click on where you want to go. If I had to describe the map’s style, I would say that it looks like it was hand drawn and then processed through Microsoft Paint, but much nicer looking. And I like the style. It is just hard to describe.

A downside is that I noticed some mildly frequent spelling errors sprinkled about. The game is certainly not sloppy, but a final round of proof-reading would have added some polish.

Final thoughts
One Way Ticket does an effective job at conveying a surreal setting featuring a flustered protagonist forced into bizarre and unexplained circumstances determined not to succumb to the wonderful life that the town claims to offers. I must say, this game’s story is probably the most eccentric, but also memorable, out of all the entries I have played so far for this IFComp.

Ultimately, this is a quality game, and quite an adventure. However, based on its length and repetitiveness near the end, I recommended it if you are looking for a creative take on surrealism and have the patience to be in it for the long haul.

*When I saw the cover art, I had the impression that this would be a kids’ game. It’s not. But it was not until I played the game that I noticed the “wheels” on the train are supposed to be (Spoiler - click to show) eyes. I think since they blink on the menu page in the game.

This game is apparently about selecting parties. It is chaotic and confusing, but not in a good way. You are in a courtyard that contains several offices, within each is a character looking to have a fun time. (Spoiler - click to show) After browsing your options, you get to pick who to visit. A small paragraph describing the encounter appears on screen and the game just ends. There is no story structure.

I find it so frustrating when Twine games do not have any indicator that the game is over, and instead either leave the player with a blank screen or a screen with text minus a concluding passage (does not necessarily have to be link) that confirms that the game is over. Just some indicator will do. Otherwise, I get the impression that I came across a broken page. It is like someone singing and they decide not to sing the last line. This game (Spoiler - click to show) opts for the latter, and they hardly feel like endings.

Visually, everything is organized well enough. Then again, there is hardly anything to critique because the game is so short. It sticks with the standard visual model of black screen, white text, and purple links. But that is the only positive in this game.

4 Edith + 2 Niki is too incomplete for this competition. It was tough to even find the game’s main idea and story. Feel free to check it out if you want, it will only take up a minute of your time.

In this short Twine game, you play as a volunteer collecting dues for a community organization group. It is time for your shift, where you go from door to door, trying to get people interested in signing up as members. You have a quota to meet, but lately your success rate with recruiting members has declined and your faith in the organization's ability to create change is wavering. Think about that later. Pull on your winter clothes, steel your nerves, and start your shift.

Gameplay
Collect £5 in dues within four hours. All right. There are 32 houses on your list. It is not possible to visit them all, nor is that the goal. Well, the goal is to knock on as many doors as possible, but your success is based on the dues you collect, not on how many houses you reach. Going to a house costs five minutes, and at some point, you also need to take at least one break, either to use the restroom or warm up from the cold, or you will have to end your shift early. So, it is definitely not possible to cover everything. But that is also a good reason for replays.

You can also take breaks for other things such as texting a coworker or checking the news. The game is set during the COVID lockdown restrictions in 2020, and checking the news gives some light background context which was a nice touch. Plus, there is an in-game glossary explaining the process of community organization.

The catch is that success is not really possible. Few people showed interest in my pitch. I made a simple list of which houses had people who answered the door, and then narrowed that down to people who would earnestly engage in conversation. Next, I replayed to find the dialog options that successfully convinced them to join. And it worked! I was so pleased with myself. My target was £5. I came back with (Spoiler - click to show) £8. Only to learn that (Spoiler - click to show) some people cancelled their memberships, resulting in me failing to meet my target after all. An exercise in futility, and that is where the main idea comes in.

Story + Characters
The protagonist is coming to terms with the fact that their work is no longer as meaningful as they once thought it was. They joined to make a difference, and now they have a hard time envisioning people enthusiastically signing up for something pitched to them by a stranger on their doorstep. Early on in their job, the protagonist reached their targets with recruiting people but now not so much. They wonder if the time spent going from door to door to keep their numbers up could be better spent elsewhere. But the only thing they are told by their manager is to knock on more doors. The game ultimately shares some interesting perspectives.

There is a strong human element in this game. It captures the task of preparing to weather all sorts of people. When you first play the game there is a sense of anticipation of wondering who will open the door. Someone edgy? Someone friendly? No one at all? At the same time, you also see the other side of the story. There is a lockdown, everyone is cooped up inside, it is the dead of winter, and now here is someone knocking on your door asking you to sign up for something. Still, I wonder if the author has done community organization work themselves, and if so, whether the characters in the game are based on actual experiences.

Visuals
On a brief side note, I really like the game’s appearance which combines a purple background with white text and colourful links. It is organized and crisp looking.

