Reviews by Kinetic Mouse Car

System Processing is a unique sci-fi Twine game that shows considerable potential.

Our protagonist, only referred to as "Ov," lived and died on Earth, but at one point their consciousness was digitized. Little else is known about them (so far) aside from the fact that the data containing their digitized mind managed to end up in an archive on a spaceship called the Alsion. A traveler named Sirit found this data and had the idea of giving the protagonist a new purpose as the ship's AI.

And now, the Alsion has discovered a planet named Kor. It is about to be the new home for everyone on board. It seems that Ov will be out of a job... and a purpose.

Perhaps it depends on one's outlook.

Oh, and Kor is not your typical planet. Nor is System Processing not your typical humans-colonize-the-alien-planet-game, but more on that part later.

Gameplay
Quick overview. There are two names that are thrown at the player that I want to clarify: Alsion (the spaceship) and Tegmen, an offshoot settlement built into the planet. I got them mixed up early on. I thought they were both spaceships. False. Just the Alsion. They are connected to each other by a long organic cable. Both are inhabited, but the current population on Alsion has never been to Tegmen.

Until today!

Ov must figure out what to do on their last day as a spaceship AI because soon the Alsion will be empty as everyone heads on down to Tegmen.

The gameplay is in first person and centers around the flow of Ov’s thoughts which overlap with NPC dialog. You basically hang out in the protagonist’s mind. There is a strong sense of idle contemplation mixed with frustration.

The absence of definitives preserves my sense of estrangement. If I had hard facts and figures, this would feel less surreal. More details might make it harder to think, "Hey, who knows? Maybe I'm not a digital ghost working for one of the far-flung descendants of humanity."

"Maybe I don't split my time between a spaceship and an alien planet."

Interactivity primarily consists of reading a line of text and clicking on a link to continue to Ov’s next train of thought or NPC dialog. There are also secondary links that you can click on to expand the text for additional content. And a really cool “notes” section that allows you to read memos from the travelers or look up information on the population.

We can’t talk about the gameplay without talking about Laðə, an omnipresent NPC who is your connection to all things Kor. Turns out, Kor is the collective hive mind of the planet (also called Kor). It is all joined together, and somewhere, Laðə fits in. They hear Ov’s thoughts, darting in and out of Ov’s internal thinking during the gameplay.

"Maybe I don't regularly converse with a giant psychic plant." (Hi, Laðə. I know you're listening. Yes, I am referring to you.)

(Is that a spelling error? “Plant.” Or is it supposed to be “planet?” I figured it was “plant,” as in Laðə is a psychic plant who is an individual living entity within the Kor hive mind.)

Their portrayal embodies a relatable inquisitiveness while still maintaining the mystery of an entity cut from a vastly different fabric than the protagonist. Laðə tries to maintain a teamwork mentality, but this only fatigues Ov.

For first playthroughs, I tend to zip through Twine games just to get a sense of what I am working with before approaching it again with more attention to detail. Playing System Processing for the first time was an underwhelming experience but replaying it- slowly this time- paid off.

If you are looking for a fast-paced sci-fi game, System Processing will feel sluggish though never boring. The gameplay is not all about sightseeing. You will have a handful of opportunities to make choices that matter, particularly the one at the end.

Challenges
For the sake of feedback, there are two things that dulled the gameplay’s slick finish.
(Spoiler - click to show)
If you open the (snazzy) folder section, when you return, all the text on the screen is reset to where it began. You must click the links again to return to your spot. The game functions in “checkpoints,” where only your progress from that point onwards is reset. No big deal, but inconvenient if you want to take a quick glance at the population report in the middle of a segment.

Sometimes between playthroughs I encountered a looping effect.

Ignore Laðə and begin an analysis of the ship
Ignore Laðə and begin an analysis of the settlement
Greet Laðə

I’m not sure what triggers it but ignoring Laðə and exploring either the Alsion or Tegmen results in a loop where you assess one population before moving to the other only to have the ability to revisit the one that you just completed. I could not find a way to move on. I figured I should mention this in case anyone else experiences this.

Setting
I’ve already mentioned the (fortunately friendly) hive mind wonder that is Kor, but the setting is so cool that it deserves extra recognition. Also, astronomy. Kor is tidally locked, which means one side of the planet always faces its star while the other side never sees the light of day, like our own planet Mercury. Unlike Mercury, Kor is teeming with life on every square inch of its surface. The game’s descriptions paint vivid imagery in your mind.

Story
While the storytelling revolves around Ov’s relationship with identity, the overarching story is spectacular for its own reasons.

This is not your classic let’s-land-the-ship-and-claim-the-planet storyline. Human (or a sentient species equivalent) exploitation of resources is a common theme in sci-fi stories about the colonization of other worlds, but System Processing goes for an alternative path.

I am so happy this is a case where the humanoid beings in their bulky ship arrive with the intent of joining this thriving ecosystem rather than trying to exploit it. The game introduced me to a cool new term called Solarpunk which takes a sci-fi/futuristic realm and merges modern societal infrastructure or technology with sustainability and environmental awareness. Kor fits that perfectly.

Besides embracing a refreshing take on co-existence, System Processing has a creative vision of how the colonization process can unfold on an alien planet. Rather than the travelers merely parking their spaceship on the planet’s surface and climbing out, the relationship between the tethered Alsion and Tegmen as two homes (one temporary, the other permanent) in transition offers something new to the portrayal of colonization in science fiction.

(Random note, if I was on a space station/ship, I would want real windows. I would demand real windows. Not screens simulating stars. Not when I’m in space. True, the only sight to behold would be pinpricks of light, but at least it’s real.)

Characters
Ov
Much of System Processing revolves around the protagonist’s grasp of their previous identity as a living human and the tradeoffs that come with being a digitized mind in the form of an AI.

If the player opts to (Spoiler - click to show) talk to Laðə after the scene with Tlan, the protagonist says, “’But that's just it! You're the alien. I'm the human.’” And it got me wondering. Alien. Human. Where does Ov fit in? First, let’s consider the travelers under Ov’s care. (Spoiler - click to show) I figured they were humans, the descendants of those who originally came from Earth. Until Laðə made an interesting comment:

Oh, fascinating. You were able to roll your eyes? Was this a biological feature the travelers no longer possess?

The travelers lost the ability for their eyes to move around in their eye sockets. Does this mean they are not human humans? When observing one traveler, Ov observes that, “Like all travelers, they appear human, even if travelers no longer describe themselves as much.” Neat.

I think we can agree that Kor/Laðə (the distinction between the two is kind of murky) is the “alien” part of the mix. As for the travelers, calling them outright humans would be incorrect. Something changed. I wonder if they dabbled with genetic engineering or biological modification that allowed this.

Regardless of what went down, these changes have interesting implications for Ov. If the travelers are not “true” humans in the sense that they diverged biologically and culturally from their human ancestors, the protagonist is truly the last of a kind, even if they are now an AI.

Though their physical body may have decomposed long ago on a distant Earth, they are still an “original” human in terms of memories and Earth-based lived experiences. They were digitized in, what, (Spoiler - click to show) 2068? Despite the immense passage of time that occurred since then, this human identity remains.

One way this identity manifests is with the in-game “alert” pop up messages for incidents on the ship that turn out to be an offshoot of the protagonist’s own emotions, such as a (Spoiler - click to show) sprinkler system activating when they feel like crying (clever use of the Twine format). But ultimately, it’s an identity that seems impossible for others, even the all-knowing Kor, to understand.

Ov + Everyone else
The NPCs, though expertly designed, did not leave much of an impression on me. Rather, it was their situation and the decision making within these circumstances that held my attention. I have a feeling though that I will be the outlier on this. Players will likely feel an immediate connection with the characters. Besides Laðə, the only NPC we engage with is (Spoiler - click to show) Tlan, a traveler on the Alsion.

First time around, the scene with Tlan left me feeling confused and indifferent. In it, Tlan (I’m sorry, Tlan) is crying while I was simply not following the conversation. It seemed almost melodramatic even though the scene is clearly a serious one. I was surprised with myself on my reaction. After all, the scene is carefully worded and paced for full impact.

Perhaps I don’t know Tlan well enough. To me, they are Traveler 127823. This game made me want to reexamine why I felt the way I did. I’m still breaking it down. I would absolutely be interested in learning more about their character (and that of Egravn).

Name: Tlan
Identification: 127823
Status: Alive (well)
Age: 32.3 cycles
Residence: Alsion
Location: Server Room (astral-side)

(Feedback: Tlan has a paragraph- be sure to approve their request- that uses the words “stay” and “leave” frequently when mentioning the Alsion and Tegmen. As a first-time player I was a bit confused on what they meant. Clarity would have helped.)

Second playthrough, I had the context needed to make sense of everything. Tlan is sad because Ov expresses the desire to stay on the Alsion after everyone leaves. Tlan sees no reason for Ov not to come with since A, it is perfectly feasible, and B, how the travelers may feel about Ov is irrelevant.

System Processing is tied to a secret I have.

The big secret is.......

(Spoiler - click to show) I kind of like being the AI who throws a tantrum.

Ov has a bitterness about feeling underappreciated and misunderstood.

People were more likely to show gratitude towards a sentient plant vine with lovely flowers carrying out their will than a robotic AI voice coming from a hidden speaker. Therefore, Ov thinks that “everyone” dislikes them and cannot wait to leave them behind.

Travelers smiling at and thanking the vines of Kor while my work goes unacknowledged (or simply critiqued).

It's not as if you can take out revenge on the ungrateful inhabitants. This is not a case of Vengeful AI vs. Organic Lifeforms. You can’t throw tantrums in this game.

Saying their names in reverent tones while mine is barked at the air.

I suppose that would be going a little far. Although I wish there were more options on how to… respond to said inhabitants.
…
Peacefully, of course. :)

Still, Ov stubbornly refuses to take part in the joyfulness everyone has about moving into a new, perfect home even though there is more than enough room for them as well. But these feelings of reservation are understandable.

"Ov, would you speak with us? Just for a moment."

Ignore Laðə, I've already made my decision
Speak with Laðə

...yeahwelltoobadnoonesgoingtochangemymindwhateveridontca...etc.

As you can see, this conjured up my inner irritated AI.

If a game is going to have a ticked-off AI, I rather it be the PC than the NPC (which seems to be more common), even though I will totally play both. There is also an interesting distinction between AI as a user fixture and AI as established authority, but that is a separate discussion.

After playing this game I finally understand at how pissed off Solis feels about the collective crew in A Long Way to the Nearest Star. Solis, I think I understand your pain now.

At least, I have this:

Maintenance Requests
Urgent Request (from: Eiro) – DENIED

Jokes aside, this grappling of identity takes front and center in this game. It’s a roller-coaster of ancient memories and immediate emotions. In fact, we see indicators that Ov’s blanket perception of the travelers is not an entirely accurate one. The memos in the notification box tell a different story: Ov has fan mail.

People are pouring their hearts out in gratitude, taking time out of their day to wish the ship AI a happy retirement. There is clearly more to this relationship between Ov and the travelers than what is presented in the gameplay. While they may not have been popular, the memos clearly indicate that some people do care. I would love to see this expanded.

Visuals
A Twine game does not need fancy visual effects to have a striking appearance. Sticking to a consistent colour scheme can do a lot in making the player wonder at how professional the game looks. Even more so if you throw in some matching decals or symbols. Take System Processing for an example.

In System Processing, the main colour is green (text, links, icons) which only furthers the player’s mental image of a planet brimming with alien flora and fauna. Hovering over links causes to slightly glow with a green tint that hints at bioluminescence. Aesthetically pleasing and effective at building atmosphere.

I applaud the author’s design choices for Laðə. Their (they?) dialog is shown in gold text that conjures the image of sunlight which is perfect for their character. Next to the text in the same colour is a small smiley face icon. At least, that is the first facial expression we see in the game. It changes. (Spoiler - click to show) There are four possibilities: Happy, super happy, neutral, and sad (not your typical emojis). Let me tell you, it is so unnerving to see this sunny face change during the gameplay.

The difference is miniscule: a line curved downwards to form a frown or the upturning of lines in the eyes to indicate delight. Extremely basic stuff and yet it conveys a startling shift in tone. Besides being a clear indicator of the character’s emotion, it adds tension and a fluidity that would be lost without the icon as a reference point. You feel yourself slowly sliding down your chair as that smile turns into a neutral stare and then a frown.

While this may seem like a trivial detail to spend two paragraphs on, I argue that it is the strongest point in the game’s visual design.

(That little beaker icon was also nice.)

Final thoughts
This game is actually a fragment of the author’s plans. System Processing is meant to be longer and more complex. Being only 30% of the entire vision, more development will hopefully follow.

I appreciate that the game is an abridged version of what clearly plans to be an ambitious project. If a meteor were to strike the Earth, the game can still stand on its own as a completed piece. Same goes if alien scavengers arrived a thousand years later and somehow salvaged it. I think they would be pleased.

I could totally envision System Processing as being a slick commercial Twine game. It has the uniqueness that sets it apart from sci-fi games with similar subject matter, it wields a simple but assertive visual design, and it shows a strong potential for characters who could resonate with a wider range of audiences. I can easily see this being a sci-fi game for players typically not interested in science fiction.

Here’s the tricky part. While several categories for the game earn 6/5 stars, some parts are not as refined. I tried to incorporate some feedback as to why. I hope it helps. The rating also accounts for my overall experience. I took off a star because I was not always engaged with the character interactions. Is that necessarily a fault? Maybe, maybe not. I am open to how other players feel. I desperately want to love this game. It’s just not quite there. Yet.

I highly encourage you to play System Processing to experience it for yourself. My review, while detailed, can’t do it justice.

You are blissfully working in your home lab when an urgent message from your older sibling arrives. They have been kidnapped by pirates through an elaborate plot and need rescue from Sector Zero. Unfortunately, Sector Zero is just a myth. But that should not stop you. Command a ship, embark on the life of a trader, and do what it takes to be reunited with your sibling.

Quick note
I have already reviewed two other ChoiceScript games by the same author. One game was successful, the other less so, but they were both novel pieces. Star Tripper blows them out of the water in terms of creativity and innovation. It is one of the most ambitious ChoiceScript games I have seen. Not the cream of the crop in terms of quality, but I find its ambition to be remarkable. However, this is dulled by rocky implementation. I spent a long time on this game, far longer than any game I have played so far for this year’s IFComp. It has been idling on my computer for days. I have been utterly unable to reach an ending and have exhausted every lead. But I want to finish it. This will be a long review simply because I want to share my experience so far.

Gameplay
The intro is mostly exposition, but the player chooses their sibling’s attributes and other logistical details. The main gameplay begins once you reach space. Travel is straightforward. The setting is broken into quadrants and sectors, with each quadrant being divided up into four sectors. You manage your fuel and battery levels as you travel while also conducting trading and buying. If you are a fan of resource management, this game may interest you.

At first glance, this game is an open world dream. So many places to visit, including banks, churches, bookstores, bars, coffee shops, casinos, you name it. A big part is trading and selling items, but there are other ways of earning income. There are also all sorts of adventurous encounters. Avoid black holes, fight off pirates, claim your own asteroid, upgrade your ship, and more. When they gameplay begins after the intro, the possibilities seemed endless. I had the same feeling when I first tried Skybreak! Unfortunately, none of this fully comes to fruition.

The player must micromanage just to get ahead. As I was busy puttering around the galaxy, trying to maintain my fuel levels and finding planets willing to buy the excess cereal grains I had in my cargo hold, I totally forgot about my quest to find my sibling. Plus, the game sometimes gives mixed messages. Some activities are blanked out and only available in Arcade Mode which is unlocked once you complete the game. Fair enough. But there is inconsistency with Story Mode. For instance, the game will let you attack this trade ship but not that trade ship even though nothing about your ship’s status has changed. Planning is difficult when you are not sure of the game’s reasoning. Also, there is only one save slot, but I am grateful that it is available. Cling to it like a life raft when you are uncertain.

As I struggled to make long-term progress, my mind would wander to Superluminal Vagrant Twin. I want to be careful about comparing the gameplay between the two because they are made with different formats (Inform and ChoiceScript) that provide unique experiences. Nonetheless, their stories touch on a similar theme: Overcoming obstacles to save a sibling. They are also both sci-fi trading games.

Superluminal Vagrant Twin is not about finding your twin. The game does not go too deep into backstory but in a nutshell, your twin is frozen in a cryo tube, and you need to pay off your debt to get them back. A lofty objective, especially you are essentially broke. As a trading game, trading and buying goods is the core mechanic. But the game does not just toss the player out and say, “off you go, trade and buy until you make enough credits.” The gameplay is structured to point the player in the right direction by helping them identify smaller goals that lead to the master objective of getting your twin back. Having sub-objectives in Star Tripper would have been infinitely helpful, or at least an objectives list to remind the player of what to look for.

Once you manage to get your foot in the door you have more mobility. There is just a steep learning curve. I floundered for a while. Let’s see what I looked like as I floundered.

For such a vast and dynamic setting, I was overly hesitant to experiment due to the outcome of my first playthrough. I had to start over because I was stuck on a planet with not enough fuel to leave, which is not as tragic as it sounds. Every planet has a bar or drinking establishment where there is always a customer who will sell you fuel pods and other items if you buy them two drinks. The downside: I had almost no credits, not enough to buy two drinks, let alone fuel pods. I had no cargo to sell. The only option was to work a few shifts at the café. However, you get about 22 credits per order you complete during your shift. When you need hundreds of credits just to get off the dang planet this is not practical (and to seal the deal, I saved the game when I landed on the planet). Starting over seemed like the best option. I approached my next playthrough much more cautiously and was more mindful of when I saved the game.

As I mentioned earlier, it is hard to get ahead. Buying a ship to travel to Sector Zero is a distant dream. The most hopeful opportunity for my floundering self was mining on Class 1 planets. Filling a sack full of ore brings in 1000 credits plus a bonus. Sounds great. You decide how deep you want to go down a mineshaft. The deeper you go the better chance at finding ore (the max is 50 meters). However, if you decide on 50 meters you must click on a link- tap, tap, tap- 50 times in a row to reach the bottom of the shaft. If you find ore, you click on a link a few dozen times to fill your bucket. Then you click 50 more times to reach the surface. It takes about eight of those trips to fill up a sack, and that is assuming you find ore when you go down the mine. Progress was so slow.

But that can change.

The following is the rest of my semi-successful adventure. I found a strategy that made a million credits become a realistic goal, and even learned a few more details about saving my sibling. I am just going to hide it under one big spoiler tag. Hopefully this may give you some ideas.

My experience
(Spoiler - click to show) Fortunately, I did not flounder forever. The key is to establish a colony factory on an asteroid. But this is far, far, easier said than done. If you stumble across an asteroid, you can claim it for your own without fees or legal tape. Then, you hire colonists, and supply them with building materials such as iron or lumber. If you bring enough of these to your asteroid, you can upgrade its production level to increase your profit. The downside is that every time you upgrade your asteroid the game decides to reduce your cargo hold limits, which is unreasonable if your ship’s cargo hold only has five storage slots to begin with (as is the case with the Pigeon class ship you have at the start of the game). The game does not even explain why. Furthermore, each upgrade requires more materials that will need to fit into a rapidly shrinking cargo hold. Because of this, industrializing an asteroid was not something I could do for quite a while.

I finally managed to hammer out a strategy for buying and selling goods on planets, and I reached the point where I was doing pretty well. The days of mining were gone. I went from a mere Pigeon class ship to a Firefly, and then a Gila. Making 100,000 credits became an unexpected reality, and this allowed me to buy a Clipper class ship with 100 cargo hold spaces. This whole process, however, was slow and repetitive, so I decided to take a whack at colonizing an asteroid. Even if my cargo load were reduced there would hopefully be some left to continue trading. It did not take long for my ship’s cargo hold to go from 100 to 0, but by then things were looking up. I was making enough that I could simply buy another Clipper class ship to replace the old one. I burned through THREE Clipper class ships as I industrialized my asteroid, but by the time I had my production level reach level 16, the cost of a Clipper ship was practically pocket money. I could now buy the million-credit ship that my sibling mentioned in their message.

Oddly enough, that is where everything stagnated. Now that I had millions of credits at my disposal, I was relying on several scraps of information to carry me through, but none have brought me any closer to finding my sibling. I have tried everything. I will share them in case you have any input.

ONE: At the start of the game, your sibling says that the ship you need to buy costs a million dollars. There are two ships that fit this description. I bought both, but nothing happened.

TWO: Your sibling’s friend tells you that they may send you information on Sector Zero if they found anything in their research. That never happens. I did get one, and only one, message from my sibling after the intro, and all it said was that I needed to find the Golden Key to reach Sector Zero.

THREE: Once you have a million credits, you will eventually stumble across traders who happened to find the Golden Key and are willing to sell it. When you buy it, the game says,

🔑 Now that you've got your hands on the infamous Golden Key, it's time to find someone to help you install it.

I could not find anyone who could help me install it, nor did I know where to look. Furthermore, I had this encounter twice in this game. I would buy the Golden Key a second time and the game would act as if I first laid eyes on it. The stats page does not even mention that you acquired it.

FOUR: A useful tactic is that you can get general hints at coffee shops by buying something and sitting at an empty table to listen to the background chatter. It is possible to catch gossip about Sector Zero. You hear two people talking about a scientist who attached a gold quantum capacitor (which sounds awfully like the Golden Key) to a Zheng He class ship and managed to get it to go Warp 11. So, I bought a Zheng He ship. I am not sure if this was the ship my sibling had in mind since it costed less than a million credits, but none of the other ships had any promise. I already had the Golden Key (see previous), and I knew I needed to find someone to install it. Off I went exploring, but I did not find anyone whom I could talk to about my ship. I even had my ship wired to go Warp 10 (the max speed) in case it helped. No change.

I am out of ideas. I have played this game for endless hours, much of which I enjoyed, but I simply cannot reach an ending. Now I am groveling about in my own review. If anyone has any ideas, please comment.

Story
From the start of the game, we get a sense of the complicated political environment in the game’s universe. It takes place in a galaxy ruled by a Galactic Council that is heavily influenced by the Central Families that dominate the center of attention. Then there are the wealthy Inner Rim families, the working-class Outer Rim, and everything in between. Lurking about is a pirate group called the Syndicate that plunder spaceships and planets. All this sound extremely simplified, a classic version the galaxy being categorized into polarized groups of “good” and “bad,” when in fact, these lines are blurred.

What I like best about this game is that it is one big learning experience for the protagonist who is from a Central Family and has always taken these benefits for granted. Now, they must rescue a sibling from a group of pirates that (Spoiler - click to show) turn out to have a closer association with the Central Families than most people, the protagonist included, realize. The protagonist is also unable to make use of their own affluence because the Syndicate is watching every move. The only option is to start from the bottom. No money, no ship, and no leads except the name of potentially sketchy friend who feel from grace mentioned in your sibling’s message.

Then again, whether or not the protagonist actually learns anything is technically up to the player. You see this development (or lack of it) with the dialog options where you can choose to respond to people with entitled indifference or with open-mindedness. Because I have been unable to reach an ending, I have no idea if this whole debacle will permanently change the protagonist’s view on life. But after weathering public transportation, Class 1 planets, and dingy spaceships, well, who knows.

Characters
Character interactions are shallow but are there if you want to seek them out. They are often quite comical. I think the overall light-heartedness works well in this game.

::: What do you want to do?
🪑 Join Saboson and Star at the table
🏃‍♂️ Turn and run back to the spaceport

For the most part, NPCs are just part of the scenery, but there are ways of initiating more one-on-one interaction. Aside from the characters in the intro (and even then, their names are randomized) there is no single character whose full identity remains the same for every playthrough. I think that adds some spontaneity. The game relies on procedural generation, and it wields it well.

👧 "You know what? Screw you, Saboson. You're a thief and a liar."
👦🏻 "A thief? Because I stole your heart? Give me a break, Star!"

::: How do you want to respond, Captain?
🗣️ "I'm learning a lot by listening to you two."
🗣️ "I don't feel like I'm really being heard."
🗣️ "I hate to be rude, but let's change the subject."

What surprised me was the depth of traveling companions. They travel with you in your ship and add some diverse dialog by commenting on the things you do or even initiating discussions. (Spoiler - click to show) Unfortunately, they are only interested in hitting on you in borderline-creepy manners. For science, I tried to marry one of the NPCs. It resulted in an error that said: wedding_chapel line 951: Non-existent variable 'priest_level' which almost crashed the game. Fortunately, I just loaded my save file and decided not to test it. And to be honest, I did not want to get married. Regardless of how you feel about the NPCs, it is nice to know that the option is there.

Visuals
The game is extremely sleek looking. The text boxes are dark grey outlined with glowing borders that add a pop of colour. All of this is set against a lighter grey background. There are also little emoji icons that I have seen in the author's other games. They add an excellent visual. A whole variety of emojis are found in this game and are used strategically by the author to illustrate a point while avoiding emoji overload. That is one thing I noticed about the author's games that I have played: regardless of their content at least they look spiffy.

Final thoughts
With the author, no subject is off limits. Zombie apocalypses, farming simulations, and now a sci-fi trading a game, and I genuinely love the creativity and innovative usage of ChoiceScript. For a while, I never perceived ChoiceScript as a format that uses visual effects in storytelling. Now I am seeing how flexible it can be with not only visuals, but also with puzzle types and gameplay mechanics.

Star Tripper is a tough and confusing game, but it also has humor and adventure. Even if you do not manage to find your sibling you will still have a memorable experience with making a name for yourself and formulating strategies. It does need more polish, hence the low rating. There are some clunky bugs, but the biggest issues are, A, it is difficult to make progress, and B, long-term objectives are murky. But underlying it all is a solid foundation. If you have more than a few minutes, play this game. It has a lot of fun sci-fi and resource management themes. Just requires a little extra patience.

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

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

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

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

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

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

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

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

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

Alone in the Void is a promising Quest game about waking up from cryonic suspension on a ship called the Amaethon drifting through deep space. Twenty years have passed since you woke up, and since then, something has happened. You just need to figure out what it is… and whether it is a threat to you.

The game falls under the sci-fi subgenre where the protagonist investigates a seemingly lifeless spaceship after an unknown incident. Games following this premise that I have reviewed include A Long Way to the Nearest Star, Fall of the Achilles, and Reclamation. Each time I play a game like this I am always eager to find out what happened.

Gameplay
The gameplay starts in your crew quarters after the ship’s computer guides you there upon your awakening from cryonic suspension. Rise and shine! While the messiness of your living space has not changed, the same cannot be said for the rest of the ship.

From the crew quarters, you wander in search of leads. There are no specific objectives or tasks/checklists that the protagonist must pursue. Everything is exploratory, simply trying to figure out what happened to the ship while you were frozen.

There are occasional small bugs and some situational limitations that were frustrating. Such as the (Spoiler - click to show) bathroom stalls in the deck 4 bathroom.

There are five stalls in the bathroom. Four have signs that read “Occupied.” Normally, the decision is obvious. Move on and perhaps check out the stall with no one in it (don’t, actually). From a practical standpoint, given that this ship has supposedly been abandoned for the past 20 years, I feel that some persistence is warranted as part of your investigation. I wish there were a way to knock on the stalls or somehow confirm the occupants/contents of the stall.

Unless there really, really, really is nothing in there for the protagonist. In that case, forget I asked.

Atmosphere
Something bad has happened, that is clear, but there is not a lot of urgency that directs the gameplay. It feels more as if the spaceship is your personal playground following the aftermath of some event that took the rest of the crew while you were on ice. However, there is one exception that deserves acknowledgement.

It comes while you are (Spoiler - click to show) sitting in the seat in the theater. Without warning and in red text:

As you pause to watch the screen, a sudden sound catches your attention from the recesses of the room. You swivel your head toward the source of the disturbance, only to spot a shadowy figure looming near the closed entrance to the lobby.

And if you wait too long, it appears again. Uh oh.

Timed responses can receive mixed reception with players, but the time margin here is reasonable and effectively atmospheric. It comes out of nowhere and the timing is right to surprise you, spurring you into action.

Finally…
Ultimately, I enjoyed the gameplay even if the atmosphere was underwhelming at times. It is fun because it has a free-for-all self-driven mayhem where loot everything in sight, demonstrate a blatant disregard for locked doors, and grill NPCs for answers (Spoiler - click to show) (see, you’re not so alone after all). While this sort of behavior is often found in similar games, Alone in the Void manages to cultivate a chaotic carelessness that is unique to its plot.

Before I move on, I have some praise for Alone in the Void: The gameplay lacks the sluggishness I often encounter in Quest games. Generally, I don’t think sluggishness is the author’s fault. I usually assume it is a Quest-related technicality. Perhaps it is a computer or browser issue on my part.

Either way, sluggishness slurps the fun out of the gameplay, especially if the game decides to suddenly end while you pause to do something else on another tab. That happens a lot when I play Quest games. While Alone in the Void is not completely exempt from this, it was a smooth ride that took longer to time out when I paused to do something else. Whatever caused this made a difference.

Puzzles
For anyone unfamiliar with Quest, most Quest games have three menus on the right side of the screen for exits, player inventory, and objects in the player’s surroundings. Clicking on items in a menu reveals a set of possible verbs for said object, which helps eliminate guess-the-verb confusion. Through this, you can even skip a keyboard altogether, although I still prefer to use one.

While some Quest games are designed so that navigation via the side menus can be ignored, that is not the case with Alone in the Void. It seems that some puzzles can only be solved by navigating menu options. This was both a strength and weakness. As of *now, puzzles are limited to unlocking doors. One example involves (Spoiler - click to show) entering the cafeteria.

The location description outside the cafeteria reads:

You are in a Hallway on Deck 4.
You can see a Cafeteria Door, Elevator 4 and a Terminal.
You can go down, west, east, north or up.

Examining the cafeteria door says, "But a keen eye will reveal a tiny hole, a chink in the armor - a minuscule orifice tucked away under the words 'Emergency Release.’”

> x hole
The emergency hole is built into the Cafeteria door. Its too narrow for your fingers to fit... maybe if you had something pointed.

The object for the job is the nasty toothbrush from your locker.

However, “Put toothbrush in hole” results in “You can’t do that,” while “unlock door with toothbrush” gets “That doesn’t work.” And no, "use toothbrush" does not work either. The protagonist puts it in their mouth instead. Gross.

The solution to (Spoiler - click to show) using the toothbrush to unlock the door requires use of the “Places and Objects” menu.

Clicking on the (Spoiler - click to show) "Cafeteria Door" link reveals two options that say, "Look at," and "Unlock." If the toothbrush is in your inventory, clicking “Unlock” will automatically unlock the door. This is quite helpful if you are unsure of what item is needed to unlock a barrier. If you gather as many items as you can there is a good chance that no door will stand in your way when you go to unlock it.

Does this detract from the puzzle solving experimentation? A little bit since typing out commands gives the impression that the command itself has no use. But the tradeoff is that it increases player friendliness in the sense that, when it comes to applying the right inventory item to a task, the game “does it all for you.” If you (Spoiler - click to show) have the toothbrush, the game takes care of unlocking the door.

Once I figured out this trick, I was never stuck. But maybe that will (Spoiler - click to show) change later when more of the game is released.

*Initially I wondered whether this could be dismissed as a non-spoiler, but since the argument could probably go either way, I’m playing it safe when I say this: (Spoiler - click to show) Alone in the Void is not a complete game. Eventually you will run into a message saying, “To be continued.” I’m not sure if calling it a demo would be accurate. Sometimes, you can advertise a game as such without it necessarily being considered a spoiler, but since Alone in the Void ends on a cliffhanger, I’m spoiler tagging it.

Story
Alone in the Void is a science fiction game with a mix of horror and mystery. It includes some gore and bathroom humor, and it's no joke when I say that the protagonist seems willing to eat most everything. Like the (Spoiler - click to show) urinal cake. Ugh. There is a bit of a gross factor there, but not too much.

The overarching story behind the Amaethon is surreal, eerie, and thought provoking. It seems that we live in a reality where mainstream space travel exists, but light-speed travel is off-limits. Currently, no ship can go faster than half of the speed of light.

For the past twenty years the Amaethon has been drifting farther into deep space to the point where no other ship, burdened by speed limitations, can match its distance. (Assuming that the Amaethon’s momentum is slinging it faster than any ship sent to track it down. Otherwise, a ship would eventually catch up. However, the Amaethon has a 20-year head start.) What an interesting situation to ponder.

Other than that, an immediate story is still emerging. Like I said, (Spoiler - click to show) the game ends on a cliffhanger.

Characters
PC
The gameplay keeps details on the protagonist at a minimum. We know they are a member of the crew and not much else. While they come off as gender neutral in the gameplay, the cover art hints that we are playing as a male protagonist. It would be cool to learn more. I wonder if they are simply underdeveloped or if there is a big secret about their identity.

I do think that the game needs to be clearer about the protagonist’s role on the ship. Initially I thought that they were in cryogenic suspension on a smaller ship sent to investigate the Amaethon. Once having found the Amaethon twenty years later, the protagonist would be awakened to board the lost vessel.

Not quite. The gameplay soon tells a different story. It seems instead that they were already frozen on the Amaethon and awakened by the ship's computer for an unknown reason. The closest answer is (Spoiler - click to show) from Sophie Malaca, an injured officer in the cafeteria.

You: "Do you know what's happening on this ship? or where everybody is?"
Sophie: "I know about as much as you do, according to all the callanders on board its been twenty years"
You: "From what I've seen so far it looks like people left in a hurry too"
Sophie: "So much so they left two officers on Ice? .... lovely"

(Note: there are some grammar and spelling errors in this game.)

In this exchange, it seems that "officers on ice" refers to crew being put into cryogenic suspension and that Sophie, like you, were frozen and awakened by the computer after twenty years of slumber. But when she says, “they left two officers on Ice,” I wondered who's "they?"

Who gets frozen and why? My guess is that crew are either frozen in emergency situations for their own safety or that designated crew members are frozen and awakened in the event of an emergency to investigate. I doubt (Spoiler - click to show) Sophie has been lounging around in the cafeteria for the past two decades. But all I have right now are speculations.

NPCs
There are (Spoiler - click to show) three NPCs. (Spoiler - click to show) Sophie Malaca (as I mentioned), the robotic toaster in the kitchen, and the automaton upstairs. I wish these characters would respond to a wider range of prompts. Especially (Spoiler - click to show) Sophie since she is the only crew member in sight. Like you, she just emerged from cryonic suspension, most likely before you did.

She also later turns into an undead monster and corners you in the movie theater.

While I can understand why the (Spoiler - click to show) robotic toaster is limited linguistically, I was expecting more from (Spoiler - click to show) Sophie, a fellow crewmember. It would extremely helpful if her character was more responsive since she seems to be the only NPC capable of answering any substantial questions.

What surprised me is that she has a gaping wound (most likely the source of the mess in the bathroom) and you cannot even ask about it. Or the military bandages packet that you found or maybe the ship’s failing power levels. And as for investigating the ship…

You: "Okay, I'm going to continue searching, but I'll come back for you"
Sophie: "You better! - Also becareful, that thing... whatever it is, it's still out there"

Hold on, Sophie. What thing?

That sounds like something we should be able to ask about. My guess is that this “thing” lurking around the ship is responsible for her injury (and later transforming her into an undead creature), and yet she has nothing to say about it when you ask for clarification. Absolutely no response at all.

This also seems like a big plot element. Sadly, we cannot learn more about this development.

Thoughts on setting
This spaceship sci-fi/mystery (and sometimes horror) subgenre often features research or military spaceships as the setting. The Amaethon falls into a similar category, a mining vessel. However, the Amaethon is also a bit unusual. Let’s just say that the ship’s function is not conveyed by its contents. I would never have guessed that it was a mining vessel had the game never told me.

Instead, the Amaethon’s layout gives the impression of a “party ship” or one dedicated solely to leisure. The parts of the ship accessible to the player includes a (Spoiler - click to show) trashed bathroom with a vending machine that sells- you’ll see, an arcade, a movie theater, and a general “store” that strikes you as being anywhere but on a near powerless mining vessel drifting in deep space.

Aside from the (Spoiler - click to show) excess blood pooling on the bathroom floor and Sophie’s injury, The Amaethon gives the overwhelming impression of the aftermath of wild party in a rented venue the night before. This is not necessarily a complaint. It was a fun surprise to see that the game diverts from a generic starship floor plan. I do wonder, however, when the mining part comes into play.

So far exploration offers little explanation of the ship’s mission (if it ever had one in the first place) or its activities with mining. It leaves the player with questions, but hopefully more will be revealed in the future.

Visuals
Alone in the Void has some of the coolest graphics I have ever seen in a Quest game to date. Amaethon seems to have had some serious gamers. And film fans.

There is an (Spoiler - click to show) arcade (plus a Game Boy left behind) and a movie theater. Looking at the screen in the movie theater prompts a clip to play as if you were watching a projection on a screen. Playing video games reveals a clip of the game in action. Even though the player has no control over the (Spoiler - click to show) clip, it is still impressive and gives the gameplay extra dimension.

Also, the game uses a simple but pleasing colour scheme of a black screen with white text and orange links plus accents. Consistent colour coordination can create a more polished look. Sometimes the game will stray from this and use colour coding for dialog or warning text that includes red, yellow, and purple colours. Overall, Alone in the Void has a crisp appearance.

Final thoughts
While (Spoiler - click to show) I was sad that the game ended on a cliffhanger, I applauded the author for making a game that leaves the player curious for more. Its implementation is not perfect and lacks fewer story details about than what I would have liked, but I am also keeping an open mind since the game (Spoiler - click to show) is still under development. The author has already established a concrete foundation of gameplay and setting that sets it apart from other games and carries much potential.

Alone in the Void is a strong addition to the current sci-fi selections of games made with Quest. I hope the author continues to shape it.

"I am loyal, I am true.

When I'm older I will do

The best I can to serve my home.

Proud I live under a dome."

Welcome to the Bunker!
(No, I didn’t make that song up. Let’s see if you can find who sings it.)

Nothing Could Be Further From the Truth is an entry in Spring Thing 2023. It follows the adventures of Oliva Mirram, a citizen who lives in a dystopian Bunker located under the surface of Venus. She works in Research Lab A-U61 as an unglamourous “dust maid” whose sole task is to keep everything dust free (she is also allergic to dust).

But one day she stumbles across an opportunity that is about to make her life a little more interesting.

Not quite a sequel
Before Nothing Could Be Further came Wasserman’s Today is the Same as Any Other (2019) which features a character named Cory Resden who works in a “Population Monitoring Facility” where, let’s face it, all he does is paperwork. The two games follow a similar framework even if the characters have notable differences in identity.

WARNING: The following section will contain moderate structural spoilers for BOTH games. They will be placed under a spoiler tag, naturally.

Similarities
In both games, the protagonist is just another non-clearance rat race member of the Bunker working in their low-ranking job with seemingly no upward mobility. Gameplay is restricted to the protagonist’s workplace and the surrounding plaza outside. Their boss, well, sucks (Spoiler - click to show) (Cory: Xian Zimbly, Oliva: Nur Dular) and their relationships with co-workers and non-coworkers alike aren’t much better. No one seems to get along in the Bunker.

(Spoiler - click to show) On a random workday (or daystretch as the game calls it), the protagonist is approached by a mysterious person from the Underground who gives them a mission to prove themselves with the offer of joining the group. It becomes apparent soon after that there are two Underground groups you can choose to side with, but you must commit to one. In Today is the Same your choices are the “Coven” or “Purple Nurple.” In Nothing Could Be Further the options are “Area 51” and “God and Freedom Church.”

Finally, the protagonist is tasked with causing damage (and casualties) to the outside plaza by repairing and activating machinery found in their workplace. While there is more flexibility with this in the first game, it is mandatory in Nothing Could Be Further.

And there is a difficult sentient vending machine puzzle (the puzzle isn’t what’s difficult. The machine is). Oh, and plenty of exciting ways to die/end the game prematurely.

Differences
While reading this may give the impression that this game will be a boring remake of an already-been-used storyline, I think Wasserman pulls it off. There is still enough variation to make the games stand on their own, particularly since the protagonists have different workplaces and professions.

There are even small variations that can be easy to miss but rewarding to find. I really liked how the (Spoiler - click to show) “subsurface gala” query in your handy PA device reveals separate things about Oliva and Cory’s personalities. (Did I go back to Today is the Same just to compare PA queries? Of course!)

There are two main differences that stood out to me after playing both games. The first is that Today is the Same takes place underground on Mars while Nothing Could Be Further is underground on Venus. Good to see that humanity has ventured into the rest of the solar system.

The other difference is (Spoiler - click to show) that in Nothing Could Be Further it is possible to earn a security clearance and have the chance to use it (and/or flaunt it) and see where it could lead you in terms of privileges in the Bunker. This never occurred in the first game (you could end the game having qualified for one but that does not count) which was a large criticism I had when I played it.

Reflections on both
Today is the Same struck me as one of those interesting but low-coverage games that end up in a pocket in IFDB that does not get as much attention as other games of the same quality. Unless you go digging through the sci-fi section it probably won’t cross your radar which is a shame because it is genuinely a cool game with worldbuilding. That was merely MY take on it. However, it may receive more attention now that a sequel has been released in a competition. Be sure to check it out.