Final thoughts
No One Else Is Doing This was one of the earlier games I played for the IFComp and it immediately pulled me into the story. It is not particularly long, but its gameplay structure encourages multiple playthroughs. While generally lighthearted it does touch on topics about daily concerns such as upkeep of parks or cost of public transportation. It gives you some interesting things to think about, and I appreciated its relevance to the COVID related lockdown without it dominating the gameplay. The game is ultimately a mix of humor, determination, and frustration that puts the player in the protagonist’s shoes.

I am in IFComp mode right now, so please excuse this brief intermission. I also encourage you to put this on your Halloween play list. Preferably with the lights off.

The premise of Disharmony is that you and your friends live in the same country, but far enough away from each other to make daily face-to-face in-person interaction impractical. Everyone uses a messaging and streaming app called Harmony to keep in touch. However, Reina has been unresponsive to anyone’s messages. As more of your friends keep speculating about what to do next, you get a feeling that there is something more beneath the surface.

Gameplay
Disharmony follows the investigation-via-online-messaging trope, a trope that is usually exciting even if it you have seen it before. This game is no exception. It cultivates an investigative ambience for a story that is a mix mystery and horror elements.

A main mechanic is tracing contradictions in character dialog. It is a balance of knowing when to take things with a grain of salt, and when to pick out clues that are a solid indicator. How you respond to characters is as equally important. Here is a scenario:

If you think Character 1 seems suspicious, the game may have you discuss it with Character 2 or Character 3 for answers. But it is also possible that it has nothing to do with Character 1, that instead it is Character 2 or 3 (or neither?) who is at the root of your suspicions. You must follow closely or end up sharing the right findings with the wrong person. If a character thinks you are on to them, they will be less responsive as you try to piece everything together.

While your friends continue to talk, you notice something suspicious.
Who do you contact about it?

Sometimes characters will message you privately to share their own thoughts and suspicions, which only amplifies as the game continues. A helpful feature is how the game summarizes characters’ perspectives akin to, "[Character name] thinks that [spoiler] is being [spoiler] by-" (and so forth) when the player needs to make an important decision.

In the last half of the game the player runs in to a moral choice. This is where another (Spoiler - click to show) horror movie trend enters: The “group vote.” In these cases, everyone is eyeing each other suspiciously and, in the face of strife, decides to “vote” to either pin the blame on someone or to assign someone to complete an unsavory task for the benefit of the group. Something like that happens in Disharmony.

By now, some creepypasta themes are also introduced. (Spoiler - click to show) Reina claims to be trapped somewhere called, “Never,” and one of the NPCs goes diving into the internet to search for an explanation. They find a secluded article that matches the content in Reina’s messages, and the solution in the article- you know what? Play the game. But expect to make a tough moral decision regarding one of the NPCs. It will keep you busy for a while.

Story
I am not going to hash out the ins and outs of the endings because they will be 150% more enjoyable if you experience them for yourself. But I still want to share some findings. This is where I caution you to play the game before you read this section of my review. It is so easy to click on the spoiler tag to see what’s underneath, but the spoilers here will dampen the thrill of reaching your first ending.
(Spoiler - click to show)
I found out who was responsible for Reina's disappearance, but when the ritual (spoilers, I warned you) was complete, Reina was not returned while the person responsible was returned instead. In the next playthrough the same happened except the person responsible did not return. Finally, I managed to get Reina back at the expense of the person responsible. And then much later I managed to bring them both back. Win? Not really.

Now, I am giving the game four stars instead of five because of its weak ending. This is not me wishing for a happy fairytale where everyone wins. Instead, I did not like how dismissive the game was when the player fulfills the objective of returning Reina.

If you fail, the game informs you that, “Reina is offline,” and then everyone glumly logs off. The screen then says, "The events of the night have left everyone shaken and disturbed. Your friends begin to sign off, no doubt to report the circumstances, or contact one another in some way, or sit and process what has happened." Makes sense. Now, when I first succeeded, this is what I got:

Reina is online.

Check Harmony.

Presumably the goal of checking Harmony is to have a chit chat with Reina about her disappearance, right? No, the game still wraps up the same way, first with everyone logging off, and second with the game giving you the exact message that you get when you fail. Is everyone seriously going to log off after successfully bringing her back? Now, she is online and probably wondering where everyone went. No one acknowledges the victory of saving her. If a group chat with Reina is not possible, I was hoping that the player could at least have a private chat with her. Instead, you can only log off.

The game puts so much effort into creating a complex and choice-sensitive gameplay experience only to reduce it to a generalized outcome that ignores the player’s choices. To be clear, there are multiple endings in the sense where a major decision that you make at the end is evaluated and then weighed to determine your success in bringing back Reina. But the ending text and the NPCs’ behavior stays the same regardless.

Anyway, that is my take on the story. I am not entirely convinced that I found the ultimate best ending, but I do know what else it could be. Despite my feelings about the endings, it still makes me want to revisit it (and I have). It is an excellent game.

Characters
Zero, Amelia, Jae, and Ravi are the NCPs whom you interact with to figure out what happened to Reina. As the game moves on you get a sense of their relationships with each other. It is not necessarily a tight group where everyone are close pals, but there is a general sense of familiarity. Of course, this dynamic takes on new forms as the mystery grows.

Visuals
Disharmony has simple but stylized look. It uses a dark grey background with lightly coloured text. The author does not try to replicate a chat room look with message bubbles or interface. The only indicator are the colour-coded character names and the occasional @ symbol, which works perfectly well. Fancy chat room designs in Twine games are awesome, but this game shows that a basic look is just as effective at conveying the idea of chat space. Also: The cover art is pretty.

The game’s use of delayed pauses is spot on. I have seen so many Twine games that overuse pauses to point where the suspenseful/dramatic effect is canceled out since everything seems to be drawing (pause) out (pause) the (you get the idea) suspense. Plus, it slows progress. Disharmony uses them whenever Reina sends messages which builds suspense because there is a feeling of anticipation as she slowly doles out shards of information about her circumstances. (Spoiler - click to show) A creepy moment is when she suddenly floods the screen with messages.

Final thoughts
Disharmony is creepier than I thought it would be, and I had a lot of fun. The tropes were nicely done. A mystery conducted through chat messaging paired with horror movie character group dynamics. There is some creepypasta thrown in as well. This is all combined with an intriguing storyline, consistent pacing, and a mix of NPC personalities.

I especially liked its investigative nature of the gameplay. (Spoiler - click to show) Winning is not a simple matter of identifying a culprit. It involves identifying a culprit and then going the extra mile so that Reina is brought back. Even though I have (Spoiler - click to show) mixed feelings about the rather lackluster winning ending, reaching it still felt rewarding. There is still the possibility that I missed some things. For this game, it is quite possible. I highly recommend this game to anyone in the mood for a horror Twine game.

(Actually, (Spoiler - click to show) the only trope that made me roll my eyes a little was how everyone’s phones die when they consider calling emergency services. Then again, it functions fine enough.)

All it took were the words, "research institute that studies aquatic life," in the game's description for me to tell myself, "I have to play this." Plus, it sounds like an unusual setting for a horror story. I was excited. But when it came to sink or swim, the game unfortunately could not hold its own.

Gameplay
The Pool begins at a casual staff party at the institute (we never learn its specific name), which is an attention-grabbing way of starting the game. But tension is in the air. Casual conversation informs us that the protagonist's boss had been missing for several days. People are working overtime to compensate. As the party wraps up, chaos breaks loose. Turns out (Spoiler - click to show) former friends and coworkers are looking to turn their colleagues into fish food. Not goldfish. Something worse.

The gameplay essentially features the protagonist trying to get out of desperate situations with the threat of death lurking around every corner. It becomes a stampede for survival. You are usually presented with two choices at a time, either having to do with character dialog or a generalized decision making. Stay or leave. Help or hide. Go with Ada or go with Marcus. A downside to this game is that everything feels a bit scattered. There are large passages of text with a mix of dialog, sudden changes in scenery, swearing, sea monsters, and other developments that can be hard to follow. But if you stick it out and trudge through, you will find an interesting story.

The redeeming quality in this game is its use of branching gameplay. In fact, the number of paths were fairly impressive. The branching begins at the start of the game where the player chooses who to mingle with at the staff party, and that branches off as well. What I like about this is how paths each have different ways of informing the player about the nightmare that unfolds because they determine where you are in the facility and who you are with when disaster strikes. For example, (Spoiler - click to show) in one path you directly see Ada betray everyone, but in another you may only learn about it second hand. A memorable case of the former is when nearly everyone from the party is chained to a rig that Ada slowly lowers into the pool. This occurs if you choose to hang out with Ada after the party. Sounds gnarly, but it conjures memories of renting horror movies from those Redbox stations for slumber parties. It occurs early in the game, and that is only one path.

The author makes a notable effort at diversifying what you see in each playthrough. If you play the game and think that you have seen everything, then you are probably wrong. Because of this, I played the game multiple times despite its lack of organization.

Story
If you read the previous section, you already know that there is lots of branching to play with, and how it gives you different ways of experiencing certain events. Another upside is that it provides some exposition on the overreaching story, one broader than what we usually see in each playthrough. Common knowledge is that (Spoiler - click to show) the aquatic monsters bite humans to turn them into new monsters, almost like zombies. We also know that Ada and Marcus were involved. But there is more to it. You really have to dig* to find it all, (Spoiler - click to show) but the gist is a conspiracy between the institute and another lab about developing a new form of organism capable of unheard-of morphing abilities for “research.” Dr. Chamber’s phone even mentions a vague business deal. Feel free to play the game to learn more.
*(Did (Spoiler - click to show) you know that there are TWO locked door password-puzzles in this game?)