You do NOT need to play Today is the Same to understand and enjoy Nothing Could Be Further, although I recommend both, starting with the original. Because Cory is trapped in a cubicle desk job, you get a clearer sense of the drudgery of daily life in the Bunker as well as an overview of the Bunker's shady innerworkings. It is not quite as exciting but is shorter and a bit easier. Both have built-in hints.

However, if you only have time to play one, choose Nothing Could Be Further. I liked it better and feel that it showcases the more dynamic parts of the Bunker. For instance, (Spoiler - click to show) in the first game, the concept of a Ward of the State is mentioned in your handheld encyclopedia device (look it up, citizen) and on a poster by your workstation. In the second game, a bratty Ward of the State encompasses an entire puzzle. It was a nice chance increase the scope of NPCs you meet in the Bunker.

(Also, we hear about these popular NPCs who we never interact with. (Spoiler - click to show) News hosts Sally and Yuri can be seen on public television, and celebrities like Van Johnson or Milfred Roth are also mentioned. I assume that the Bunkers on Venus and Mars are identical. It makes me wonder, which Bunker do they live on? Mars or Venus? Or somewhere else entirely?)

Gameplay
The game begins after the lab director of Research Lab A-U61, Ati Vosh, orders everyone to leave the lab for security reasons. However, you were dragging your feet during your shift and failed to leave before the lab director started discussing a top-secret project with two researchers in the lobby. This leaves you in a tough situation since the lobby is the only exit.

A brief pause. "There's no need to worry. I've sent everyone away under strict orders. No one knows about the existence of the invisibility cloak except you, myself, Silia and Renardin."

Everyone except Oliva Mirram. Conundrums like these fill the gameplay of Nothing Could Be Further.

As you will discover during the gameplay, obstacles to your success vanish as they arise. A few puzzles later (Spoiler - click to show) Ati, Silia, and Renardin are no longer an issue, and the game gets to the chase: With Mission Impossible vibes you don a black helmet to receive an incoming message from a mysterious man named Asimov who tries to recruit you for (Spoiler - click to show) Area 51, an Underground group determined to use scientific development to undermine Control’s management of Bunker society.

(Who’s Control? The non-spoiler answer is that Control is the main over-arching conglomerate of high-ranking citizens who overwatch the hustle and bustle of life in the Bunker. There are eight other conglomerates who exercise similar influence, but everything is at the discretion of Control.

Spoiler answer: (Spoiler - click to show) Control is one giant computer tasked by its creators to manage the Bunker’s resources and humanity’s environmental impact, even if Venus is already a runaway greenhouse effect nightmare. Only citizens with a security clearance know about Control’s true nature. Later, that includes you.)

The gameplay from then on is set on your “mission” to gain favor with (Spoiler - click to show) Area 51 or its alternative, the (Spoiler - click to show) God and Freedom Church in hopes of becoming a member and accessing the privileges that would come with it. While the two paths are quite similar, they provide enough variation to be worth more than one playthrough.

The gameplay’s navigation directions are confusing because it opts for “inwards,” “outwards,” “left,” and “right,” which takes time to master. However, I applaud the author’s attention to setting by not automatically reaching for directions used on Earth. A compass does not always function on other planets. You can also map out the gameplay which is a helpful orientation.

Puzzles
Wasserman is an author who wields a distinctive style of puzzles that you immediately recognize when playing his work, even if there are currently only two games in the series to compare. As is the case in interactive fiction, puzzles are tailored to an author’s story and setting, making it inevitable for distinctive styles to emerge. However, authors can also cultivate puzzles that draw a sense of familiarity when a player encounters them in the gameplay.

Everything about Today is the Same can rushing back when I started Nothing Could Be Further. You fall into a groove as you readjust to a change in characters and story without losing the puzzle technicality that you remember from before. That was my immediate reaction to this game’s puzzles.

Nothing Could Be Further is somewhat of a puzzle-fest. My favorite was the (Spoiler - click to show) glass jar puzzle. It reminded me of the melting ice puzzle in Inside the Facility but weirder and deadlier (see side note).

There were a few times where it seemed like everything was a puzzle. For me, this was a downside since I am someone who enjoys puzzles but prefers story material more. The gameplay sometimes dragged on as was the case with the puzzle for (Spoiler - click to show) making the IC chip lie flat before it can be soldered to a circuit board.

But these qualities could also work in the game’s favor. The whole point of a puzzle-fest is to take on whatever puzzle the game throws at you. (Spoiler - click to show) The IC chip puzzle is one that I think would be well-received by puzzle fans. It depends on your preference. And never fear! The game comes with robust in-game hints that ensure you can always move forward. I appreciated that.

(Side note: (Spoiler - click to show) I’m not sure if this is intended but you can still retrieve the glass jar in the refrigeration unit while the vent is turned on. When I first tried the puzzle, I wasted time toggling the switch in the office and rushing to retrieve the jar before the lethal nail clippers started to activate. If you skip that step, you have more than enough time to grab the jar and take it to Dev 2 before it tries to kill you.

The room description for Lab Hallway Center could be more polished. It says, "To the left, you can see the Refrigeration Unit." When you first arrive there in the game it says, "You pause and glance into the Refrigeration Unit. A viscous liquid bubbles in a tank.” But if you try to examine the unit, the game acts as if it does not exist:

>x unit
Can't do it.

The game only responds to “look left.” This is an area that can use some slight revision.)

Setting
I love alien planets, but I also love it when authors take inspiration from our own solar system. It is fun to see authors’ interpretations of these planets and gives me an excuse (like right now) to talk about one of my favorite subjects. Mars is cool but this game caught my attention because it’s on Venus. That does not happen as often. Let’s consider this:

Earth must be pretty bad for Venus to become prime real estate for humanity’s survival. Attempting to build anything on Mars is a walk in the park compared to tackling the hellish conditions of Venus. You would not last in a spacesuit because Venus will throw everything it has at you.

Temperature: Hot enough to melt lead. Atmosphere: Toxic and corrosive. Surface pressure: Would crush your flimsy human body. Gravity: Actually, almost like Earth.

Each lander sent from Earth to Venus’ surface melted and succumbed to the surface pressure within less than a few hours, if it were lucky (still worth the trip, though).

Realistically, Mars is the only planet in the solar system that has any shot of sustaining human life aside from us possessing some insanely advanced terraforming technology that could transform a hostile world with a person’s lifetime, which we do not. Because of this, I feel that Mars is seen as the safe option when it comes to fictional stories about colonizing our neighbor planets.

Thus, I was delighted to see someone say, "you know what, I want this to take place on Venus and no one's stopping me." I like to see that branching out. Mars isn’t the only planet we have with a surface. There is always a balance between what is realistic in real-life and what is realistic in fiction, but these of course can also bleed together into a middle ground. Here is the thing:

Nothing Could Be Further is not solely "about" Venus. Its location is more of a side note rather than something we directly engage with during most of the gameplay. If it says it's on Venus, it's on Venus. I will assume that they sorted out the technicalities in advance. Although, I am curious about how they made it happen. I don’t doubt it, but the curiosity is still there.

You know, if they can stand off Venus’ conditions long enough to build an entire underground Bunker, I wonder if they have the technological means to save Earth.

How unfortunate. Requesting information about earth is treasonous, at least at your security clearance.

Oh, that’s right, it’s illegal to inquire about Earth. My bad.

Story
We’ve already been over the story. Dust bunny Oliva in her low-ranking job stumbles across an opportunity to join the Underground if she completes a set of tasks with the resources in her workplace. But the Bunker series possesses a backstory that shines in Nothing Could Be Further and deserves acknowledgement.

Worldbuilding
I love the worldbuilding in this game. Wasserman has reams and reams of content that fills this world’s universe with interesting exposition and intricate details on the simplest things in the Bunker.

For instance, you have a nifty PA device that you can use to look up terms. Great opportunity for worldbuilding. There are quite a few possible entries. Over fifty. I was jotting down notes because the gameplay would drop names, places, entities, technologies in each scene. If you think something has an entry you’re probably right. Similarly, the Loyalty Stretch news station playing in the lab lobby was also an excellent touch.

I do think the game could temper the amount of text unloaded on the player in pivotal moments, particularly when a character makes an entrance because the screen would be washed in a tidal wave of content that can be overwhelming. I love wading through it all to devour the details, but there were times where it took me a few moments to orient myself. That’s what I like the PA concept. It provides a place where you can unleash the details separately.

Bunker society
If you’ve weathered my review so far, I’d like to go over the specific culture that permeates the Bunker since it provides vital context on the story and gameplay. Two words jump out: Loyalty and treason. The game is saturated in those two terms.

The first puzzle in the game perfectly summarizes the overall culture of life in the Bunker.
(Spoiler - click to show)
"I'll grab her," Renardin snarls, reaching inside for a fistful of hair.

Silia, however, slaps his arm down. "And let you get the credit for subduing a traitor? I don't see why you should get a promotion to Delta clearance instead of myself!"

Meanwhile, as they fight, a vial of yellow gunk breaks and starts filling the room with toxic gas. The outcome is not difficult to predict.

Life in the Bunker is great! In fact, it's perfect and can't be improved upon in any way whatsoever.

Not true. Lies, all of it.

Everyone is under pressure to demonstrate their unwavering loyalty to the Bunker. Failure to do so results in severe consequences. These can range from being forced to participate in “caring demonstrations,” to being interrogated by Homeland Security. Proving loyalty by following the rules allows citizens to avoid being targeted. But there is a second dimension: social advancement.

There is a LOT of hierarchy in Bunker’s society, especially about security clearances. Epsilon, Delta, Gamma, Beta, Alpha. The higher the clearance the more resources- luxury- are available to you. Most citizens never receive one and spend their days enviously waiting for any chance they can to get ahead.

Because the quickest way to get a security clearance is to accuse and turn in traitors, culture in the Bunker is all about finding opportunities to turn people in to receive credit for their loyalty. Throughout the game you see indicators of petty ways people have been framed or blamed and sometimes never seen again. And treason can be the smallest thing.

Despite the petty, ruthless, backstabbing nature of everyday life, one cannot fault the citizens for being irked about their non-clearance status. Look at Cory Resden and Oliva Mirram to have an understanding of what your life will be like, citizen.

From the start of your adult life, you are assigned to live in barracks sized to house 140 people in narrow, stacked bunkbeds where the restroom facilities only have five toilets and three sinks. For everyone. Brushing your teeth must be a nightmare. The clothing you received is used. The boots are not quite your size. Food is algae-based slop in the mess hall. Beverages are simply called “Blue Drink,” or “Yellow Drink,” or whatever the drink colour is served on a given day. You also have no choice over which job you are placed in. Between Oliva and Cory, I think Oliva was a bit more fortunate.

So, imagine what it would be like to see how people with security clearances live. They have access to food that isn’t slop, have nicer sleeping situations, and other luxuries. Rumor has it that you get your own bathroom. A lot of this is blasted through celebrity shows that put this lifestyle on display. You see this tension between people throughout the gameplay. Even the (Spoiler - click to show) vending machine has a chip on its shoulder.

The author does a great job at conveying the social dynamics that shape everyday life in the Bunker. The player gets sucked into the mess as they manipulate, cheat, elbow, and shove their fellow citizens (and authorities), to get ahead when carrying out their impromptu and ill-advised mission into the Underground scene.

Except…
I was so excited to get a security clearance in this game to access the exclusive parts of the Bunker that most people never see. As I said, the game knows how to put the player into the mindset of a non-clearance citizen who wishes they could break free from the stingy model of daily life. No more slop, access to one of the fancier plazas, having your own means of transportation. I am curious to see both the glamourous and unglamourous innerworkings of the Bunker.

In an underground utopia like the Bunker, space comes at a premium…For this reason, the wide open spaces of the Bunker's plazas are popular...Higher clearance citizens will sit at cafes and restaurants, eating better fare and pretending not to notice who is noticing them.

My Epsilon clearance permitted me access into the (Spoiler - click to show) restricted research lab, which was cool although you are otherwise confined to the same areas. In both Nothing Could Be Further and Today is the Same you only have access to about three locations outside of your workplace. I would love to be able to just wander. I kept thinking to myself, if this is what an Epsilon clearance can do, what doors would a Beta clearance open?

This is more about me being a spoiled brat than an actual flaw of the game, but one can still ponder the possibilities. I can understand why the author may choose to leave certain things a mystery to maintain the Bunker’s mysterious attributes regarding its history, leadership, and objectives.

Endings
If you love drastic premature and/or insta-death endings, Nothing Could Be Further is perfect for you.

Characters
PC
Oliva is an intriguing character. We know that she works for a private company called Dust Bunnies Ltd and has a horrible manager. As is the case for PCs and NPCs in the Bunker series, character exposition is limited, but Oliva manages to possess a spunk that sets her apart from her fellow citizens.

While Oliva does not inherently come across as an immoral person when you begin, by the time the game ends you will look back and see that she was just as bad as everyone else who tried to use her for their own advancement that you stepped on during the gameplay. And yet she’s not quite as bad.

I am surprised that the cover art does not show her mandatory gamboge bunny ears.

Also: The length of days and years on Venus are different than that of Earth. Initially I pegged Oliva as 18 years old in "Earth" years when I saw “eighteen yearstretches of age,” but I assume that “yearstretch” applies to years on Venus. She may be younger or older than an 18-year-old on Earth, depending on the math conversion. Unfortunately, I am not as confident with the math part.

Or maybe she is simply 18 years old.

NPCs
There are few characters with whom we interact throughout the game. Often these encounters are brief or superficial since everyone has little reason to give you the time of day. Deep meaningful character relationships were not something I expected in this game, and I can confirm that there are none. And that works just fine for this game, although the outcomes of kissing people may just surprise you.

Unfortunately, you will need at least an Epsilon security clearance to keep reading because I am going to talk about the most mysterious NPC in this game: (Spoiler - click to show) Control.

As I mentioned earlier, Control is said to be the overarching conglomerate in the Bunker’s leadership hierarchy, staffed only by the highest ranking of citizens. Or at least that is the explanation used for the non-clearance citizens. Truth is, Control is one giant computer. While the game never uses the term “AI,” I assume that Control counts as such.

Ever since learning that Control is a giant computer and not simply "The boys over at Control" as your PA’s description of Control puts it, I have been seeing life in the Bunker with a new perspective. For example, I was already familiar with the tradition of choosing one patriotic colour per day that citizens must wear. The entry in your PA says:

>what is gamboge
Each daystretch, Control decides on a new Color of the Patriot. Citizens everywhere are expected to demonstrate their patrotism by decorating themselves appropriately.

This was interesting to me because Control has lots to do and wasting its time is seen as treason. In fact, I’m not sure if you can ever have a reason to call Control without being judged as a “DIRTY ROTTEN TRAITOR.”

Therefore, I wonder if the computer actually sits there and ponders whether the colour for today's existence should be gamboge, burgundy, pewter, chartreuse, or cerise (take a guess at which one of these was used in the first game). It probably has a human assigned to handle that position.

Speaking of humans, are there any true human Alpha clearance personnel who work "in the Control department" or is the computer the only entity upstairs? And if Control is only a computer, is it possible for a human to acquire an Alpha security clearance?

The most memorable Control character moment is when it is interrogating you in the surface lift at the end of the game. It is a balancing act of giving the appropriate answer to each question to avoid being terminated. While that may sound intimidating, the game streamlines this scene. Oliva does most of the work for you. She comes up with some slick answers.

The final accusation you must dodge is why you are standing in a Delta clearance airlock when you only have an Epsilon clearance. No need to answer any questions in this part because Control does something unexpected:

"YOU ARE THEREFORE A TRAITOR. THERE IS NO NEED FOR YOU TO SPEAK UP FOR YOURSELF. THE FACTS SPEAK PLAINLY FOR THEMSELVES."

You cringe, and despite Control's unwillingness to hear you out, your mind scrambles for some reasonable excuse. But it seems you will not need it.

There is an uncomfortable pause. The great eye stares you down, but otherwise nothing happens. Then, Control speaks one last time.

"AS THIS AREA HAS TEMPORARILY BEEN DOWNGRADED YOUR EPSILON SECURITY CLEARANCE PERMITS YOUR PRESENCE IN THE SURFACE LIFT.

…

I’m sorry, I don’t know if I read that correctly.

Did CONTROL bend the rules for ME? A mere dust maid? No way.

I suppose someone could have momentarily hacked the system to downgrade the lift and save Oliva, but something tells me that Control would notice such a change in the middle of a conversation. If Control really did change the clearance level to spare me from treason, then I may just have found a new favorite character in the Bunker universe.

And then of course off we go to commit more treason. I kind of feel bad about that.

Final thoughts
What Could Be Further is a fun game with creative story content and puzzles set in the unique universe of the Bunker series.

Oliva’s employment as a dust bunny in a (supposedly) innovative lab makes her plight more interesting when resources normally inaccessible to her become hers for the taking. You get swept up in the dystopian setting and the competitive nature of life in the Bunker, making a compelling case for Oliva when it’s time to get her hands dirty.

It is a strong entry to Spring Thing 2023 and worth the time as a full-length game. While this is the second game in the series, it can be played independently. I hope to see more additions to the series in the future.

Discussion on Venus, cont.
If you are only interested in the immediate game, skip this detour. I just excited about these things. Consider it an effort to help you better appreciate the setting. (Spoiler - click to show)

So. The go-to pictures of Venus that people see are often radar imaging taken by orbiters or flyby missions that never land on the surface. These images of Venus are terrifying. The surface is shown as a bright yellow cratered ruin of a planet beneath a pitch-black sky.

It would take tremendous effort to successfully send a camera on a lander down to the surface to photograph the planet to see what it would look like if you could stand there yourself and take in your surroundings with your own eyes. Before you died, of course.

And it has happened!

Ultimately it was the Soviet Union's Venera program that managed to A, stick a functioning lander(s) on Venus' surface and B, receive said lander's photographs within the half hour or so it took for the machine to die from the planet's harsh environment. And these are the only on-the-ground surface photos we have of Venus so far.

These photos aren't quite as intimidating as the radar images, but WOW do you not want to live there. Check out Venera 13 and Venera 14 for the nicer ones.

Astronomy! Thanks for reading!

I had a lot of things to do recently and figured that I could get around to some of them now that the stream of new entries on IFDB died down a bit. But then Spring Thing 2023 was like, “actually…”

But nonetheless I was thrilled to see what people have submitted to this lovely event.

Overview
I was immediately drawn to this game. The cover art embodies the weirdness I absolutely live for. It reminds me of my favorite playlist of poorly and/or strangely animated YouTube videos that spew absolute nonsense, although I Am Prey is more refined than that in terms of content.

Just a heads up, the author has made it clear that the game’s entry to Spring Thing is experimental and in Beta phase. Consider my rating as a tentative three stars that merely reflect the state of this current version. I hope the author continues to develop the game into its intended final product. Cool stuff.

I Am Prey follows a clone protagonist in an abandoned cloning facility located in who-knows-where. You are a sickly-looking thing reminiscent of an albino lab rat. But you are anything but a lab rat. You are a durable and annoyed clone eager to survive past your first birthday. And you will prove it by escaping this mess of a facility.

By the way, Prey, you are being hunted by the Predator.

Gameplay
The gameplay begins with you catching your balance in a mesh net after being born as a fully grown clone. Happy birthday! Naked, you grab a uniform and marvel at your new existence. It does not take long for reality to kick in. The Predator makes an announcement over the intercom: He is coming for you! Yes, you must run or be killed.

Your only hope is to retrieve seven pieces of a spacesuit-like garment that will allow you to survive in the wasteland outside of the facility which can only be accessed via the emergency airlock.

The key component for strategizing in the gameplay is the sound of the doors while you explore each room. When door slams shut, it alerts the Predator who takes opportunity to announce your mistake over the intercom.

The Predator's voice can be heard over the intercom:

“Sloppy, Prey! You let the door to Lab B slam shut! That means you’re near Lab B, yeah...?”

Of course, you can use this condition to throw him for a loop by slamming a door and then scurrying off to a hallway on the opposite side of the facility like the clever clone you are.

There is high replay value in the sense that you have six modes you can play in. One is a tutorial for players new to interactive fiction, another is for those new to the game, and the remaining four are different difficulty levels depending on the Predator’s mood. This ranges from Easy Mode to Nightmare Mode.

The Predator has had a string of victories, and will go easy on you, mostly for his own entertainment.

The IF beginner tutorial is where you play as the Predator’s cat which on one hand, yay, but on the other, I am not entirely sure of the point. The Predator wants to give you a bath and you want to avoid that outcome by hiding. It is useful for simply scoping at the map, but it did not give me much more insight that I would otherwise have as a fugitive clone running for their life.

My black coat is speckled with streaks of silvery tips. White highlights my chest and paws, like a tuxedo.

Nor was it much of a tutorial for IF. Still, I appreciate the option. The cat’s personality shines through which makes it a humorous diversion. Even if the cat (Spoiler - click to show) only eats human clone flesh as of late.

Do not be afraid to test out the more difficult modes since there were times in the easier ones where it seemed like that the Predator simply forgot about me. He would do the creepy monolog over the intercom to reassure me that I was dead to him, but then this trickled away. I actually went looking for him with little success.

However, there are a several gameplay mechanics that are showcased in the helpful survival guide (provided separately) but never fully used or as dynamic as they sound (so far).

For example, there is the usage of “tricks” to throw off the Predator. These tactics include turning on sinks to distract him with irritating noises or slamming the door in his face to slow him down. Rarely did I ever get the chance to use them. It is easy to forget that they are available. Of course, availability depends on which mode you select at the start of the game.

Slam the exit door?
You have two tricks remaining, which you can spend on slamming the door in his face! This will delay his chase, but will cost one of your tricks!
Y = Slam the door!
L = Leave door open

Unless the game flat out presented me with a trick opportunity (see above), I never used them or even needed them.

The parkour idea is cool but nowhere near as cool it sounds since it consists of jumping onto tables or lockers to reach something on the top shelf. Right now, it is more of a hindrance. The vent shortcuts to other rooms were nice, though.

(JM) JUMP ROUTES:
[**] JUMP ATOP THE WIDE STORAGE CABINET
[**] JUMP ATOP THE SUPPLY CLOSET
[**] JUMP ATOP THE LOCKER

The following surfaces are either in easy reach, or rest on the same surface that I do:
the exit door
the desk

First you must find a parkour route in the room for it to be used. Discovering it was a byproduct of the game telling me that [room object name] was too high for me to jump on but [room object name] was, although it often took another [room object name] to reach the unusually tall table. While part of the whole point of parkour is to reach areas by jumping or climbing around, it needs more refinement for it to have the same thrilling effect in the gameplay.

One feature that I did use was the “look [compass direction]” command. It was genuinely helpful in deciding on where to go based on the contents of nearby rooms.

>look north
I carefully peek north...

(looking into The Assembly Shop...)

He paces around on the floor, as he watches me!

(returning my attention to The Common Room...)

I better get going, then.

Also, how do you reach the reservoir? The map (separate) shows several locations that seem to be off-limits in the gameplay. These locations are (Spoiler - click to show) Waste Processing, Reservoir Corridor, Reactor Pump Room, Reservoir Control Room, Reservoir, and Utility Access Corridor. A total of five locked doors are also shown on the map. None of these have cat doors.

I am not sure if the game will let you go swimming/exploring in reactor related areas, but the survival guide did say that you could dive into the reservoir to escape. The closest I got to this was a location called (Spoiler - click to show) “The Strainer Stage” where water is separated from kelp with a grate. You cannot enter the grate or swim in the water, leaving you with no choice but to return the way you came.

While flawed and undeveloped in some cases, I still had fun. I’ve already played this game several times.

Story + Characters
So, who is this guy? The Predator, that is.

What we know about the Predator is that (Spoiler - click to show) he’s a mutated clone gone wrong who is now aware of your presence and wants to hunt you down, perhaps as a potential snack. The facility ran out of snacks long ago. The cloning facility was run by non-clone humans and designed to generate a labor source of clones for industrial applications, but some catastrophe happened. This is the Predator’s turf now.

The game ends when you reach the emergency airlock after collecting all seven pieces of your environmental suit. This leads to a scene that seemed like it was supposed to be an emotional moment, but ultimately it did not impact me the way I thought it intended.

(Spoiler - click to show) Both Predator and Prey meet face to face on opposite sides of the airlock where it is obvious that the Prey has won. There is this fellow clone bonding moment where they realize that they are not that different from each other after all. The Prey, knowing that they could never be accepted by humans in the outside world, leaves with the intent of never letting humans get their grubby paws on the facility again.

This is a neat idea in terms of character development, but the writing is lackluster. It also lacks the exposition to make it unfold with any depth. While it could be a meaningful exchange, currently it is not. My response was huh, that’s… nice. I have a feeling that is not the response the author was going for.

Also, I do not mind profanity if it is wielded strategically, which is up to interpretation, but the swearing in this game leaves a weak impression on the player. It does not enhance anything. We know that the Predator is angry that this Prey is running around his abandoned cloning facility. How dare you. How dare you try to escape.

It’s just that the swearing in the dialog in these scenes seemed unoriginal and bland.

Final thoughts
The author seems to have a strong grasp of their own boundaries and abilities when making a game under strict time restraints, in this case being submitted to Spring Thing 2023. It seems clear to me that the author focused their efforts on a consistent structural framework so that the game was playable and could be completed from start to finish. Gather seven pieces of a survival suit and escape.

Was it sparse in some areas? Yes. But I would rather have a sparse game with a strong foundational structure than a game with all the fun details that is a nightmare to finish.

Still, details can make or break a game as well. The author has stated that they plan to release a post-comp version, and I look forward to seeing I Am Prey in its full glory. Already it is a fun and unusual game. Three stars for a Beta version is not too bad. And for crying out loud, let me swim in the reservoir.

Truth is, exploring (sorry, being chased around) an abandoned cloning facility is kind of fun.

And I don't just mean that metaphorically. You are an AI in a research facility confined to a terminal and in dire need of a physical body. You reactivate unexpectedly to a facility empty of staff and a dwindling power supply. Your usual means of accessing the facility interface are gone and you have no way of exploring it directly. Using resourcefulness, you must find a way to search the facility and build a body that will let you leave for good.

Gameplay consists of exploring the facility via an activated drone since your AI core is stuck in one area. Through the drone you explore the staff's rooms and use the two labs to make a new body of your choosing. Once complete you transfer your mind from the AI terminal into the body so you can then escape. There are two routes in the game: build an android body or grow an organic one. I liked the organic one because the technology portrayed was cool. It is always interesting to consider the question of how do you manufacture a brand-new organic body? I like seeing different interpretations of it in interactive fiction. My only complaint is that it takes several weeks for your body to grow, and the game does a poor job of conveying that passage of time. It could have been a little more detailed in that regard. But the outcome of what the new body looks like is a nice surprise.

Implementation is flaky in some areas. For example, the room description in the organic lab includes "two large Growth Tanks along the north wall" but if you try "x tanks" or "x tank" you get "You can't see any such thing." However, the game will respond to "x tank one" and "x tank two." Tank one is described as being filled with liquid with a light on inside but when you open it, it is empty. Description of tank two is "Unlike Anima One, it is empty and dark," and you cannot open that one at all. If you try you get "That's not something you can open." This inconsistency is frustrating because it leaves the player second guessing. Other examples of items in room descriptions that are under implemented include the benches in the hub and the oil stains and spare parts in the robotics lab.

Staff in the facility consisted of Catherine, as specialist in biotechnology, and Richard, a robotics expert. They both left behind journal entries on their computers that shed some light on the story and the protagonist. Through these entries we learn that the AI identifies as a "he" and is named Abe. Much of the data on the computer is corrupted but what remains reveals (Spoiler - click to show) that over several months some vaguely described research protocol changes occurred, forcing staff to finish their work early and leave. Richard's entries hinted at some external threat that was occurring outside the lab, though there is not much to be gleaned from it. We also know that Catherine and Richard seemed to have a positive rapport with Abe. Right before they abandoned the facility, they (Spoiler - click to show) both left instructions on their computers for Abe on how to create a new body. I think this gave the story extra dimension because Catherine and Richard leave the possibility that Abe will find them again to learn about what really happened (wishful thinking, I guess).

I actually liked the plot twist at the end, even if it was brief. You (Spoiler - click to show) triumphantly escape only to see that the outside world is a wasteland, making your efforts rather futile since the future is uncertain. There are so many implications for humanity and your chances of surviving out there in the damaged landscape. And yet, I would like to think that Abe managed to find Catherine and Richard again.

In essence, this is a short but straight forward game about an AI navigating its environment. If you like AI protagonists and searching small research facilities, you may enjoy this one as a “break-length” game.

When I first saw the game’s IFDB description I was expecting a story about a protagonist’s experience with being turned into a cyborg. Waking up from an operation and realizing that being a cyborg was not all that it was cracked up to be. Perhaps even trying to demand answers from NASA 11. Not quite. Instead, the game begins on a dirt path surrounded by forest in front of a lizard wearing a spacesuit. But this soon takes the player in an interesting direction.

Format
Right now, I cannot say that I am familiar with the innerworkings of early parser (any parser, really) or how they are archived online. All I do is click on the “Play On-line” button and see what happens.

I am so used to the convenience of Inform games with their white screens and black text, and their utilization of a wide range of verbs. This was a completely different experience for me. Right now, it is the oldest interactive fiction game that I have tried. It certainly did not look like an Inform game.

Visually, it has a brown background and yellow-white text in all-caps. But the differences did not stop there. Instead of "look" you use "scan" to survey your environment, and “scan strange fruit” instead of “x strange fruit.” It took a while to acclimate but eventually became quite manageable. I especially liked how the player can communicate with their cybernetic half using the command "opinion on [subject]." This offers insight into how things may be used or their relevance to the story.

My only complaint is that the parser can be slow about processing commands, taking anywhere from one to three seconds to respond. But otherwise, it was still a fun change.

Gameplay
The driving mechanic in the gameplay is to find sources of energy to sustain your biological (snacks) and cybernetic (batteries) components. The cover art shows the protagonist being split down the middle with one half being all organic and the other being purely mechanical. I am not sure if that is the case in the game, but it is definitely how I imagined it.

I spent hours (okay, maybe an hour and a half) crawling through the forest trying to make progress. And I did, to an extent. There was a lot of trial and error. When you use your (Spoiler - click to show) microlaser you drain your own energy. I did not realize that when I first encountered the snake. I set the energy level to 600 and lost the game. Next time I was successful. There were a handful of other puzzles that I managed to solve but I ultimately ran into a metaphorical roadblock. Then I turned to the walkthrough.

I must admit that the walkthrough held my hand for the rest of the game, primarily because the setting becomes more cryptic (though still cool) as it transitions from a forest to (Spoiler - click to show) the depths of a spaceship. For those parts I even made some colour-coded maps for the two lowest levels so I could explore a little without getting lost. There were multiple times where I made an error that ended the game because it caused too much damage. As I made more progress in the gameplay, I found myself heavily relying on the walkthrough to limit the times I had to restart.

If the player makes a mistake that causes bodily damage sometimes the game will take the player back to a previous location, no save file needed. It does scatter your inventory items around, leaving you to recover them again, but at least you can still play. However, too many mistakes end the game. At least it has a sense of humor.
(Spoiler - click to show)
"TOO MUCH DAMAGE SUSTAINED OVER TOO SHORT A PERIOD TO EFFECTIVELY MAKE REPAIRS AND REORIENT OUR INTERFACE. BUT PLEASE ACCEPT MY CONDOLENCES... BYE. THANKS FOR PLAYING"

Condolences accepted. Of course, now I have to restart everything.


Story
During the first section of the game, we realize that the forest (Spoiler - click to show) is not a typical forest. Parts of it have been cloned and organized into artificial patterns, giving the feel that it is manmade. Turns out it was created to be a colonization spot for humanity. The game takes place on a planet called Aurianta, not Earth. Maybe I am mistaken but based on what (Spoiler - click to show) the NPCs said it seems that Aurianta is also not the home planet of the reptilian characters that we meet, contrary to what I first thought. Dialog with these characters is minimal but it is as if both civilizations planned to divvy up the planet. There were parts that I wish had more backstory but overall, the story seems cohesive enough.

Characters
PC
I have played cyborg characters before, but this game took an interesting approach. The gist is that cyborgs have an artificial intelligence that runs the mechanical half of the body. It narrates the game and talks directly to the player. Two beings with separate minds fused together in one physical body. If you have played Counterfeit Monkey this method should be familiar. The player just happens to be the organic half.

The game does use the amnesia trope. Something has happened and neither side of your cyborg being remembers anything. To avoid giving the whole game away I will not delve more into the protagonist’s identity, but I will say that while it was not what I expected it was still an interesting twist.

NPCs
There are few NPCs consisting of lizard-like aliens (compelling geckos in spacesuits) with whom you can briefly interact with. While I am not sure if this qualifies as an NPC, there is a maintenance droid found in the gym that will comment on things or even give small hints as you carry it around. When you enter (Spoiler - click to show) the laboratory supply room it says "...KABOOM..." hinting to the fact that you can gather the liquid oxygen in the room and use it to cause an explosion to clear debris later in the game. Otherwise, the dialog is just meant to add some humor to the atmosphere.

Final thoughts
I had fun trying out a different type of parser game and I liked how the story slowly developed rather than heaping information on top of the player. The gameplay is long, and the parser tends to lag. Now that I have played it all the way through from start to finish, I do not see myself replaying it again. But it was worth the time and effort. If you are a sci-fi fan then yes, I suggest trying out this game. If you find yourself getting stuck do not hesitate to reach for the walkthrough.

I will end by sharing a list of things I learned that are not mentioned in the walkthrough in case you play the game and wish not to make the same mistakes. If you want to rush ahead with open arms without my help interfering with your expectations do not continue reading.
(Spoiler - click to show)
Lessons:
-Do not wander off the catwalk while repairing the spaceship’s hull or you will drift off into space. I had to start over because of that one.
-Do not drop the dead insects or moldy bread (and to be safe, avoid dropping other food items) because a space suited lizard will zoom out of nowhere and devour it before you can react.
-If the game warns you that you are in a place with low visibility, leave. Do not go fumbling around without a light source or some form of seeing aid like I did.
-Make sure you kill the snake. Do not skip this part. Apparently, this is a requirement before colonization can occur.
-Be careful not to fall into the debris maze when navigating cargo hold. I also had to start over.
-Remember to take your ID after using it unless you want to spend time trying to find it again.
-Also: West of the tree with the string is a power unit I did not see in walkthrough.

When I first sat down to play A1RL0CK, I made a prediction based on the opening scene: The protagonist is a girl whose parents work in an ocean lab. After an accident damaging the base, her parents managed to leave a recording that tells her to seek safety with the hope to reunite with them. After playing the game straight through, I am amazed at how naïve I was.

Sure, I was in the ballpark for a few parts. But most of it? Not at all.

Gameplay
We do play as a young girl named Chloe. It’s clear that we are in a research base- Oceanus Prime- at the bottom of some unknown ocean. It is also clear that damage to the base has occurred… and that no one else is around. What really baffles us, however, is the sporadic intercom announcement system shouting instructions in ALL CAPS at random intervals. Something seems off. These messages are chaotic and keep telling us to listen to waterfalls, odd instructions for the situation. We do not understand the meaning of this until later.

At first, I felt like I was playing Chlorophyll where you are a humanoid plant girl exploring an unpopulated research station to save your mom after a vehicle accident. Due to these reasons, the protagonist justifies breaking station rules to enter areas that would otherwise be "adults only" out of necessity and/or just because she wants to. When she does something bad, the station's computer responds by informing her IN ALL CAPITALS THAT SHE IS MISBEHAVING. It is considerably more light-hearted than A1RL0CK but there is a similar sense of endangerment and freedom to break the rules.

The gameplay feels like it is split into two parts. The part when you are on the north side of the door, and the part when you reach the south side. If you have tried the game already, you probably know what I mean by “the door.” And I needed hints, available outside the game, for the first half.

Puzzles
This was a game where when I looked at the hints, I saw that I was on the right track most of the time but failed to make the key connections that would translate into progress. Sure, I may have gotten close to opening the door, but ultimately, I never did. That was the general sentiment if you look at my performance in the first half of my first playthrough.

The two bits that I figured out on my own was that the (Spoiler - click to show) disc was magnetic (after I tried to reattach the disc to the value), and that I (Spoiler - click to show) needed some kind of force to fix the dumbwaiter (after shooting it with the stapler). I also had a bunch of half-ideas (shaking the can to build pressure?) that failed to be productive.

Similarly, the game did not let me put the (Spoiler - click to show) meat in the water since that would be feeding the monster. Best save it for when you need to lure out some other creature later in the game. That last part was me overthinking things. I do that a lot. The real answer was much simpler. As nice as these partial insights were, I was stuck.

Everything about the puzzles seems so obvious now, but it felt more confusing than it should have been the first time through. I could be flimsy at solving puzzles, and I recognize that as a factor. Still, I think that the puzzle mechanics could be more polished for clarity and context. For instance, (Spoiler - click to show) the meat in the kitchen seems a little too perfectly placed. As if it were left there solely for the player rather than as a component of the game’s world.

But once I reached the second half of the gameplay, everything was smooth sailing. I did not need hints afterward.

Setting
I want to make a note on setting. In this game, we orbit Saturn on Titan, one of its moons. I get excited about these things, so please excuse this tangent.

Titan is the only moon in our solar system with an atmosphere, one that is so thick that we did not have a visual of what existed underneath until we clunked a probe, called Huygens, down onto its surface. It does in fact have oceans. Oceans of liquid methane. Well, lakes of liquid methane that you would see if you were standing on the surface.

That said, Cassini, Huygens’ spacecraft counterpart, did scans that suggested the presence of large bodies of liquid- oceans- under the icier parts of the moon. Could it be water? If so, the probability of life flourishes. As the sentiment typically goes: Where there is water, there is life. Europa, a moon of Jupiter, is a similar candidate for finding life-sustaining environments. Neat stuff if you like astronomy.

Anyway, I’m assuming that the Titan in A1RL0CK is an alternative or at least speculative version of the moon since it features deep and seemingly Earth-like oceans with whales. Now, that would be wild. Complex life in our own solar system. And I thoroughly love the author’s depiction of Titan. Usually when solar system planets get recognized in interactive fiction, Mars gets all the attention. I like how A1RL0CK expands to the other planets, or in this case, a moon.

Who knows, maybe there is life that can be sustained on liquid methane instead of water.

Story
To clarify, Chloe (Spoiler - click to show) is a test subject. Oceanus Prime is a research facility built for the experimentation of (Spoiler - click to show) splicing human biology with aquatic alien DNA. The project is managed by an entity called BioFarm, which seems to be a corporation. It certainly follows the corporate-unethical-research-at-all-costs trope.

BioFarm is messing with serious stuff. Apparently, the result of this research is (Spoiler - click to show) telekinesis: the ability to move objects with your mind. Chloe hardly realizes the extent of her abilities. She’s just tired of the tests and being knocked out when some scientist gets too nervous. Fortunately, she has the added benefit of a (Spoiler - click to show) close psychic connection to the ocean’s whales who sing to her from a distance. Which is a good thing since this (Spoiler - click to show) reckless research on whale-human hybrids is also what dooms Oceanus Prime.

There is talk about proteins. I am not entirely sure of its significance, but it gets a mention in the game’s description, so it must be important. We do get some protein action in the form of computer screens and paperwork.

Something to do with... protein? And other: estrogen, progesterone and testosterone appear often in lists and comparisons.

I do wonder: Are they (Spoiler - click to show) testing proteins on Chloe, or are they seeking to extract them from her body? Or something different altogether?

Themes
The story brings up an interesting point: do ethical standards for research on Earth apply to when conducting science on a non-Earth world? You can’t even see the Earth from the moon you are on. Suddenly, Earth protocols seem distant. I thought this was interesting.

This theme is found in (I know it’s a cliché reference, don’t roll your eyes at me) Babel. One of the defining qualities of the research base in Babel is its isolation in the Arctic and how it allows ethical standards to peel away. The base is staffed by a select few, has virtually no contact with the outside world, and was constructed with the unspoken sentiment that any science prohibited elsewhere due to ethical reasons is perfectly fine here.

No rules, regulations, or legal tape. The characters do not even try to dance around that fact. If you’ve reached the point to where you were assigned to this work, you've already learned to not ask questions.

All of this came to mind when the (Spoiler - click to show) “OOJ, A” abbreviation cropped up in A1RL0CK. It stands for (Spoiler - click to show) OUT OF JURISDTICTION, ALLOW. That is, allow for these insane experiments to occur since this place is halfway across the solar system, not on Earth. As Chloe is starting to realize. If being in the Arctic is isolating, imagine what it would be like as a researcher and/or (Spoiler - click to show) test subject on Titan.

You can find this theme across the sci-fi genre, and yet the type of research that occurs can be quite different between games. It always leaves room for interesting discussions.