Endings. It depends (Spoiler - click to show) on whether you include the countless ways of dying as endings or merely premature ones. I found two endings where you walk away alive, only one of which truly feels like a “win.” (Oddly enough, there are two paths that lead to this same ending). Strangely, the winning ending is the most lackluster since it features the protagonist going home and carrying on with their life without any mention of the aftermath of the whole incident. I take it that they no long work at the institute. If you feel like exploring every outcome in this game, it will keep you busy for a while.

Characters
Characters fall into familiar horror movie tropes, but that can be part of the charm. If you are looking for complex characters with multi-dimensional relationships with the protagonist, you should look elsewhere. But if you want tried and true character molds, The Pool is a decent example. You have the (Spoiler - click to show) lively acquaintance (Ada) who betrays everyone for personal gain. The spritely action-oriented character (Zara) who expertly pulls the protagonist out of danger and teams up with them. The best friend (or in this case the deceitful "best friend") Marcus. And other NPCs. But instead of chewing the fat I will just encourage you to test the game for yourself.

There is also some attempted character development about the protagonist who has always been timid about stepping outside of their comfort zone and making friends with people without worrying if they share the same interests. The gameplay often features segments where the protagonist has a chance to “break” out and become a new person. It is rather formulaic approach but fits in with the trope-ness seen throughout the game.

Visuals
The game uses a basic Twine visual appearance: blue links, black screen, white text (with occasional animation). However, this is overrun by numerous spelling and punctuation errors that stick out everywhere. Instead of separating the text into paragraphs the author just crams everything together to create one big mass of unformatted text, especially for scenes with lots of dialog. Occasionally, some areas are a bit smoother. But overall, it looks unpolished and unorganized, and it is obvious.

Also, three links lead to a blank screen (frustrating since I was waiting to see what would happen next), whereas a few others lead to a screen with text but no link to move forward. A little proof-reading and testing would go a long way.

Final thoughts
The author has a lot of promising ideas but right now it is simply not a polished piece. Not incomplete- it is playable and possible to reach endings- but more like a draft.

I would recommend The Pool to anyone interested in a creature horror story that conjures up familiar vibes of the "creature horror story" genre while adding a unique touch here and there. Plus, it is short enough for a few rounds. It is best enjoyed if you experiment with the gameplay paths. For me, each playthrough lasted about 15 minutes or less. Otherwise, this game needs some work before I would recommend it to all players.

(Oh, one more thing. I see we are getting close to Halloween. If you feel like burning through horror games while guzzling candy, The Pool has a little more appeal.)

This game is not a mere skip through the forest, I can tell you that.

The subject of Arborea is hard to summarize in a sentence. I have never played a game quite like it. It has the slight sci-fi angle of being in a computer simulation that adds a unique flair without coming off as a sci-fi game. It has a strong history-based component and yet I would hesitate to write it off as a historical game. There are even a feel mythic and spiritual elements thrown in. And then there is the overarching question of what is Program Arborea? But first things first.

Arborea seems to be a rift off the word “arboreal” which refers to the overall nature of trees. The definition, “pertaining to trees” also surfaced when I looked up the word. Both descriptions are spot on because Arborea is all about trees and human’s relationship with them, whether it may be for exploitation of resources, cultural traditions, or everything in between.

Gameplay
The game begins right after you step into a simulation room where a smooth computerized voice informs you that Program Arborea is about to begin. The next thing you know, you are in a vast forest with no exits and nothing but a gourd in your possession. On the gourd are markings that represent trees from different parts of the world. By identifying the trees, you can travel to eight world regions at different point of human history depicted in this game. It is not a time travel game. The player is not going back in time. Instead, they are simply in a simulation that brings the time periods to them.

Direction > Tree > Destination
North > Pine > The Pine Forests of Scandinavia
East > Palm > The Palm Tree Plantations of Indonesia

You are presented with the simple sounding but vague goal of finding a kernel. The game essentially cuts you loose to figure it out on your own. But it also seems like the more you try to make progress on your own, the more guidance you find in the setting and characters. It can be intimidating at first. You learn that you must “solve” each location, but this is not done independently where you solve one before moving on to the next. Instead, everything crisscrosses. Items from one location can be used in another. The puzzles are not always intuitive and given the size of the game it easy to lose track of your progress.

Once you (Spoiler - click to show) complete the content in each area, its corresponding icon on the gourd will crack (such as the frog for the Amazon). Turns out the kernel is inside the gourd. I spent all this time looking around for it, only to realize that I technically had it the entire time. The catch is that it is only retrievable once every icon is cracked. And that is not even the end of the game. Surprise! There is an endgame as well. Even though it took a while, completing the game felt satisfying.