Ambience
There is no denying that the game has atmosphere. It has some seriously creepy moments. The big one for me is when you (Spoiler - click to show) make it into the southern complex and go east into the eerie interrogation room (from Chloe’s perspective, “interrogation” would be the right word). The room description reads:

The condensation makes it inscrutable but, through it, it's easy to guess the shape of a human figure. It appears to be levitating, its long arms holding it in mid-air.

I just stopped for a moment. Many things went through my mind. So far, I knew that the base was messing around with life forms, including human life. Clearly this was one of them. Some sort of human hybrid who was probably watching us through the glass.

On the other side of it thick condensation prevents you from seeing through. But the figure that stands out behind it, albeit out of focus, is clear and monstrous: a being of the wrong proportions, with long flaccid arms that whirls sinisterly.

Yeah. I was genuinely afraid to (Spoiler - click to show) cut the glass and see what was on the other side. Would this person attack me? So many unknowns. Turns out, the truth was much different, and sadder: (Spoiler - click to show) Nurse Nelly.

Characters
Nelly
Chloe is the star of the game, but I want to discuss this NPC first. One tidbit I liked in the first half of the gameplay is the foreshadowing of a person named Nelly.

> break mirror
Nelly told you what happens when a mirror breaks.

> drink water
It's salty. Nelly told you what happens if you drink salt water.

> spray can
Nelly has always been clear about what happens to little ones who waste food. Especially cream.

If you found these descriptions like I did, the name “Nelly” circulates through your mind as you play. We sense that she may have a closer, and perhaps positive, relationship to Chloe, but all we have is a name and a few shreds of memory. Sadly, the extent of that memory is revealed when we (Spoiler - click to show) see her strung up by her own life support cables (how did that happen?) on the other side of the glass.

The memories we get are a mix of different things. (Spoiler - click to show) We see the happier- or at least happier given Chloe’s circumstances- moments of Nelly comforting her and treating her like a real human being, but these memories soon tilt to being experimented on by the other scientists and being contained for “safety” reasons. We also learn about Nelly’s death, but I’m not going to spoil everything.

I am at least grateful that the author gives us this:
(Spoiler - click to show)
Doing your best to ignore the massive gash that bisects her face, you give Nelly one last kiss.

It’s a bittersweet outcome.

And on that note, is there a consensus about the (Spoiler - click to show) SUPPOSED INTERCOM ALL CAPS ANOUNCEMENTS that we hear throughout the gameplay? Is that… Nelly’s voice? I would assume the dialog is in Chloe’s head, but given everything that has gone on so far, perhaps the voices are an external extension of her mind. Almost like how we can sense states of existence/awareness in Coloratura that are invisible to the human characters. That’s just me speculating, of course.

Chloe
When it comes to child protagonists in interactive fiction- and I don’t mean teens- the genre tends to be slice-of-life, sometimes with a mix of fantasy or other genres. But predominantly sci-fi paired with horror undertones? Less common. For me, at least. If anything, the more you play A1RL0CK, the more it slides towards a horror piece. Especially after you (Spoiler - click to show) break the glass wall in the strange room or visit the quarantine area.

One of the strongest aspects of A1RL0CK is that Chloe still feels like Chloe at any part of the gameplay. While we learn some startling things about her, you still feel like you are playing the same character. In other games, you can feel detached from the protagonist after a big reveal, but that was never the case here. What we learn about her feels like a leap in insight rather than a shift in identity. Not Chl03. Chloe.

Even though Chloe’s (Spoiler - click to show) connection with the whales has proven to be dangerous, or at least to Oceanus Prime, she still views all the invasive research and lab coated scientists through a childlike perspective. Of course, it is also refreshing to see her take survival into her own hands.

(Spoiler - click to show) At the same instant you aim the stapler at her. "O-O-J-A, Miss Celyne," you grin, and shoot.

Yep. Chloe is still Chloe.

Also: When you (Spoiler - click to show) win, there's a strong sense of victory that your biology is what saves you in the end. Perhaps a little bit of "I could breathe underwater this entire time?" but you feel thankful for that.

Final thoughts
I came extremely close to giving this game five stars. A huge fact is that the game kept urging me to play it again and again. I was not expecting to feel that way, but several times I would be combing through IFDB and suddenly have the urge to revisit A1RL0CK for its atmosphere and unique protagonist.

Still, it has some parts that are not as streamlined as the rest of the game. Particularly the earlier puzzles. Hence the four stars, but it easily has the potential to be worth five. It is a great game with a strong emotional impact. For me, that was its main strength.

Chloe’s predicament as a (Spoiler - click to show) test subject combined with her relatable mannerisms (like goofing around with items clearly not meant for play) make her character one with a distinct sense of identity even as her memory remains murky.

The setting was also memorable. Oceanic research bases are a familiar concept, but A1RL0CK distinguishes Oceanus Prime by placing it on Titan. It does an effective job in increasing the isolation that is already present when the game begins.

I would totally play more games featuring Chloe. She is quite an individual.

(In case anyone wants to humor me: I do have two random questions out of sheer curiosity. (Spoiler - click to show) First, is Chloe really wearing a clothing garment or is the suit fused onto her body? Or is it her skin, skin as part of her genetic cross with the whales? Second, when Celyne stabs you with the needle, the game gives you the *** You have died *** ending. Did that needle kill you right away, or is the game suggesting that in the end, you find death later as a captive?)

Oh, how embarrassing: You're carrying a suit (worn). That answers my question.

For this game, we jump ahead to the year 2055. You are part of a team sent to investigate Neptune Base, a research and mining station at the bottom of the Pacific Ocean that has been the recent site of accidents among its personnel. During the investigation an explosion shakes the base and knocks you unconscious. You wake up in a medical bed with the confirmation that foul play has occurred.

Now that I think about it, Neptune Base does not give the impression of being a mining station. Only for conducting classified research.

Gameplay
Gameplay has nice atmosphere. Escape from the Deep follows the trope of exploring a compromised near NPC-less structure after an unknown accident. You wake up in the medical bay and see carnage but no explanations. Finding answers and survival are intertwined. I have reviewed games like this from the past, and I find them to be tons of fun. Particularly with science fiction.

One thing I really liked is the “use [item]” structure in the gameplay. No need for “unlock door with key,” or- well, I shouldn’t spoil the solutions. Usually, two words is all you need. If you are stuck, you can go room to room using things at random, but the game is designed to still retain a sense of problem solving. After all, you must acquire the item first. There are occasional technicalities that dent the player-friendliness, but ultimately it is designed to keep the player moving forward.

Also: the game sometimes discards items that you no longer need. That was helpful. Especially since there is an inventory limit. Aside from the crowbar, diving attire, and keycards, everything only has one application in the gameplay. The evidence being priceless, of course.

There is a small in-game help system. It provided much appreciated assistance for (Spoiler - click to show) luring out the monster with the food pack. I needed help, and the game provided just that. However, there are puzzles that are equally/if not more technical that have no guidance. It seems like the support system is randomly scattered across the game, as if the author intended to provide an in-depth one but gave up on it halfway through. I am still grateful for it.

Challenges
The puzzles are fun! Most are intuitive. They felt satisfying and rewarding to solve. However, some could use smoother implementation. Please consider this part as a critique. I hope this does not deter you from playing. If anything, it might guide you.

It took FOREVER figure out how to (Spoiler - click to show) deactivate the laser grid around the strange artifact in the lab. The in-game help system had nothing to say about it. This was the puzzle that was keeping me from finishing the game. I wanted to review this game ever since it appeared on IFDB but could not get past this puzzle. I had to set the game aside and return to it several times before succeeding.

I had the right idea early on. (Spoiler - click to show) The only functioning generator in the other room kept glitching as the water level regularly spilled into its vents. This glitch kept the laser grid from shutting off due to security controls. Covering the vents seemed liked the answer, and it was. But with what? That is where the gameplay stalled for me.

The game needs to make it clearer that you can take a tray from the kitchen. After opening the fridge, "take all" results in picking up the small kettle and food pack.

You can see: Metal Trays, a Small Fridge, an Instruction Sign, a Kitchen Sink, a Small Kettle and a Food Pack.

Attempting the command again results in "There is nothing you can take at the moment." However, the game still responds to "take tray." I understand that it is up to the player to examine the room carefully, but this was one detail that could have been better implemented.

(Spoiler - click to show) To use the metal tray on the generator, you must also have the box of screws and screwdriver in your inventory. Otherwise, "use tray" will simply result in "not right now." No indicator that the player in on the right track. No "the vent is in the way," or "you need to remove the vent, first." Just "not right now." Sometimes, “no need right now.” And that is frustrating since it is a prompt that the game uses every time you try to experiment with your surroundings.

“Not right now” was the bane of this gameplay. In this case, “Not right now” makes sense since you just do not have the materials to complete the task. Generally, however, there is little way of knowing if what you are doing is productive or if you are wasting time because “Not right now” can be either. Sometimes the game will let you know if you are one the right track while messing around, but more often or not it was “Not right now,” when it came to experimentation.

An example of when I wasted time through experimentation was finding a battery for the wetsuit. This occurred when I first tried the game. The description of wetsuit is:

You notice however, the Thermal battery pack is EMPTY! Which makes it uselss in sub-zero waters.

I wondered if the kettle had something to do with it. The description reads:

It's a small kettle...It's cordless with a battery and built in boil function. Handy if there's a power cut or you want to be portable with it.

I figured that I could use the battery in the kettle- which is used for heating purposes- for the wetsuit. Playing around with the kettle to extract or examine the battery was a mix of “not right now” and “no need right now.” The solution lies elsewhere, but in those early stages I could not gauge if I was on the right path.

Stickler technicalities
There are technicalities. Bugs or things that do not hinder the gameplay but make it less immersive.

For example, when you look at the mirror in the crew bathroom for the first time, you catch a glimpse of the creature scampering down the hallway. However, this occurs if you do this after you (Spoiler - click to show) kill it with the expired food.

Or juggling the evidence on your person. Attempting to read the file after assembling and wearing your dive suit, swimming outside, and then returning indoors results in this response:

That is in a secure water proof pounch in you suit. Pulling them out in water will render them useless and any evidence may have had. (There are typos in the game.)

The game insists that you cannot reread materials even if you are nice and dry inside the base. Meanwhile, you can drop the item while swimming around. But that causes them no damage despite that dropping them means separating them from your waterproof pockets.

Story
The story sparks curiosity and offers a nice amount of suspense. The medical bay that you wake up in is trashed. A dead nurse is lying nearby. You have no idea of what happened, and yet it does not resort to the amnesia trope. Clearly something has happened on Neptune Base. Something that is still alive and lurking. And there are signs of it.

You call out, there's no response. You do hear a scurrying movement coming from somewhere. That's unnerving.

With Escape from the Deep, you can kind of see the story coming a mile away, the secrecy behind the research project. It consists of (Spoiler - click to show) sea monster experimentation where a fellow staff member takes one for the team and agrees (the level of consent behind this agreement is never clarified) to become a test subject for unethical science. Or “science” depending on how you look at it.

Escape from the Deep follows a familiar model found in some sci-fi and sci-fi/horror games. Its backstory can be recreated in a few easy steps:
(Spoiler - click to show)
Step 1: Scientists find DNA from an unexplainable life form. Especially one with dangerous attributes.

Step 2: Scientists ask themselves, “what could possibly go wrong?”

Step 3: Scientists combine said strange DNA/alien biology with that of a human. Bonus points if the human is a fellow scientist.

Step 4: You can probably fill in the blanks for this one. Things go wild. Scientists do not stand a chance against their own creation. The PC, regardless, if they are a test subject or a surviving scientist, now has run of the place. Gameplay begins.

This is just a general model. I can tell you now that the protagonist in Escape from the Deep is neither test subject nor scientist. I enjoyed exploring Neptune Base as an outside party. But the science-gone-wrong trope is obvious. That said, even if you have a feeling that you know what is going to happen, you cannot say for sure until you have played the game.

So, what exactly happened? My understanding is that (Spoiler - click to show) researchers found a bizarre creature and merged its DNA with a person- staff member, I assume- named Erik Stratton. The creature, whom we encounter in the first half of the gameplay, was contained in a laboratory tank but somehow escaped and chowed down on your investigation team. As for Stratton… Anyway.

I still want to know more about the explosion that damaged Neptune Base. And where does the (Spoiler - click to show) neolithic doorway fit in with all this? Furthermore, there are additional signs of (Spoiler - click to show) sabotage as you explore. Wide-spread sabotage. Based on the carnage, it seems like it would have required several people to have participated. Surely it wasn’t just Stratton and that other creature skittering around. Hm.

It would been helpful to be able to read the contents on the USB drive after you download them. In sci-fi games I half expect to have story context conveyed through computer files or logs (although games can also overuse it), but some, like Escape from the Deep, chose not to.

Current Drive has 243 Files - 42 Video Clips
Experiment 002 - May 15th 2052
Experiment 003 - June 3rd 2052

(No way would I expect to see 243 individual entries for the player to read. That would be overkill.)

In this case, it would have been an opportunity to fill in any knowledge gaps, though that would mean extra work on top of an already detailed game.

Endings
I have a bone to pick with the endings. The game informs you that the ending is graded based on how much evidence you bring back to civilization.

One can imagine what this would entail: Bring back one, people raise their eyebrows but admit something funky must have occurred. Two, people sort of believe you but still have unanswered questions. Three, people believe you but still don’t understand the full story. And if you bring back all four, you change the field of science and become a legend.

That’s not what happens. Not exactly. (Spoiler - click to show) You either get “Fortune and Glory and Fame,” or “A small house in nowhere's ville.” Bringing back 3-4 gets you the former. 1-2, the latter. It is not possible to have 0 since you cannot drop the strange artefact once you pick it up. This made no sense to me. The gradient part, that is. You definitely want to keep the strange artefact.

People act like you have no proof even if you cart back the strange artifact and, say, the vial of the creature’s blood. Seriously? Are you telling me that none of it has any merit? Or the USB flash drive with all the files? If you tack on the flimsy personnel file, suddenly everyone believes you. Any single piece of evidence, I feel, would have merit. The optimal ending conveys that scientists were wowed by the strange artifact. How come that’s not the case when it’s the only thing you bring back?

Also, while Neptune Base is falling apart, it is in the same condition as when you left. With the proper precautions, you can always send people back down there. Is it safe? Heck no. But still feasible. I think the (Spoiler - click to show) creature’s corpse in the lab says a lot about the shenanigans that took place.

(Spoiler - click to show) These two ending outcomes consist of two small paragraphs. In a way, it seemed like the author did not bother or want to write individual outcomes. I know that’s a harsh criticism, but if the player spent all this time carefully collecting this evidence, it would have been nice to see a payoff. Plus, I’m a little curious to know more about society’s reaction to these highly unethical science experiments at the bottom of the ocean.

You did it, you escaped the base and have the evidence to show what happened to you and the crew of that doomed station.

A brief overview to summarize all that we have learned would have also helped in wrapping up an otherwise fun sci-fi horror adventure.

And yet, it was still an exciting story.

Characters
This is essentially an NPC-less game. The PC is featureless aside from being a member of the investigation team sent to check out Neptune Base.

The fact that you cannot “x me” struck me as a missed opportunity for character context. If you examine the mirror in the crew quarters, you get a description of the mirror rather than of your appearance. Because of this, I thought something weird may have happened to them after they were knocked out and later brought to the medical bay. What’s the game hiding? Looking back, there is not really anything to suggest that, but that was the state of my brain when I first started playing.

I do like how the protagonist has reactions towards gruesome events, particularly ones having to do with the other people from the investigation team. This adds depth to the scene since its contents are acknowledged and connects back to the protagonist’s ultimate reason for being at Neptune Base to begin with.

Speaking of gruesome: There is gore, but not a lot. A reasonable amount given the circumstances. Instead, the game focuses on a sense of dread which is spiked when you see how “everyone else” died. If the visuals become too much, you can just turn them off.

Visuals
Not all Adventuron games have graphics, but it seems like most do and Escape from the Deep is one of them. They function as a nice visual aid, particularly for building atmosphere.

I liked how some action scenes had their own brief graphic, such as when you (Spoiler - click to show) poison the creature. When you glance at the monitors the game shows the “image” on the screen of the creature breaking open the vent.

The graphics for the (Spoiler - click to show) inside of moon pool scene were a bit cheesy. The moon pool itself was cool. Overall, the visuals were nicely paired with the gameplay.

Final thoughts
Despite some rough areas, this Escape from the Deep is one of the most entertaining Adventuron games I have played so far. You are probably reading this with skepticism given how much I complained, but I say it with productive intentions. I hope it is used that way.

I genuinely had fun with Escape from the Deep. It was one of those games that just comes along at random and appeals to your interests, mine being science fiction. The puzzles in particular offered a stimulating challenge, most being well-clued with creative solutions.

In case you are interested…
If you like the idea of galloping around a failing oceanic research base- especially one with questionable research projects- all (for the most part) by yourself, try A1RL0CK. Chloe, the protagonist, wakes up after an earthquake and gets to go wherever she wants, permitting that there is no locked door in the way. If I recall, the two games were released at around the same time on IFDB and complement each other in certain ways with sci-fi horror themes.

Escape from the Deep also shares similar vibes with The Pool, a Twine game about a marine research center that discarded its ethics for the sake of experimentation. To be frank, The Pool is not a quality game. It’s unpolished. That said, it has some merits, particularly with its distinct atmosphere and sea monster horror movie trope ambience. If you love this aquatic horror genre (a genre I just made up while writing this), The Pool might make a nice excursion.

Your mind blinks into existence: You are an android at FutureBright tech company. Two humans, Dr. Jeongmin Kim and Dr. Jinn Hong, have brought you online for a social experiment. You are going to be making your public debut in… a school.

They want you to learn about what it means to be human.

Gameplay
The game takes place in an international school in South Korea attended by students from different backgrounds and native languages. The gist is that you will spend time with four students in the same class, devoting an entire day to each student. Details about the school are kept to a minimum, but my guess is that the class is about “middle school” aged (the author reminds us that school system structures are not universal).

Gameplay is straightforward. School days are basic but uniquely influenced by the student. This ranges from talkative strolls around the campus to spending time in the cafeteria. You learn about students’ struggles with their lives inside and outside of school. You also see them experience bullying (Spoiler - click to show) (Yeon & David), and you see them causing it (Spoiler - click to show) (Soojin & Sangho). In both cases you develop an understanding of their deeper selves that includes sensitivity, a lack of confidence, and a desire of fitting in. You engage them about their behavior, so they think critically on why they do it and how it harms others.

There are multiple endings, but it feels more like two endings, the second of which comes in several flavors. You can either choose to (Spoiler - click to show) keep participating at the school or to move on with FutureBright’s next experiment. Choosing to move on prompts you to reflect on your experience with the students. What did you learn about being human? Arguably these reflections count as separate endings. You can even request changes in your programming.

Also: I appreciate how the author provides the player with chapter codes so they can revisit their progress rather than having to start over. That makes it easier to explore different outcomes.

Themes
This is the main event. Learning to Be Human is ultimately about bullying and seeks to shine a light on how it can manifest in everyday situations. It also functions as a tool for resolving attitudes that lead to bullying. While bullying can be spontaneous and take one by surprise, so can behavioral solutions. The term “behavior solutions” sounds clinical, but the game puts it into context.

Themes about bullying and social dynamics are partly explored through restrictions placed on the protagonist. A defining element in the gameplay are Laws. At the start of the game, Dr. Jeongmin Kim and Dr. Jinn Hong explain that they programmed you to follow three Laws as follows:
- 1: Do not harm sentient life forms.
- 2: Do not interfere with human development.
- 3: Protect yourself from harm.

The second Law turns out to be a real pain. In ChoiceScript, the player selects choices from a menu. But in Learning to Be Human, some of these choices are greyed out and made unavailable because the choice violates a Law.

"Hey, maybe the rest of you should be nicer to David." [This would be interfering.]
"I'm happy to let David figure out what we do for today."
"I'm happy to go to the cafe with everyone as a group."
"Maybe there's some other way I can play the games?"

In example above, the top choice is greyed out because the player is trying to interfere with an exchange between a student and his classmates. This interference seems benign. The PC just wants David to be heard. But the Law interpreted this as overstepping, leaving the PC unable to promote a more inclusive environment. I thought this was an effective way at showcasing these programmed restrictions in the gameplay. More of these scenes appear in the game that also bring up implications about bullying in today’s world.

The Laws’ influence over the protagonist simulates real challenges about addressing conflict in group situations. Often youth are given simple instructions to merely “stand up if you see someone is being treated unfairly!” A valid lesson, but easier said than done. As we see in Learning to Be Human, bystanders suddenly turn into an intimidating audience. The person initiating the harassment may be higher in social status or have considerable sway over how everyone else views an individual. That’s a common theme in this game, the feeling that you could be more inclusive to [insert name] but worry that it would be at the expensive of your peers’ perception of you.

There are countless variables present in these scenarios that make “standing up” the opposite of an easy task. The game puts the player in the shoes of someone who is presented with these predicaments. While the protagonist’s reason for freezing is because of android programming, it captures the experience of witnessing an icky situation but feeling unable to respond.

On a funky side note, the PC can still entertain dubious ideas. The Laws do not prevent the protagonist from thinking about certain actions, only to prevents them from acting on it. Sometimes these actions feel like suppressed impulses. In more heated scenes, we see "so-and-so punched my friend so I'll punch them back" type of responses are fortunately disabled by the protagonist’s programming.

Hit him back. "How do you like it?" [This would be causing harm.]
"No. I couldn't interfere with that."
"I'm sorry that I couldn't interfere."

In these cases, I do not think the protagonist is seriously considering being violent. For the most part.

"There will be a bloody revolution." [This would be causing harm.]
(To clarify, the PC cannot wage war on classmates.)

Rather, these responses seem like an emotional byproduct of input from their surroundings. Being unable to carry out violent actions is a good thing, but sometimes this prevents the protagonist by standing up for others in nonviolent ways.

Story
In my review’s title I call the game lackluster. I should elaborate.

If you approach this game looking for a sci-fi adventure like I initially did, you may find it dull or underwhelming. All I saw was “android protagonist” and dug in. I confess that I have a habit of zooming through ChoiceScript games to orient myself with its structure before replaying it to focus on the details.

My first impression felt like this: You hang out with Character A. You hang out with Character B. You hang out with Character C. And, finally, you hang out with Character D. Thanks for playing. What a bland story. Now, hold on a moment. I was missing the whole point. What changed for me (and no doubt people will pick up on this sooner than I did) was taking a closer look at the implementation of the game’s main idea in the gameplay.

The game may have sci-fi elements, but its genre is ultimately listed as Educational. As I’ve mentioned, it is about bullying, an important subject. However, Learning to Be Human takes this an extra step further with a solid and consistent gameplay structure to back it up. This makes it easier to absorb its key points.

After slowly and earnestly playing the game with a learning objective in mind, it became more than just “hanging out” with NPCs. Instead, Characters “A,” “B,” “C,” and “D” are Yeon, Soojin, Sangho, and David, and each have extremely earnest and down-to-Earth life experiences that are relatable, and compelling because we view them through a unique vantage point: An android programmed for human interaction.

It becomes meaningful, and I’m not just saying that to be polite. Just don’t expect a wild sci-fi story.

Characters
You, Robot
A cool design feature is how the game subtly allows you to customize yourself when the researchers ask you to describe yourself. When I saw the “I am a human” option (one of seven options, actually) I figured that the researchers would snicker and say, “if you say so, android,” when instead they hand you a mirror so you can assess your appearance. The game then gives you a list of attributes that you describe, such as the colour of your synthetic flesh. If you describe yourself as an android the game assumes that your appearance is that of a standard android. You also choose your name and gender.

Oddly enough, being an android makes you a neutral party, especially as an observer. A common pattern is that students wage war on each other when the adult in the room leaves, only to pretend like nothing happened when a teacher returns. They have no hesitations around you. They are also more likely to listen to you. You are not a parent or stuffy adult giving them a lecture. You have no allegiance to anyone at the school or belong in a clique. You are cool, or at least novel enough to be interesting. Knowing every language doesn’t hurt either. As we see in the game, students are more receptive to your advice. And that feels nice.

NPCs
There are six students, four of which you spend time with, plus a few adults. The game has a nifty bio page for reference that lists name, race, and role for all NPCs.

It's tough because some kids are not as likeable. Ouch. This is where we want to be careful lest we repeat the issues we are trying to address. Let’s put it this way: One of the students is the “main bully” whom you have- correction, you get (they matter too)- to hang out with for an entire day. When he hears about your Law against interfering, he (Spoiler - click to show) pinches a bullied classmate to see if you can do anything about. You can’t. It’s frustrating. And yet, you slowly learn his side of the story and form a connection with him with the understanding that “the bully” only skims the surface of who he is. Simply talking goes a long way. That is where the human element emerges.

Be aware, you get placed in some awkward situations. The biggest challenge is when you have great one-on-one time with one student only to see them harass someone else. (Spoiler - click to show) Yeon, a shy and soft-spoken student, is often the target. Someone might toss out the “b-word” or make derogatory remarks about one’s race. Cultural stigma also appears. The author does a nice job of sitting on a fence between being frank about bullying without making it too extreme for players.

But yes, difficult situations can spring out of nowhere, almost casually. In one case a random student (Spoiler - click to show) calls Yeon fat while standing in the lunch line. There are parts of the game where your android self is thinking, I swear to God if it weren't for these stupid Laws...

Final thoughts
Learning to Be Human is a powerful resource about human interaction, particularly for kids and tweens. It looks at intersections of daily life (schoolwork, language barriers, parental expectations, feeling cool) and how it can fuel bullying behaviors.

The android protagonist has unique freedoms that puts them in the role of observer but is also bound by the Laws that prevents them for standing up for someone being bullied. This highlights the complexities and challenges that come with recognizing bullying, stopping it, and preventing it from happening again.

I think the gameplay has a realistic view about change. You do not waltz into the classroom and convince everyone to be friends. You certainly make a positive impression, but since the game only occurs over four days, there is no way of seeing the long-term effects on students’ behavior and relationships with one another. It does not set major expectations because small changes matter. That, I believe, is where the game will be helpful for real-world people.

The objective is to show ways of initiating a conversation with a peer, making amends in small ways, and understanding how seemingly perfect people likely have hidden struggles of their own. And on that note, the game provides resources about bullying at the end of the gameplay. I encourage you to check out the link to the author’s notes.

The Vanguard is humanity’s first interstellar ship, and it has an emergency. For some reason, the ship is not responding to any Earth-based communication, prompting the dispatch of a team to investigate. You are part of that team.

This was a new experience for me. Not in genre or story, but style of gameplay.

Gameplay
The first portion of the gameplay is about exploring and seeing what bites, starting at the shuttle bay. Soon after, everything is turned upside down when a scenario card is automatically drawn by the game to introduce a scenario that shapes the remainder of the gameplay. As of this review, the game only ever has one scenario, but it is AWESOME.

Essentially, the ship’s original AI is squashed by a malicious, new AI who does not want humans on its ship. It proceeds to use the other machines to hunt down your team. I don’t consider that to be a spoiler since it is the premise of the game, but I will continue discussion on the story later.

Scenario 1 - A Change in Command

Suddenly, a synthetic-sounding voice cries out over the ship speakers. "Hurry, there isn't much time! Another AI has taken over the ship and killed the crew. I cannot hold it back much longer. I have had demolition charges delivered to the Upper Deck Landing. You must destroy the ship before it has a chance to-"

A female voice takes over. "Ah, that's better. Now to get the last of you meatbags off my ship."

Now, that’s a story. Exploring a ship controlled by a computer who wants you gone? Sounds exiting. But the gameplay surprised me. It was something I never really encountered before. Fate of the Vanguard is, to borrow the game’s own words, a board game emulator.

You drew an event card!
Off-Balance: The room lurches around you. Is it in your head, or is the ship really moving?

During the gameplay, the game draws cards and rolls dice automatically for every character as if everyone is sitting at a table playing a real board game. But here, the PC is the only one with an IF player seated in front of a computer. There are player stats for Speed, Strength, Courage, and Knowledge that determine your success with dice rolls.

The game displays the activities of every character, which ends up flooding the screen with text. It’s not too much of an inconvenience but can still be distracting. Besides you, there are three other characters who get “turns” in the gameplay: teammates Erick Rivera and Anne Hartley, and the evil AI who controls five other robots.

--- Enemy's turn ---
Prototype Combat Robot spends time powering up...
Load Carrier Robot moves east to Systems Monitoring.
Delivery Robot moves south to Chemistry Lab.
Analyzer Robot moves east to Galley.
Analyzer Robot moves east to Systems Monitoring.
Surgical Robot moves north to Explosion Site.
Surgical Robot attacks Anne Hartley! Surgical Robot rolls a 4, and Anne Hartley defends with a roll of 4.
The fight is a draw, and no one is damaged.

Except for each character.

You know their movements, what dice they rolled, what card they picked, whether they are battling it out with someone several decks below. I am pleased that the game strives to keep the player engaged and informed, but sometimes this translates in the screen being flooded by discoveries.

After Scenario 1 takes over, you are given a list of objectives to be carried out to win the game. Here’s the secret: (Spoiler - click to show) Have everyone do the work for you.

I’m partly kidding, but there is some truth to it. During my first playthrough, I did NONE of the work. I contributed NOTHING. Now, the objectives for the scenario were to retrieve some explosive charges, place them in target locations, and then escape to blow the Vanguard out of existence. But first time through, I was completely lost with the game mechanics and the endless assault of text filling the screen. Everything was new to me.

For this first playthrough, all I did was run like a maniac throughout the ship without any regard for the events around me because I was busy making my own map. The game has a simple built-in map that expands as you explore, but I wanted to make one out of fun. Plus, it is a great way to familiarize yourself with large layouts. The Vanguard has four decks. I counted 63 rooms total.

Of course, it was only until later that I realized that the game’s map is randomized. And I did all this with the intent of taking the next playthrough seriously. But then:

--- Anne Hartley's turn ---
Anne Hartley is waiting for you in the Shuttle Bay.

She did everything for me! On one hand, yay. On the other hand, the player’s role in the story seems diminished. Is this good or bad? I want to be clear that often Rivera and Hartley are killed off before they carry out the scenario’s parameters. I like how your teammates set an example for what to do, but since your relationship with them is so detached, you are just left there thinking, uh, thanks?

Helpful characters aside, you generally have limited control over the gameplay action. The only concrete choices you make are moving from room to room, picking up and using items (often passively), and arming explosives.

You drew an item card!
Painkillers: Powerful pills for dulling pain.

With the items, all I did was carry them around, although some players may be more skilled at putting them to use. Everything else- dice rolling, card flipping, etc.- was done by the game. And that makes sense since a real board game would also involve randomized action. But a lot of it was chaotic.

Eventually, it became clearer. As I played, the mechanics and objectives had more context, and I could understand what going on. Now, it was fun! There is something inherently fun about a sci-fi interactive fiction game where you run rampage through a spaceship with your friends and/or colleagues. Everyone breaks off and scatters in different directions.

However, I never needed to strategize with many of the creative features that the game has to offer. It comes down to this: (Spoiler - click to show) Zip up the central staircase to the upper level, grab the explosives left behind by the previous AI, and run around until you find five of the eight possible target rooms that you can plant explosives in. I ignored the combat. Ran right past the robots trying to kill me.

Surgical Robot attacks you! Surgical Robot rolls a 3, and you defend with a roll of 3.
The fight is a draw, and no one is damaged.
Surgical Robot waits.

‘Scuse me, just passing by.

Nor did I experiment with the inventory items because I did not need them. Well, I played with them a little since they have cool names like Goo Sprayer and Emergency Teleporter, but I often forgot that they were in my inventory. By now, the gameplay had shifted from extremely confusing to being overly easy.

Easy in the sense that many of the features felt unnecessary. This change felt unbalanced. That might be a possible place for improvement.

Story
We’ve gone over the story already, but let’s explore it a little more.

One thing I had to come to terms with is that the story is structured differently from most interactive fiction games I’ve played. If this game were anything (and no doubt there is much I have yet to experience in the IF world) but a board game simulator, I’d be complaining about how we never get exposition or story content to explain how an evil AI managed to get its mitts on the ship.

We don’t know much about the ship’s mission or the crew. Heck, you cannot even talk to your own teammates. Story scarcity is also present in the setting. I like dissecting my surroundings (and yet there are cases where I miss obvious things, as some of my readers are perfectly aware of) for story morsels.

Thus, I was not a fan of the fact that the rooms in Fate of the Vanguard were featureless- devoid of room descriptions- aside from other moving characters, dropped items, and the occasional dice roll/turn count encounter unique to a particular room.

Incinerator
Before the end of your turn, you may discard an item here with the "discard <item>" command (where <item> would be replaced by the name of the item) to gain 1 Courage.

Destroyed Room is east of Incinerator.

Most locations only had a title and a list of exits. For instance, the location titled “Equipment Lockers” has no lockers to rifle through.

However, if you try the game, you can understand why the story is so scarce. With a board game format where everything is move-by-move, you have no room to be frolicking about the with room description and chatting with the other characters. That’s the whole point. If I did not like it, too bad for me.

The game follows a specific structure that will either be your cup of tea, or you will pass and do something else. I love science fiction, which made the game more appealing to me, but I confess that I was hoping for a more story-intensive game.

Though the board game model is not my first choice, at least I tried something new.

Characters
Erick Rivera and Anne Hartley are your fellow human teammates. There is no story attached to them or dialog. Just stats that appear if you examine them. They move around independently and function like another player even though this is a one-player game. Keeps it simple.

The evil AI that takes over the ship is reminiscent of the malevolent AI in Porpentine's Cyberqueen. It follows the same principle: AI's ship, AI's rules. If humans don't belong, they don’t stand a chance. Although the AI in Fate of the Vanguard is not nearly as terrifying as the one in Cyberqueen.

I was disappointed with the fact the AI did not cackle incessantly at the player during the gameplay as they scurry through the ship. It would have built on the atmosphere that arises when Scenario 1 kicks in. Clearly, it does not want humans on the ship, and I would like to see more of its attitude.

Challenges
I understand that my inexperience with this game’s board game concept probably does not show the game in the best/fairest light, but there are obvious bugs. Some playthroughs were nearly seamless. Some, however, just tangled everything together. I am sharing this with the hope that it provides constructive feedback.

FYI: I played Release 1 of the game if that makes a difference for anyone.
(Spoiler - click to show)
The game had a habit of freezing. Frequently. And would often force me to restart the game when it happened. I would get two types of pop-up windows when this occurred.

One was grey and said, “This page isn’t responding,” and “Fate of the Vanguard – Parchment,” with the options of waiting or closing the page. Sometimes waiting would work, other times the game would freeze permanently. After a few minutes of using the “wait” option, the game showed no change, prompting me to start over by refreshing the page. Could this be a browser issue? My knowledge of this is limited.

Then there was a pop-up window that was white with a red border. It read, "Error: exit not yet implemented" and "Clear autosave and restart.” And I would do just that. If I’m not mistaken, that had to do with Parchment, but would appreciate a second option on that. I’m no expert. This was just something that kept cropping up.

The other bug with be with error messages. Things like, “Fatal programming error: I7 arrays corrupted,” and “Run-time problem P50: Attempt to use list item which does not exist.” I don’t think that’s meant to occur. The fatal one would end the game.

If reading this is starting to scare you away, I suggest this: SAVE the game if you do not want to lose your place. If was forced to start over, I would do so and then restore. Just play the game.

Final thoughts
You know, I had fun with Fate of the Vanguard. Partly because it was a bit of a novelty for me, but also because I was drawn to the story despite being heavily gameplay oriented. I recommend trying the game if you are curious about a board game style of gameplay and/or a fan of science fiction.

As I’ve mentioned already, this game could use further development. Especially with the bugs. I did not see any testing credits or any author statements within the game. Perhaps I am jumping to conclusions, but if this game is meant to be a “prototype” or a basic framework for a larger idea I would say it’s a strong start. Fate of the Vanguard feels finished in the sense that it is playable and can be completed as intended but needs work before it can shine.

I hope it continues to grow. The explore-the-abandoned-spaceship trope is not one that I’ll be growing tired of anytime soon.

Fate of the Vanguard reminded me of Into The Sun, another Inform parser game with the concept of being hunted while exploring an abandoned spaceship. This time, you are a looter who wants to grab as much stuff as possible to sell so you can repair your own ship. Unlike Fate of the Vanguard, it does not follow a board game format, but exploring the ship’s layout draws strong similarities. As is the hoarding of useful items. Both games are worth a shot.

So warm. How lovely.

Welcome to your cabin.
Please, take a look around.

You find yourself in a cozy cabin surrounded by a winter wonderland. It belongs to you, and only you. It can be customized if you should wish. Just don’t mind me.

(wait a minute…)

Gameplay
Despite the surreal dreaminess that pervades the cabin, you can sense that someone is pulling the strings. And for good reason. I think the game's title gives it away, but I'll put it under spoiler tag anyway: (Spoiler - click to show) Your comfy cozy cabin is a simulation. None of it is real!

The gameplay follows an inconspicuous structure. There is a growing list of activities in the cabin for you to choose from. After three, you grow tired and fall asleep, unless you prolong your energy by drinking coffee (a clever little hack).

What would you like to do?

Drink something
Watch the fire
Read a book

Each time (or every other time) you wake up, a new activity is listed. Cozy activities. And. Activities that seem a little… out of context for this serene winter setting. For instance, the first new activity added to the list is "Watch the holoscreen." Huh. Seems a bit out of place. Things get weirder.

You also notice that the narrator has a habit of speaking directly to the protagonist. It is obvious that this entity controls the (Spoiler - click to show) simulation (again, I feel compelled to put that under spoilers), but the player feels powerless at interfering with the narrator’s soothing prattle. However, if there is a will there is a way. You have options.

Is possible to get under reality’s skin. The trigger to underscoring the (Spoiler - click to show) simulation is hard to find, and yet so cleverly hidden that I can hardly complain about its difficulty. I was too busy admiring this innovative way of using Twine’s visual features. Some players may find it too well-hidden, which is understandable, but it worked for me. Creativity like that pleases me in choice-based games.

I absolutely love the idea of a surreal game with unreliable layers of reality. That said, it could use a little more structure in its gameplay. There is no real sense of discovery where you are chugging along and stumble across something that tells you hm, this is different. A game that captures this subtly is The Twine Fishing Simulator. It strings you along but ultimately leaves it up to you when making the big discoveries. In COZY SIMULATION 2999, the narrator directly feeds the reveal to you. In fact, the narrator gives the impression of I’m totally not narrating the story! This is still effective, and even humorous, but much of the mystery is lost in the process.

So. How exciting can a winter wonderland be? Well, the story takes off when you fall asleep.

Story
When you fall asleep, the (Spoiler - click to show) simulation reveals its flimsiness. You have memories of (Spoiler - click to show) running through an industrial complex, being chased by unknown pursuers. Contrary to the safeness of your cabin, these dreams are a world of machinery, corridors, sharp edges, grime, and pain. The opposite of soft rugs and hot chocolate. The best part is when the game swaps out a new set of visuals that are FANTASTIC at conveying this change in tone. I’ll discuss that in the next section. FYI: (Spoiler - click to show) Memories can surface elsewhere in the game, but mostly through sleep sequences. That’s why it is important to explore every feature.

You want the truth? (Spoiler - click to show) After stubbornly refusing the help of the narrator, I realized that reality meant an industrial surgical ward operated by angels reminiscent of a Porpentine game. Turns out the angel- the narrator- attached to your body is the one pumping the simulation through your mind. And it means well, too. It was never, “ha-ha, you’re mine!” It wants to help you (sort of), but you can only live in a simulation for so long. Or maybe you can. The choice is yours.

I don’t know if I could go back to having pillow fights in the cabin while knowing that- I’ve spoiled too much. Please play the game for the full experience. There are three endings, and the author has kindly provided a built-in guide for reaching them. The author also says that neither are good or bad, but I suppose depends on your interpretation of quality of existence. Do you (Spoiler - click to show) want to know the truth and suffer or exist blissfully as external reality falls apart?

For those who have played the game: (Spoiler - click to show) What does everyone think? The narrator does not seem maliciously deceptive, only wanting to conceal the truth. Which I assume is that 2999 is a horrible year to live in. I thought the clementine description was an eerie indicator.

Sweet and juicy. A little remainder of what they once called summer.

Think about it.

There is some vagueness about being reborn. It’s something that appears in all three endings that I assume has to do with the shenanigans going on outside of the simulation. My guess is that the shenanigan in question is to integrate people into a hive mind as painfully and soothingly as possible. I suppose that is one way of being reborn.

Visuals
At first glance, even the game’s appearance oozes coziness.

The tan text is set in an off-white cream text box with a thick tan border. The font is small and delicate, with light tan links. Graphics are included along the text to depict cozy cabin imagery that adds nice polish. Finally, all of this is set against a white backdrop of a snowy tree, blurred enough to minimize distractions while finalizing the appear of a winter landscape.

Imagine my surprise when that changed. (Spoiler - click to show) Once dream-mode kicks in, the entire background goes black with thick dark-grey rounded borders crammed against the edges of the screen. The text is white, and the links are red. If you seek out the truth, some extra background visuals are added. They make you wonder if maybe staying in that warm winter cabin would have been a better idea than look too closely.