Puzzles
The gameplay (and corresponding walkthrough) is long, and I figured that would never replay it after I was done. Turns out this was a game where I found myself eerily capable of remembering the exact solutions. Many puzzles seemed rather simple in retrospect, although (Spoiler - click to show) I still have lingering surprise over having to haul around a severed head for a chunk of the gameplay (it is less gory than it sounds). I have played games where the puzzles are cryptic and I need the walkthrough, and even after I complete the puzzle step-by-step, I still find myself unable to explain what I just did. Many of the puzzles in Arborea can be done in different order. I kept thinking to myself, "you know...I wonder what would happen if I did this first instead.” I returned to the game and played around with the order in which you can complete things.

There are a few guess the verb puzzles that will probably leave players flipping through the walkthrough. A big roadblock for me was (Spoiler - click to show) crossing the Savannah to get to the carcass. If you try to go south, the PC understandably chickens out. I was not sure what syntax to use. In the walkthrough, there is a subtle clue on what word to use, which assumes that the player is familiar with Star Trek. I am, but even that did not help me make the connection. It is not a standard verb, either. Another guess the verb issue was with (Spoiler - click to show) banishing the demon in the Himalayas. Even though it had a few more small clues, I still needed the walkthrough.

Oddly enough, the some of the most challenging puzzles for me were (Spoiler - click to show) not from the main gameplay, but the endgame. For example, I did not put together the solution of dragging the cross while wearing the white robe and crown to scare off the man in the Scandinavian simulation room. Regardless, I thought that the endgame was a clever way of tying everything together (and the game keeps you guessing about whether the endgame is part of the simulation).

Story
Arborea does make some commentary about real-world issues. The locations for Serengeti, Indonesia, and the Amazon all have subtle mention of current environmental concerns. The time period for these areas is set in more modern times. We see deforestation, poaching, and the production of palm oil for consumer goods (Spoiler - click to show) such as beauty products. Obviously, these issues are far more complex in real life, but the game focuses on identifying key ideas to convey a general message of how we use trees and the ecosystems connected to them.

My ongoing question about this game has to do with “Program Arborea.” I borrowed the title of my review from the first line in the game where the computerized voice activates the simulation. The sci-fi aspect of the game stood out to me since the gameplay is essentially an advanced VR adventure. At the end of the game (Spoiler - click to show) when the Program finally ends, and a door opens so the protagonist can leave, while the voice in the background says, “Please take time to re-orient yourself and observe all normal safety precautions when exiting the building.” A museum. A museum on natural history. That is my guess.

But maybe you are not meant to look too closely.

Characters
The characters are engaging and interesting (even likable for some) but also highly generalized to match their setting. I think it steers clears of stereotyping, although that is a fine, fine line to walk. That said, it is quite possible that I either overlooked or were not aware of certain important/contextual details. I would love for players to share their take on it. Character interactions do not have much depth since each character generally has their “scene” in a puzzle, but there are meaningful moments.

Actually, this (Spoiler - click to show) can be a bit awkward when you meet these characters again in the endgame where you discover that they were merely actors participating in the simulation. Unexpected but creative approach to character design.

Final thoughts
Arborea is a long but thoughtfully constructive game. Reading this review may give the impression that the game is all about climbing trees and analyzing environmental issues, but that is not entirely accurate. Yes, those things are certainly included (especially the tree part), but the gameplay also has a broader scope in content that may appeal to you more than you would think. It is a long game, I know, but give it a shot and then decide. I was surprised at how much I enjoyed it.

(Arborea strongly reminds me of The Symbolic Engine. It is a one-room game entered in an IF Art Show and involves messing around with a machine that looks at the history of humans and their relationship with the planet. It also casts an eye on what that history could be in the future. The machine uses different voices and icons to tell the story. The gameplay experience is considerably different, but the themes are spot on. Like Arborea, it has a mix of sci-fi and historical elements. Unlike Arborea, it will only take up a sliver of your time.)

Admiration Point takes place several decades into the future. You play as Maria, a 3D artist at the Digital Culture Museum where she designs virtual exhibits. But lately, her attention keeps wandering to her coworker, Sean. Romance is unlikely.

Gameplay
The interactivity usually consists of deciding whether to explore Maria’s attraction to Sean, or to shift the attention towards her work and family. To use an example, (Spoiler - click to show) in one scene you choose whether to read Sean’s book, search for Sean on the internet, or read a novel having nothing to do with Sean. Other times, choices are centered around character dialog.

Gameplay choices generally do not affect the overall track of the game. The most influential choice occurs about a quarter into the game where the player decides on how Maria should approach her feelings about Sean. Maria can choose to wreck her feelings, ignore them, or use them to fuel her own work. Your choice is then listed at the side of the screen for the rest of the game. This choice does not change the gameplay path but features text changes that are varied enough to make each playthrough a unique experience for replays.

Admiration Point is not a stat intensive game, but there are a few. Stats are meant to give the player a general idea of Maria’s feelings and standing with Sean. Cleverly, they are indicated with icons rather than numbers. (Spoiler - click to show) Maria’s obsession with Sean is represented by a looping scribble that becomes denser as her interest grows. I think that explains itself clear enough. Sean’s attitude towards Maria is shown with weather icons that begins with a neutral cloud before slowly transitioning into a shining sun. There are no rainy clouds or thunderstorms. It is just meant to be an estimate of your progress of getting to know Sean since opportunities can become available.

Story
Immediate story
The story revolves around Maria’s infatuation with Sean. He is the new guy in another department at the museum, but his work often overlaps with Maria’s work. Like Maria, he is married, though considerably older than her. As I mentioned earlier, the player’s choices do not branch the gameplay. Instead, it determines how Maria approaches her romantic feelings. Sometimes this will take you in an unexpected direction.

Have you ever played a Twine game where you click on a link that surprises you with a message instead of carrying through with the command? You probably have. Sometimes games use them to make the player think that a character is about to do something major, only to say, “yeah, not happening.” Sometimes you can sense it in advance. In this game, there were cases where I thought, “surely, the game would not allow me to actually do that,” only to click on the link and realize that, no, Maria really is going for it. I think that this allows the player to share the awkwardness with Maria rather than just feeling awkward at her situation, although the awkwardness can range anywhere from cringy to Going Too Far. Some were pretty painful to try. (Spoiler - click to show) Ending 2 was sad.

Overarching story
I am not sure whether Admiration Point takes place in the late 21st century or early 22nd century, but my guess is the former. When it comes to games that aim towards the near future, I always like to see authors’ interpretations what happens.

Apparently, (Spoiler - click to show) things seemed to go downhill during the 2040s where algorithms in social media allowed corporations to weasel their way into leadership positions and other societal pillars that changed everyday life. Names of states and countries were even changed to corporate brands. It is a familiar trope, perhaps not the most novel. But the game has nice worldbuilding by introducing these concepts through character conversations or Maria’s reading material. It makes explanations more integrated in the game rather that pulling the player aside for a crash course on the history before releasing them back into the gameplay.

Also, futuristic technology (or at least advanced versions of preexisting technologies we have today) is subtly placed throughout the game. For example, we hear mention of synthetic meats called Near-Meat. I am not sure if Near-Meat is a brand-based product. It seems like games that speculate on the nature of consumer meat products in the future tend to opt for flashy fictional marking such as NearMeats™ whereas this game takes a more subtle approach by lightly incorporating it into the writing. No? Maybe it is just me. Regardless, there are small hints that provide exposition about the world Maria lives in.

Characters
The premise of Maria's character is an exciting one: A protagonist who creates 3D art for virtual exhibits at a museum on digital culture in the future. But she also brings something new to the table: She is Mormon. Aside from the author’s other works, I have never really played any interactive fiction games that look at a specific branch/group of Christianity. The only one that comes to mind is the Methodist church in Robin & Orchid. I would not say that Admiration Point is heavily based on religion, but there are scenes where it takes center stage. I cannot say that I am familiar with the subject, but the game does share some cultural insights that were interesting.

One theme that often surfaces with Maria is motherhood. In one part of the game, (Spoiler - click to show) Maria reviews an exhibit script where women share how pregnancy was not a positive experience for them. One woman in the script notes that being overjoyed about expecting a child does not mean you are thrilled with being pregnant. For Maria, these hit close to home since she deals with indecisiveness about whether to have a second child. While there is plenty of existing media that cultivates the image of upbeat motherhood and "perfect" pregnancy, media can also be an avenue for women to share experiences, such as blogging. In Maria’s case, hearing someone who can relate to her struggles was a powerful moment. That seemed to be the main idea the author was going for in this scene.

Visuals
The game has a polished minimalist look. Green links, white background, and grey text organized into neat paragraphs at the left side of the screen. And to the left of that is a grey panel with rounded borders. This panel is mostly blank until the stats are introduced which have fun icons which I discussed earlier in this review.

Sometimes the game uses different fonts for newspapers or other content which added nice stylization. Occasionally there are text boxes used to simulate a text chat screen. It uses basic shapes and colours to imply the idea without needing to be elaborate.

Final thoughts
This was one of the earlier entries that I played. I liked the design and candid nature of the story. A highlight of the game for me was the author’s interpretation of the future and the corresponding worldbuilding, but I also enjoyed the character development.