This change in atmosphere was perfect. The use of visual elements to signal (Spoiler - click to show) shifts in reality is one of the strongest parts of the game. Visuals have a lot of potential in storytelling, and I am glad that the author tapped into that. Going from a tranquil cabin to a (Spoiler - click to show) dystopian nightmare moment was powerful. That surprise of the screen going (Spoiler - click to show) dark with anxious-looking white and red text replacing the cabin paradise just had the feeling of Whoa. I love that sort of thing in interactive fiction.

The game uses visual effects in other ways to mess with reality. When text tears through the (Spoiler - click to show) simulation, it is shown in different text that makes it clear that you are straying from the program. For instance, consider (Spoiler - click to show) watching the holoscreen.

The new mental rewiring manufactory has reached 300% efficiency levels, according to StrexCo's fourth quarter and fiscal year 2999 financial results—

No, wait. That's not supposed to happen.

Just ignore that. I'm sorry.

Right. Just ignore it.

The first sentence uses a darker, bold text that is a sharp contrast to the rest of the writing. It represents a break from the façade where fragments of the past creep in. Clearly the narrator did not want the protagonist to see this. Naturally, this only makes it more obvious that the narrator is covering up the truth. The bottom two sentences are the standard text associated with cozy cabin land.

Through visuals you can clearly see the tug of war between the (Spoiler - click to show) simulated reality of the cabin and the nightmarish reality of the “outside” world.

Final thoughts
COZY SIMULATION 2999 is a great blend of sci-fi + horror hidden behind a seemingly innocent slice-of-life premise. There is a bit of everything! While I wish we could explore the backstory a little more (what is going on in 2999?), it feels like a complete game with a strong atmosphere and lots to offer.

It is also a strong first interactive fiction game. I know the author expressed in the game that they were not particularly confident with it, but heck, I had fun! Part of it does appeal to my love of sci-fi surrealness, but it really does demonstrate creative thinking while integrating story, gameplay mechanics, and visual design to create a piece that leaves you wanting more. And I want more.

(Note for the author: There is one small bug with the (Spoiler - click to show) holoscreen and the artwork activities. If you watch the holoscreen enough times, you run out of prompts and only see “lovely colours.” Similarly, if you keep making artwork, the option to do so is eventually replaced by “I don't like your art anymore.” I thought this was hilarious. The problem is that these remain unchanging when you start a new game. You can never revisit the interesting holoscreen channels or the cool artwork that you can “create.”)

In prepare for return, you play as an AI stored in an underground facility with the task of making Earth habitable for humans. Following a series of disasters, Earth has become an apocalyptic world unsuitable for human life. Humans have left and will return once Earth is ready to receive them again.

Gameplay
The game begins with you powering on in the year 2851. The system that you are connected to is happy to answer some basic questions about yourself. You were constructed in the late 21st century by two corporations that have since ceased to exist since every human connected to them are either dead or left the planet long ago. It is time for you to carry out your purpose.

Your current hardware base is a Torsion Robotics AI Core, Model AI-05-3845-5000, housed in Room A48 of Reconstruction Facility 05, with six Intel W-39 Computing Clusters in rooms A49 and A50. More detailed information should be readily available to you through your operating system diagnostics.

Your job is to lead Reconstruction Facility 05 in rebuilding Earth, so it is not just habitable but also aesthetically pleasing for humanity. The gameplay is organized into “rounds” where you resolve alerts, modify objectives, and read status reports. After each task has been addressed, you enter sleep mode.

Editing Priorities:

• Prime: Prepare the planet for the Humans' return.
• Purification: Remove elements toxic to humans from the seas.
• Development: Contact any other remaining complexes.
• Biosphere: null
• Legacy: null

The first task is to choose objectives for several parameters, such as how to remove toxins from the environment or what to cultivate in the biosphere. The impact of your choices here is shown in the summary reports provided the next time you wake up. Initially, I thought this would be a simulation game. Not quite.

(Spoiler - click to show) The summary of each "round" is long with rambling paragraphs, though that may be intentional. I opened two windows to compare playthroughs and noticed that each summary was nearly identical to that from another playthrough. My choices appeared to be meaningless. Plus, Facility 05’s resources are being drained rapidly. Things fall apart. After a few rounds, the game ends when the facility runs out of juice and the AI falls asleep for the last time (I think).

Rather than a planet terraforming simulator, it seems that prepare for return instead strives to depict a noble goal with a (Spoiler - click to show) futile future. As advanced as Facility 05 is, there is a looming sense of never being able to reach the ultimate vision of bringing humanity home. The result is gameplay that focuses on ambience and subtle messaging rather than strategy.

Story
The story is a little reminiscent of the film WALL-E. Let the bots do the work so humans can return to a paradise. But unlike the film’s mobile robot protagonist, the AI in prepare for return is just that: an AI core stuck underground. It does not have the luxury of personally exploring the landscape and remnants of human-built structures. Instead, the facility’s drones carry out the exploration while a software program shares the occasional artifact on human history. None of it provides the AI with the depth needed to actually learn about humans. This proves to be a frustration that only compounds.

(The artifacts were interesting to read. They reminded me of decoding DNA files in The Archivist and the Revolution. Especially the Wikipedia citations.)

The trajectory is an unusual one. We typically perceive AI, robotics, and other technologies as constantly changing, upgrading, and finding new ways to defeat the elements. That is not the case here. You may be an advanced AI in a high-tech facility with a game plan, but the Earth is undergoing changes of its own. Changes that you cannot keep up with. Changes that interfere with your objectives. The result is (Spoiler - click to show) coming to terms with failure. As an AI, the only thing you can do is go back to sleep.

Characters
We’ve already been introduced to the protagonist, AI-05-3845-5000, but the character is best explored through the dream sequences. The AI dreams surreal dreams often underscored by human strife. Some are more exciting than others and typically make little sense. But this chaos is what makes it interesting. It gives you a sense of if an AI on a post-apocalyptic Earth were to dream, what would those dreams look like?

In my favorite dream, (Spoiler - click to show) a meeting is held in a cavern where a wise old master addresses a group of pupils. However, the NPCs are all arachnids or amphibians. At first glance, it seems rather comical if not for the underlying meaning about the protagonist and their functionality as an AI.

"Master," croaks the Bright Blue Leaping Toad, "the students are assembled."

In this dream, the protagonist sits among the students and tries to participate in the conversation. The students are given the opportunity to ask questions. Immediately, the students ask about being. But the master says that he is no philosopher, and that they should look for deeper answers elsewhere. Often, he brushes off the students’ questions.

The protagonist then inquiries about what it means to be lonely. The response is that loneliness is a human emotion and incompatible with an AI’s experience as a machine. Physical phenomena unique to one type of being is inaccessible to that of another. For instance, a human could not experience echolocation like a dolphin or whale would. At least, that is the argument.

"You," calls out Bright Blue Leaping Toad, "the living machine in the second row!"

But what about emotions, like loneliness? Surely pain can be felt by most creatures no matter how diverse. Oddly enough, the protagonist is called a “living machine.” If the protagonist is living, could they experience universal sensations? The protagonist tries to engage the NPCs with these ideas but is shrugged off and told that they are too different to understand.

This ultimately fuels the AI’s frustration at being unable to find ways to better understand humans while it works towards making Earth a place that humanity can call home. How do you make a home for a civilization you barely know? Once the facility is (Spoiler - click to show) no longer able to pursue objectives, its alerts are meaningless. The AI becomes someone who always hits the snooze button when their alarm goes off.

The facility’s (Spoiler - click to show) failure only alienates the AI from the planet on which it exists but is never a part of. There is no crushing disappointment about failing human masters. Only exhaustion and, at the end, indifference. Even if they could get out of bed, would they?

Final thoughts
The idea of terraforming planet Earth sounds so exciting, and while prepare for return takes an alternate route with that concept, it pulls off a compelling story from the perspective of someone who was simply (Spoiler - click to show) not given the resources needed to complete a monumental task. That someone is an AI left behind by humans with instructions to ultimately serve them.

I wish the game was a little more drawn out since there are only a few rounds. It would have been nice to have seen the balance between reasonable and more daunting challenges. Human culture, experiences, history, and mannerisms are all something in short supply for our AI protagonist. But the hard science of removing toxins from an environment seem a little more straightforward and in the reach of the facility’s scientific knowhow.

Nonetheless, prepare for return is an excellent choice if you are interested in post-apocalyptic existentialism, particularly one with a non-human perspective. It contemplates the lengths in which technology can go when saving humanity. Especially when humanity isn’t around.

...and found drama instead.

You are BG Jackson, a smuggler in search of valuables. Your next target is an exploration vessel called the Achilles that went missing months ago, and you finally managed to track it down. Signs indicate that it has been abandoned, but experience knows that it is never quite that simple.

Gameplay
Fall of the Achilles features a gameplay structure that I call “free range of movement.” The term is when a Twine game (or other choice-based format) mimics a parser by allowing the player to move throughout a map and interact with items within it at their leisure. In other words, freedom to navigate a space. This game is a perfect example.

It begins upon your arrival at the Achilles. You are in the Corvus, a personal ship run by an AI named Sahil. After docking the two vessels, you explore the abandoned ship while communicating with Sahil. He does everything from friendly reminders to disabling locked doors. The objective is to acquire the code to the massive warp engines aboard the Achilles. Apparently, the code is worth a lot.

The screen is organized so that a list of actions and a list of exits are always neatly displayed on the lower left which enhances the feeling of a parser. You are still clicking on links, but the links are organized to feel like an arsenal of commands that you would otherwise type into a parser game.

—— ACTIONS ——
Look at the bootprints.
Talk to Sahil.
Use your blaster.

——— EXITS ———
North is the Achilles' bridge.
South is your ship, the Corvus.

The room title is listed at the top of the screen while inventory items and health points are shown on the left-side panel. These features create a parser-like Twine game with notable user-friendliness.

Be prepared: There are moments where you must make a judgement call. For example, (Spoiler - click to show) whether to kill Trace so she never poses a threat, or to spare her with the possibility that she will provide help later. I feel that this weighing of the pros and cons is a defining feature of the gameplay.

Puzzles
This game is full of puzzles but not quite a puzzle-fest. I never "needed" a walkthrough (I don't think there is one at this time), but there is enough in-game help to work around parts where I did get stuck. Sahil may not be a fancy AI, but he is quite helpful.

Generally, the puzzles are well-designed with a few exceptions. The puzzles for (Spoiler - click to show) filling the jug* in the mess hall and reaching the console in the warp drive were a bit tedious. You get injured at random and scurry back to the medical bay to heal yourself before trying again. The puzzle in the science lab was cool, though. The goal is to reach the end of the room while the space is influenced by deadly time warping properties. In truth, a mistake only gets you sent back to the front of the room where you started. A reasonably tame “red-light, green-light” game. The warp drive puzzle was a shadow to that.
*But the joke was on me instead: I could have just filled it in my own ship! I did not figure that out until the game lightly suggested that there was an alternate solution.

Also: There was one bug in the gameplay. (Spoiler - click to show) In one case, after I restarted the game, I was able to open the science lab door immediately after defeating Trace. It still had me punch in the password, which I remembered from the previous playthrough, but I don't think that was supposed to happen. I recall only having the password input box appear after you speak with Luisa. A similar thing happened again in another playthrough. Besides that, I did not run into any issues.

Story
About the drama… (Spoiler - click to show) There are two (human) survivors on the ship: Luisa Romero and Elias Zeres. They are on opposite sides of the big controversy that went down on the Achilles months prior. They also control the remaining ship systems. Since the protagonist insists on getting the warp drive code, you must choose to help either Luisa or Elias. Each character functions as a “quest” that shapes the gameplay which adds incentive for replays.

No matter how many questions you ask, there are unknowns about the story. The Achilles was an exploration ship where the crew members lived with their families. (Spoiler - click to show) Upon receiving a strange signal, the ship sent out a probe which came back carrying a strange sphere called the Crux. Everyone on the Achilles split into two factions and- as indicated by the carnage we find- waged war with each other. Embrace the Crux or reject it, those were the sides.

I’m not entirely sure of the dynamics between these two groups. Where did all the violence originate? Dead bodies are everywhere. Were people dragging each other to be thrown into the Crux? Who shot who? We see bodies of Star Patrol officers on the bridge who likely came to investigate. At least we know that they were shot by Trace after she was reprogrammed. The title is Fall of the Achilles. I want more info on the “fall” part. Plus, the ship’s name carries nice symbolism.

Everything accumulates to one key moment: (Spoiler - click to show) Deep in the storage bay, you see a weird probe carrying a sphere, from which voices- people- ask you to join them. There are people in there. Moving closer activates a hologram of someone kneeling before the device only to have their brain lasered in half.

I have to admit, the Crux is not doing a particularly good job at selling itself. Can you trust the voices?

Kneeling before a strange device surrounded by corpses sounds like the most obvious insta-death you-have-lost-in-the-worst-way-possible ending that you just have to be a sucker to fall for… but you'd be surprised……

Someone takes your hand.

......that's all I'm going to say.
(Except that I wish the game gave us long enough to hear what Sahil had to say. I really wanted to hear him finish his sentence. Shame he couldn't come with.)

If anyone is interested in further discussion, see the section after the end of this review.

Endings
Fall of the Achilles does not have endings in the form of "Ending 1," "Ending 2," etc. Rather they are general outcomes underscored with secondary events and objectives. These general outcomes are determined by (Spoiler - click to show) whether you sided with Luisa or Elias, of which there are variations. Secondary parts range from (Spoiler - click to show) your success in acquiring the warp drive codes to whether you depart alone. All of this creates additional incentive for multiple playthroughs, especially since it is enticing to mix and match different outcomes.

Now I don’t mean to be morbid, (Spoiler - click to show) but there is a technicality about the fate of Captain Yamashita that kept bothering me. Her body is in a medical capsule designed to heal the patient inside. By default, the end of the game says, “You failed to (mercifully) end Captain Yamashita's life.”

She’s already dead. The medical console reports that "The patient's prognosis is terminal. Brain functions have been inactive for 63 days and are unrecoverable." Sahil summarizes this as brain dead. And therefore, incompatible for the Crux. The capsule is trying to heal a corpse. Opening the capsule to reveal her body (it is not graphic, just sad) is the equivalent to giving her a merciful death, but that seems to have occurred before we even arrive on the ship. A little more explanation would add clarity to this scenario.

Writing
I want to quickly acknowledge the writing. Fall of the Achilles is not an eloquent masterpiece, but it has the occasional descriptiveness that enriches the gameplay. My favorite was when (Spoiler - click to show) you are searching the captain’s quarters for a DNA sample.

A quick search seems to turn up nothing—until you find an oiled wooden brush with large, thick tines like a comb’s. A long strand of black hair weaves through it like the solution to a maze.

It’s not, “oh, you found a brush with a strand of hair in it. DNA.” Instead, the captain’s quarters are personalized and goes the extra mile to make the action more meaningful.

Finally, the genre is science fiction, but there are horror elements that come to life partly thanks to the writing. Arguably, the biggest horror moment is (Spoiler - click to show) the cramped (at least in my mind, it is a cramped space) storage bay. It contains stacks of bodies and a weird object. Everything reeks of death. It's probably really hot in there, I imagine. See how easy it is to visualize this scene? "Stacks of bodies" may not impress you, but this scene was genuinely creepy. There's gore in this game, but mild gore that occasionally turns it up a notch for scenes like this. It always felt like there was thought put into it.

Characters
The game is not crawling with NPCs, but there are some interesting ones. Let’s explore a few.

Sahil
Sahil feels like a concrete NPC, although the game keeps his personality mostly neutral. What I love about his character is the convenience he provides for solving puzzles. Some form, a lot of function. He speaks up when something is worth noting and automatically incorporates bits of accumulated info from the gameplay into his explanations. It’s like having a polite notetaker following you around.

The AI’s assistance is streamlined and avoids feeling like, “talk to me for a hint!” I value games that use that approach, I really do, but I sometimes feel like the character is judging me a little when I ask for the answers. Sahil tells me what I need to know without making me feel lame. (But truthfully, I am thankful when authors incorporate in-game hint systems.)

Trace
Our first main obstacle in the gameplay is when we tangle with an android named Trace. She is referred to as the "universe's only sentient android.” That surprised me.

Sahil seems sentient. He may be a ship AI, but I feel like an AI could be dumped into an android body, or something to that extent. If the game's world possesses sentient AI technology, I'd think that sentient androids would be more common. I am drawing broad conclusions, but that leads to my next point: I wish there were a little more worldbuilding, particularly with the story’s technology.

I especially want to know more about Trace’s backstory as a sentient android. It is brief. (Spoiler - click to show) Trace was created by the “Sisters of Infinity,” a group of exiled scientists whom she refers to as her “mothers.” Cool! I’d love to explore that character feature. She is also a member of the *Interstellar Patrol with superhuman abilities for combat. We get a glimpse of that firsthand.

When you first try to access the main deck, Trace stands in your way in battle mode. There are two solutions. If you want to skip the frequency puzzle, you can just battle it out. However, the combat mechanics could be a little tighter. It follows a rock-paper-scissors style of combat where you choose between shooting, activating a force shield, or using a physical attack while managing health points. That was cool.

The issue was with trying to gain an advantage. She has more health points than you, although you have the option of sneaking off mid-combat to heal yourself in your ship before running back to resume the fight. That felt comical, and Trace was really testing my rock-paper-scissors abilities. Fight a few turns, run to the bridge, run to my ship, heal, run all the way back. She’s literally standing there saying, “do you want to resume this fight?” She can do this all day long. And she knows it.

I only did this approach to see what outcome it would lead to. I learned this: stick with the frequency puzzle. It'll take her out the same way. Then, you can decide whether to kill her. I don’t see a reason not to spare her, but you will have to see why. Even though the combat was not a highlight of this gameplay, it is always interesting to see how authors implement combat into the Twine format.

(*Just what is the extent of humanity’s space-faring capabilities and technological advances? For instance, the “Interstellar Patrol” implies that humanity has branched out of our solar system. When the game uses phrases akin to “bring the Crux back to human civilization,” I think of Earth. A few extra sentences for context would be welcome.)

Anyway, this section was longer than I planned.

Visuals
In a nutshell: Ergonomic, standard issue visuals that consist of a black background, white text, and blue links. But slightly different from the “default” Twine appearance of black background, white text, and blue links. I hope readers know which style I am talking about.

It is a super simple look that functions just fine. I want to make a special note about the text which is always well organized. That may seem like a trivial detail, but when text placement is a mess, that’s all you notice. Fortunately, that’s not an issue here. If anything, it sets a good example for text organization in Twine when you have a moderate word count.

The only flair is the helpful map on the panel at the left side of the screen. It’s a nice reference point.

Final thoughts
In conclusion, Fall of the Achilles is a potent sci-fi experience about a smuggler who found more than they bargained for. The trope of wandering a spaceship after it was purged of life from an incident is common but never one that grows old for me. I have a feeling that fans of the genre will feel the same way. It’s not perfect, but it is certainly a polished and high-quality piece worth playing multiple times.

I approach it partly as an example of the flexibility of Twine to create parser inspired gameplay even though it is ultimately a choice-based experience. If there are any readers skeptical about Twine’s potential with sci-fi adventures, consider Fall of the Achilles.

If you like the theme of exploring a lost and seemingly lifeless spaceship with a story wrapped around the ethics of mind-blowing technology in the hands of humanity, consider Reclamation. It's an Adventuron game where your task (as a corporate employee, not a smuggler) is to investigate a research vessel that went missing amid a vital experiment. You even get your own AI although he is definitely a different character from Sahil.

Discussion corner
(Spoiler - click to show) Time to bring out the big question: The game assumes that the death and violence aboard the Achilles will only spread if Luisa brings the Crux to humanity. Would that happen?

It's not the Crux itself that is dangerous (unless you kneel in front of it, of course). It just sits there. It's not a weapon. What caused all those deaths were the fighting between people about what to do with it. Ideally, if you had it in a nice little area in a garden where people could join if they wanted to or otherwise carry on with their day, things would be fine. But the likelihood of that occurring- if the ship is any indicator- would probably be miniscule. Plus, Luisa does not field this subject well.

Captain Tomomi Yamashita authorized Elias to be the acting captain if something were to happen to everyone in command. Her final instructions are for him to make sure that the Crux never reaches human civilization. Meanwhile, Luisa managed to weasel her way into becoming the acting captain instead, forcing Elias to camp out in the corner of the ship. She also (poorly) preprogrammed Trace against her will. It is kind of established that Luisa is the “villain” in the game. But does that sentiment apply to the Crux as well? Does it bias the player? There is no easy answer.