If you asked me to pick one genre to summarize this game, I would not choose romance, religion, or science fiction, but slice of life. Romance, religion, and science fiction would fit under this umbrella and describe the complex character that is Maria. Admiration Point is short game with a compressed story, and worth more than one playthrough. Even if you decide that you do not like it, there still may be something in it for you.

You wake up in an alleyway to find that someone took the liberty of performing unauthorized brain surgery on you. All you have is a key and a note explaining that you have a stash of neurotoxins in your head, ready to kill you within a few hours. To get the antidote, you must obtain $50,000 and bring it to the alley. Your memory is faulty. You could have sworn that you read about this somewhere…

Gameplay
The player is on a time crunch to fulfill the requirements of the note. There are multiple solutions to your predicament, not all of them require that you cave into the demands of the note. But decide quickly because you have a limited time before you die from the timebomb of poison in your head. There is no counter clicking away at the bottom of the screen to indicate what time you have left. You have to eyeball it. But there are little indicators, such as the colour of the sky, that serve as markers in the gameplay. Semi-short, yet reasonable in length. There are (Spoiler - click to show) four endings, three of which involve not being killed by the neurotoxin.

The gameplay takes place in a town setting near a seaside and rural countryside. This setting is fairly dynamic. For example, (Spoiler - click to show) the pawn shop is not open right away. If you want to pawn something, come back later. That was a nice touch. The game allows you to move freely throughout the environment, but not quite interact with it at the same level of detail. Inventory items are added automatically, and some character interactions occur on the player’s behalf. While it reduces the puzzle value, the upside is that it is easier to make progress. One of the strong points in this game is how the inventory page neatly lists your inventory items and the things you have learned while exploring or speaking with characters. This was a helpful tool in identifying objectives.

Regardless of the interactivity, the writing is humorous, and the premise of racing against the clock to reverse some bizarre surgical procedure provides decent suspense. But the main attraction in this game is the catchphrase of “You feel like you’ve read this in a book.”

Suddenly, an army of rabbits scatter to and fro. Furious flashes of hazel and pale gray silver fur blink quickly as timid rabbits dart around the grass away from you.

You feel like you've read this in a book.

Just when you think the rabbits are done fleeing, one of them lunges out of the hole and bites your hand before joining his comrades amidst the tall grasses.
(To illustrate, "bites your hand" was appropriately shown in red.)

Throughout the game, the PC notes that something reminds them of a piece of literature. But do they remind you of anything? It just may. And if not, at the end of the game is a list of every work referenced in the gameplay. Some were obvious. With others, I only picked up on the reference after I saw the list. That way, I could go back to the gameplay and say to myself, “Now, I get it!”

Story
The story was not as fleshed out as I expected. I would not say that the game is incomplete or has missing story points, but there is no overarching story that really ties everything together. Is the whole point simply that the protagonist likes to read and happens to make associations about everything they see, or is there some other underlying element as to why the associations are being made?

I can understand why the author may be hesitant to go down the rabbit hole (hey, a reference!) in terms of story since not every work hinted in this game is fiction, though most are. And by rabbit hole, I mean having the components from the referenced literature works appear in the story in a more concrete way. Instead, references are subtly mentioned in the text. That is not necessarily a criticism since subtle can perform wonders in conveying an idea. Perhaps the intent was to keep things grounded in reality. Still, I was waiting for a more fantastical, if you will, layer to be revealed.

There are bits of fantasy here and there, such as the (Spoiler - click to show) ritual in the forest, but not enough to be cohesive through the story. To be clear, I am not saying that this game needs to be a fantasy* piece to be successful. However, the game does feature some supernatural/fantasy-like moments that currently do not click with everything else. I love the idea of combining elements of the “normal world” with a fantasy world, which requires a balance. As for You Feel Like You’ve Read this in a Book, the logic is there, but it does not quite capture that spark.

*(I also wonder if I made a snap judgement about a fantasy theme based on the cover art, which would be an issue on my part, not the author’s fault).

The most concrete story background that we get is with the (Spoiler - click to show) surgeon solution route. When you talk to the surgeon about removing the neurotoxin, we learn that the protagonist has a gambling habit that left them in debt, and the person that they owe the money decided to take an unconventional approach to getting paid. This is probably the "best" ending since the neurotoxin problem is resolved without having to come up with $50,000. Then again, the emergency surgery did impact your brain's memory capabilities, and your debt is still unresolved. Maybe not. The protagonist seems to have a knack for not thinking things through. Nonetheless, it was a satisfying win.

Visuals
The game uses a generic black screen with white text interspaced with creative text effects. For example, the word “fog” by the water is glowing like a lighthouse surrounded by fog. Or in other cases movement is used, such as the word “ringing” moving up and down like an object vibrating from sound. Not only does this make the scene more descriptive it also draws the player’s attention to keywords that hint towards literary references. Also, a specific type of yellow text is used for inventory items in your environment, as well as key bits of information in a scene. This was quite helpful.

One design issue that kept glaring at me was how the inventory page has no return link. Instead, you use the small arrow at the side of the screen, but those arrows are the equivalent of an “undo” rather than a “back” to the previous screen. Am I a stickler? You may be nodding your head, but it felt the same as a broken link (and there is a broken link where (Spoiler - click to show) the only thing that appears on the screen is “You are bleeding,” without any link other than the small arrow). Other than that, the game is polished and neatly formatted.

Final thoughts
You Feel Like You’ve Read this in a Book is a quilt of several excellent concepts tied together with not-quite-as excellent strings (I am not making a reference here). There is the drama of the protagonist’s situation, the mystery behind the note, and multiple endings to try. The setting even has a slight Cannery Vale/Anchorhead vibe at times. But there is a gap somewhere that keeps it from going to the next level. If these core ideas were developed, it would be a formidable piece. Regardless, it is still quite a fun and memorable game. If you are working your way through this year’s IFComp games, make sure you give this one a try.

In Witchfinders, you learn what it means to be an empathetic witch at the wrong place at the wrong time in history. Or any type of witch. The game takes place during a slightly altered Middle Ages, one of the more gnarlier segments of human history where, to use an understatement, being a witch was often frowned upon. Even looking like a witch or acting accordingly to social stereotypes about what it means to be a witch could be enough to set people off. Things would only go from bad to worse.

Gameplay
The game lets you wander around town with a handful of stores, streets, and scenery. The goal is to provide services to help people. Witch protagonists often conjure up ideas of blatantly wielding magic, but this is not a game where you cast spells. Nor is it a fantasy game. The only fragment of magic is (Spoiler - click to show) when you flee on your broomstick if you are driven out of the village, and even then, it is barely implied. The game seems to go for a more realistic approach when portraying a witch inspired from and actual point in history.

There is a creative score system that ties in nicely with the game’s theme. It is called your Witch Score and indicates the villagers’ suspicion towards you. This is a game where it is extremely bad to have a high score unless you want to satisfy your morbid curiosity and see what happens when you overshoot people’s tolerance. This was clever since you can observe how suspicion sparks and grows based on different choices.

Some of the gameplay objectives are rather murky. The main goal is to heal the boy in the house, but there is another quest where you help investigate a mystery behind ailing cattle. You (Spoiler - click to show) first talk to Alexina in the candle store to begin this quest and then find out more information by talking to the butcher. It is frustrating how you cannot talk to Alexina more than once to have a recap on the cattle issue or to share findings. The only other interaction is (Spoiler - click to show) when you give her the bone powder.

I also do not understand why sometimes the game ends once you heal the boy without being allowed to pursue other objectives. I am not sure why. Another thing that stood out was how your notes are hardly updated. Tasks that you already completed are still listed there. It would be nice if the notes could be more reliable as guide to point the player in the right direction.

Story
Throughout the game the protagonist is often regarded with some suspicion, but it is not the same "Burn the witch! After her!" narrative that is often portrayed in this subject. Even when you (Spoiler - click to show) max out your Witch Score and anger the villagers, the game keeps things from going explicit. The protagonist merely makes a quick exit and leaves the village. If you are worried about playing a game that draws from the rather grim subject of witches being slaughtered for witchcraft you should know that this is not a graphic game. There are some implications here and there of witches being taken or killed, but the author knows how to tone things down without sacrificing the solemn quality of the story.

I like how the author strived to consult historical information when designing this game. You can learn more about this in the author's notes in the game. In these notes they make it clear that the dates have been changed since the Middle Ages occurred quite a while before the 1800s. Bits of worldbuilding are also incorporated to build the story. I thought the bulletin board added atmosphere and context on the time period’s language and societal norms. Even if the goal was not to recreate a pristine replica of the Middle Ages, it seems like the author has done their homework.

Visuals
When I first played this game, it had the most horrible font choice. The words were difficult to read because the letters were in bold and squashed together with a narrow font. Plus, it hurt my eyes. I know whining about font may sound like a small detail, but illegibility can make or break a game. So, I stopped playing. Later I came back to it and thankfully saw that everything had been changed to a crystal-clear font. It really did make a difference.

Everything now is neatly designed. Black background, white text, and colour coded links. There are lines at the top and bottom of the page that also organize the layout. Together, they create a polished look.

Final thoughts
This is a clever game to offers some engaging ideas. It did not knock my socks off, but I did enjoy it. The game has a close eye for detail and yet it was difficult to feel a deep connection with the story and characters. I certainly recommend this game because it is well done, but you may not feel inspired to replay it.