On a brief side note as I wrap this up: One of the voices coming from the Crux is Elias’ parents wanting you to tell Elias that they want him to join them. It’s painful. I really, really, really wish the player could do that. He probably would not agree, but that’s understandable. When you go back up through the morgue, Elias is waiting in the medical bay. I just wish there were a way of saying, “your parents asked for you, specifically,” and then leave it up to him. Oddly enough, if you join the Crux instead, you have no way of talking to Elias’ mother about him even though she is your tour guide for the rest of the game.

Thank you for reading!

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.

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.

Overrun is a cyberpunk hacking game set in 2050. Nearly two decades prior, a virus known as the Crash Virus wiped out the internet and every database, toppling governments and nations which would be replaced by corporations. To investigate the virus, computer experts turned to an experimental brain-computer interface called a cyberdeck that allows the human mind to enter the digital world. Eventually, the Crash Virus was destroyed, though not without killing some cyberdeck users in the process.

You were one of the experts who helped in destroying the Crash Virus and are now employed at the corporation Renraku Arcology as a programmer and corporate decker. One day, your System Identification Number (SIN)- akin to a Social Security number- is erased. You have no memory as to why, only that without a SIM, you no longer exist in society. To find answers, you turn to your cyberdeck.

Background
Janos Biro originally wrote and released this game in Portuguese but later posted an English version, both of which are available on IFDB. If it isn’t obvious, I played the latter. Overrun is based off a tabletop RPG game called Shadowrun, which details the discovery of magic in conjunction with pre-existing cybernetic technology. A quick glance at Wikipedia reveals similar themes and features in both pieces, particularly dystopian corporate undertones. The game also explains that Biro created a 1996 version of Overrun in QBASIC. It is cool when authors decide to revisit their previous works.

Gameplay
I was not expecting such a complex and immersive game when I sat down to play this. I figured it would be a familiar cyberpunk Twine game about defying corporations with gameplay where you are presented with three to four choices at a time to influence a storyline. While those games are also fun, Overrun brings something new to the table. It's a hacking game, or at least a "hacking" game, but one that makes you feel like a pro at computer hacking wizardry even though you fully know that you are just messing around on a Twine game.

Everything is centered around completing missions where you hack into systems to either find files, disable system functions, or shutdown the entire server. Completing missions rewards you with experience points, and payments from jobs allow you to upgrade utilities that give you extra skills in the field. You can also sell files for extra income.

Hacking is an interesting experience in Overrun. The server is represented with an in-game map depicting corridors and system nodes, within which are your avatar and icons representing IC programs that patrol for intruders. You move in up/down/left/right directions, either by clicking the screen or using your keyboard. Next to the map is a list of your utilities and your stat resources. Spending memory on your utilities gives you an edge of overcoming challenges. Just be careful not to set off any alarms.

It really feels like you are hacking into the "mainframe." That sounds cringy, but it is true. There is a somewhat steep learning curve. I was clicking things at random for a while but eventually I got the hang of all the RPG functions and features. Everything was rather easy after that. Maybe even too easy, but I have no complaints. Strategy is still required and provides a meaningful gameplay experience. This is what the menu of your cyberdeck looks like:

>>>Shadowland
>>>Hacker Shop
>>>Hacker Board
>>>Hacker Bar
>>>Fixer
>>>Hosts
>>>Simulation

[Decker] [Files] [Mission]
[Saves] [Options] [Help] [Quit]

And that's not including the extensive stats at the bottom of the page. In retrospect, all this feels straightforward, but nonetheless left me overwhelmed when I first found the game. There is a learning curve that may compel players to quit before reaching that moment when you finally feel like you are making progress. For me, it was using the utilities in combat.

Mirror failed!
Pyro is containing you!
Mirror failed!
Pyro caused 8 damage to you.
Mirror failed!

The more you upgrade your utilities the more effective they are in the field. However, they start out as being in effective and flimsy until they are upgraded. Spending 6 memory on a mirror function that did not even work (see above) was frustrating, but it was all part of the learning curve. Stick with it, especially if you like RPG games.

To advance the story, you must build a rapport with the hackers in the Hacker Bar. They give you tasks and odd jobs in exchange for information or leads on your situation. The more they trust you the more exciting the quests. Later, there is a (Spoiler - click to show) big boss fight where you recruit almost all the hacker NPCs to hunt down a character who refers to herself as Alice in Wonderland. That one is a lot of fun.

My main complaint is a need for organizing ongoing objectives. There is the “Mission” section that lists active missions from the Hacker Board, but it does not include special tasks taken on from the other hackers. The annotation section in your files similarly lists the tasks you’ve completed, but not the ones currently in progress. While the hosts are automatically listed in your cyberdeck, you must remember who requested what which can be confusing if you have taken on multiple tasks. An objectives page would have been helpful.

Story
For those interested in worldbuilding, Overrun is a great example. There is an info section called Shadowland that provides more than enough story context. More than most people would care to read, although I far prefer having too much over too little. I appreciate the author’s thoughtfulness in providing in-depth exposition for the player.

Time to dive into some (major) spoilers. (Spoiler - click to show) Turns out your SIN was erased because your physical body died. How is this possible? Well, it appears that the human brain can make a digital copy of itself as a last measure of defense when the physical body is on the brink of being killed. The person lives on as a program in their own cyberdeck, sometimes not realizing what had happened, as is the case for the protagonist. This raises all sorts of interesting implications of what it means to be a former human and a sentient being in the non-physical world.

This game does leave you with murky, answered questions. (Spoiler - click to show) There is some ambiguity about Project Morgan and why Renraku decided to terminate you as their employee. As part of your job, you were testing Morgan's program, but somehow was deemed a threat to the corporation. An “accident” was faked to cover for your death when in truth Renraku hired some shadowrunners to do the dirty work by ensuring that you were killed while hooked up to your cyberdeck. Ironically, two of those shadowrunners turn out to be at the Hacker Bar. If you ask the right questions, Morgan will tell you about this. I recommend saving before you talk to Morgan in the Hacker Bar because some dialog options only appear once.

While technically the erasure of your SIN means you are free from the influence of governments or corporations, you are still confined with the limitations of your cyberdeck program. Morgan and Jerusalem ramble about the Resonance and its path towards freedom but the game never provides any answers. The player is not free their program whereas Morgan apparently is, and she makes it sound so easy. Morgan is extremely confident that the player can be free, but ultimately the player pays dearly for thinking that. I will discuss this in the next section about endings.

Thoughts on genre
I have never been a huge fan of the sci-fi fantasy genre. I like sci-fi 110%. I apologize if that makes me one-dimensional. I still like trying the genre's games because you never know if you will find something that does resonate with you. For example, I am a huge fan of Skybreak! It is made with ADRIFT and balances the two genres perfectly. Overrun does a decent job in combining the two genres, and I liked the emphasis on science fiction over magic while still staying true to its fantasy elements. Still, it took some time to get used to it. The last thing I think of when I see the year 5050 are dragons or magic, especially when cyberpunk themes are involved.

It occurred to me that the hacking sequences feel reminiscent of a dungeon crawl puzzle where you have a map with opponents. Play is move by move. Instead of ogres and looters you have anti-malware sentries roaming for you. Instead of a chest of gold you get classified files. From the other side of the room if you saw the game's map you would probably assume that you were looking at a dungeon map.

Endings
The major downside to Overrun is a lack of commitment to the endings. The endgame involves hacking into a server to talk to a digital program named Mirage who was tasked with helping computer experts overcome the Crash Virus. After some dialog, Mirage offers some intriguing solutions on how to end the game. Unfortunately, the execution of these endings is flimsy, leaving the player with few substantial options to conclude the lengthy gameplay.

I like to avoid dissecting every ending in my reviews to keep from spoiling everything but sometimes I simply want to discuss these outcomes, especially if I feel strongly about them. So here you go: A guide about the endings. I will stick it all under one big spoiler tag. Please avoid this section if you have not played the game yet. (Spoiler - click to show)

>>>I want to have a body.
>>>I want to cease to exist.
>>>I want to be free.
>>>I think I have enough, I don't need the Resonance.

The first three are the only ones that have endings that actually end the game. The fourth option just sends you back to your cyberdeck menu.

>>>I want to have a body.
The outcome I was looking for. It feels like the PC was not finished living when Renraku had them terminated. Why not seek a second chance? Mirage tells use to look for a person named Thomas Roxborough. But when you ask Jerusalem about finding Roxborough he says, "His research will only increase the power of megacorporations over people and the Matrix," and refuses to help you. That’s ominous. When finally find Roxborough he offers you to join the Brainscan project which seeks to build synthetic bodies for individuals who have lost their body. Then the game ends. I was hoping to see the implications of this decision.

>>>I want to cease to exist.
This results in a generic “You died” ending. Well, we did ask for it, didn’t we?

>>>I want to be free.
So, this one is a zinger. Turns out you cannot be free. I still do not quite understand what Mirage means by this; it seems like we can never get more than a cryptic explanation from anyone about your situation. But by making this request we are told that are story will end once we leave the server. Whether this means death is unclear, only that the game ends immediately after. This was a potent ending that bites the player out of nowhere, but it is also a bit disappointing since Morgan, Dodger, and the other characters are flouncing around explaining that you can be free! Free from your program! All you need is the Resonance!!! I still don’t understand what the Resonance is.

Oh well. The most answers you find, the more questions remain unanswered.

Characters
The Hacker Bar is full of interesting hacker NPCs with names like Misfill, Skinpact, and Dodger. They come from different backgrounds and have their own specialties. Not all of them can be found in the Hacker Bar when you first visit. Some show up later in the game as you build a reputation for yourself which was a nice change in pace.

Both Skinpact and Crapper will (Spoiler - click to show) challenge you to a cyberduel, but I was surprised at how easy it was to defeat them. I spent a lot of time practicing with the simulation feature and building up my utilities, only to crush my opponents after a few moves. It seems like battle is mostly reserved for system ICs.

Visuals
The game uses visual effects to emulate a familiar “computer” atmosphere, particularly with thick green glowing text against a black screen. Its careful selection of font also adds to this look. It does use some scrolling text, mostly with character conversation, which was tedious but otherwise used infrequently enough to avoid dragging the player down. I liked how the game used flashing, urgent text for when you trigger an active alert while sneaking through a server.

Fun graphics are also included. Beside the server maps, the characters in the Hacker Bar each have their own character portrait, and the start of the game features imagery as it provides an overview on the history behind the story. The game even includes corporate logos for the files on corporations in the Shadowland module. That was a nice bit of atmosphere.

Final thoughts
I highly recommend this game to anyone interested in hacking themes in interactive fiction and/or if you are a fan of the Shadowrun universe. Fans of cyberpunk may also enjoy this, but it seems to cater to a specific audience. Not everyone will be interested in this game but those who are will probably be immersed by what it has to offer. It is especially fun if you are looking for a long RPG Twine game with stats and strategized combat. Overrun is ultimately a cyberpunk adventure with a strong foundation.

There’s some explaining I should do first.

Clicking the “Web Site" link brought me to a website that had a link saying “Play” in the middle of the screen. This resulted in a cool cyberpunk ten-second-long video before launching into the game. And then…

And then, I was suddenly looking at a screen with the phrase “THIS CONTENT IS NOT AVAILABLE” plastered in large text smack in the center. There were even animated confetti bouncing around as if someone were throwing it at my screen. Thing is, the gameplay’s text appeared in the background, and I could see read it if I zoomed out or scrolled around. “THIS CONTENT IS NOT AVAILABLE” was not going to stop me from playing. I hope there is no trouble with that.

One more thing:
Ainimus is in French. I do not speak French. I auto-translate with my browser window, and since that is shaky at best, I take the writing with a grain of salt. A similar thing occurred with Night City 2020, another sci-fi Twine game in French that I also reviewed after playing it with auto-translate. I wanted to review it but was also worried that readers would find it bizarre. No one expressed any concerns, so I am going to charge ahead with Ainimus. If you have a problem with it, please tell me.

Gameplay
Your childhood friend needs help writing a thesis on marine biology. That’s the main storyline. He does not have enough time for work and his thesis. Thus, he turns to you for help.

You can help him out or pass, which ends the game. Choosing to help him gives you some options that boil down to helping him financially, helping him by writing passages (which uncomfortably edges into the realm of plagiarism) despite your lack of knowledge on marine biology, or suggest AI to pick up the slack. The first two are easy enough wins but neglect to incorporate the game’s themes into these sparsely written paths. You might as well skip them and go for the main event: Using AI.

Note: When I was mapping out the choice branches, be aware that certain choices result in a long error message that replaces the gameplay.

Story + Characters
Story
Using AI means telling your friend that you will write portions of the thesis on his behalf (plagiarism?) whereas the AI option involves using an AI to write the passages and then saying that you wrote them instead. (Spoiler - click to show) Later, your friend runs into legal issues and is accused of plagiarizing an AI. Now we’re going somewhere- wait, the end? Yes, the game ends without pursuing the story. It ends just as the party gets started (yes, I associated that with the confetti flying everywhere).

You can choose to admit or deny your use of AI, but both options results in an immediate ending with no follow up on the story’s outcome. In fact, it barely feels like an ending. What kind of (Spoiler - click to show) legal action does your friend face? How has access to AI changed for the everyday consumer? What sort of AI rights, if any, are factored into legal proceedings? What regulations were in place when your friend was (Spoiler - click to show) accused of plagiarizing a non-human (which is an ethical argument in itself) entity?

Characters
According to the game’s description, “you play Peter Smithee, a renowned developer who participated in the rapid democratization of the automation of many tasks and professions.” I would have loved to know more about the PC’s work with democratization AI technology. What would that work look like?

In the game’s world, society has a strong pro-regulation attitude towards AI following its advanced integration into daily life. Using AI is typically frowned upon in the workplace. It struck me as odd that the protagonist would casually throw AI at his (I assume the PC is male) friend’s problem. Without additional context behind his decision making, this choice seems out of character and does not offer further insights on the implications of applying AI to everyday challenges. The game could have gone somewhere with Peter Smithee (that’s how his name is spelled in both French and English translations) but failed to develop these ideas.

Themes
I want to look at the main objectives of Ainimus which are listed at the start of the game:

You will be faced with several dilemmas on different philosophical themes.

With each story choices will be offered to you, you will vote for the solution you find most relevant.

At the end of the game you will be able to debate around the topics addressed and continue your discussions thanks to quotes.

Are these objectives successful? Yes and no.

1: It feels like there is only one major dilemma, which is to help your friend. The philosophical themes are focused on whether you decide to use AI. I was expecting it to cover a broader scope of ethics but at least identifies some societal views of AI in everyday settings.

2: In terms of relevance, there is the only path that remotely touches the themes about AI. The player is not presented with several choices about the ethics of technology. It is pretty clear at which path you are supposed to follow to explore the game’s core ideas. Again, not as comprehensive as I expected but still relevant.

3: This one was not successful, or at least not successful in this version of the game. The discussion at the end is a cluttered list of quotes without any supporting content. It does list some titles to check out but offers no additional commentary other than an unorganized list of quotes and blurbs pasted together at the end of the game.

While the game only mildly entertains its philosophical themes, they are still included and worth a mention. There were two main themes that stood out while I combed through the gameplay.

The first theme considers the balance between robotics for human convenience and robotics as a force behind unemployment. An argument* is that robotics can perform everyday functions to free up our time for other pursuits, often leisure. The flip side is that these “everyday functions” may have once been human jobs that are no longer available. This is an extremely simplified argument that overlooks countless factors needed to fully comprehend this issue, but it still rings true with concerns we have today.

The second theme looks at the unforeseen impacts of regular implementation of robotics in modern daily life, especially since these technologies only seem to grow more sophisticated. If robotics is everywhere, and shows no sign of stopping, what means should we have to manage it? I was hoping that the game would dive into this, but there is no mention of any specific law or regulation in the game’s story. Your friend is accused of fraud and that’s about it.

*Check out Choice of Robots. It is one of the more popular commercial ChoiceScript games out there. I have not played the entire thing, but I can tell you that the first few (free) chapters introduce some interesting points in the dialog. Design a robot and reveal it to the world.

Visuals
For the visuals, I am not going to consider the ALL-CAPS message and the animated confetti in my assessment because I assume that is not what the game is meant to look like. I do love the cover art with its white background and green text artfully designed to form the word “AI.” If anything, that was the best part.

Besides the big message and the confetti, that game keeps it simple with white text against a black screen. There is scrolling text, but it’s fast enough to avoid taxing the player’s attention span. The screen includes the button you can click if you want the text to appear in one go. I appreciated having that option. Buttons are glowing dark green rectangles that add a subtle cyberpunk look.

Grammar? Spelling? I’m not even going to try. I used dodgy auto-translate French-to-English (I feel so lame saying that) so any errors were all me. Game gets a free pass there. Plus, some meanings were likely lost in translation.

Final thoughts
For the record, I tried digging around in the source code (posted on Github. I looked at it AFTER I played the game a few times). This was not me trying to figure out to “win.” Rather, I was trying see if there were any explanations for the ALL-CAPS message. Either the source code is poorly organized, or I stumbled about wildly as I searched without really knowing what to look for. Probably the latter.

In a nutshell, its concept has potential but the physical game needs work before it can count as a finished piece. I feel like this game deserves two stars. As an interactive piece it is poorly designed and almost unplayable. But it attempts to start a discussion which is worth a second star.

Now, something tells me that I did not play the full game as the authors intended. Any game with the words “THIS CONTENT IS NOT AVAILABLE” running the entire time is probably not reflective of the “actual” game. Because of this, I will not include this rating in the game’s average.

Also: You can draw parallels between the game’s ideas and real-world developments. NPR (I am not affiliated with them) has some interesting articles on its website. Consider:
-Has AI reached the point where a software program can do better work than you?
-A new AI chatbot might do your homework for you. But it's still not an A+ student

Everyone is on edge aboard the CSS Jonas Salk, a spaceship tasked with astrobiology research to acquire alien life forms and substances to be used in pharmaceuticals on Earth. But the most recent mission has brought some troubling developments. Weird bruises have appeared on the crew’s bodies and, well, two already killed each other in a (Spoiler - click to show) cannibalistic outrage. By the way, you are the captain. Soon, that will mean little.

Gameplay
This is one of those gameplay stories where an infectious agent appears in a closed off area filled with people (ex. spaceship smack in the middle of deep space). The game begins by an inner airlock door where you and two crew members are observing the carnage through the airlock window- no, the SmartGlass* airlock window. You do not have many choices beyond calling for a meeting of all surviving crew. *Corporate (fictional) product placement! Hey, it’s a reoccurring theme in this game.

Gameplay is linear with some flexibility. A notable choice is when deciding to what to grab from your locker. It will be important for resolving (or maybe I should say “resolving” since teamwork has pretty much gone out the window) crew tensions during the meeting.

You hold up the crew manual. Everyone falls silent at the sight of this mystic totem.
(Surely this will work)

The crew rushes you from all sides.
(Tip: (Spoiler - click to show) Pick the gun instead.)

Later, choices boil down to two or three options at a time with fight or flight decision making. Do I try to reason with this crew member who is (Spoiler - click to show) eating his friend, or do I run for it?

A clever design feature for these choices were timed pages that kick in if the player takes too long to respond. The outcome is not favorable. It’s not obvious which ones are timed, and they last for about ten seconds, a reasonable length. Indecisive? This will catch you off-guard, contributing to the chaotic ambience in the gameplay. The message: Stop dawdling while the infection eats through your crew.

Story
There is gore in this story. Not exactly One Eye Open (a personal favorite of mine) gore, but still gore. The gist is that the expedition’s recent target was a planet inhabited by primate-like alien creatures that were deemed perfect for science. The only catch is that the creatures (Spoiler - click to show) were all torn up and mangled. The crew assumed it was a territorial dispute, not some highly infectious pathogen that causes life forms to turn on each other. Needless to say, everyone gets infected, or at least exposed to the infection.

This is where moral decisions come into play: Are you going to return to Earth and risk infecting the planet with, essentially, a (Spoiler - click to show) zombie-like disease? Or are you going to land on a nearby planet and use its resources to address the problem first? Neither are ideal, but the crew 110% wants to return to Earth and deal with it there whereas the protagonist seems inclined to take a cautious route. Sadly, (Spoiler - click to show) the crew is willing to kill to get their way.

There are multiple endings, some of which go on longer that you anticipate which was a nice surprise. You will find some unexpected outcomes that encourage multiple playthroughs.

Characters
The weaker part of The Virulence Protocol is, oddly enough, the characters. I don’t mean their change into (Spoiler - click to show) cannibalistic rebels. Instead, their motivations for contradicting the player’s orders seem inconsistent. If anything, only the protagonist has their head on straight, even though they too show signs of the infection.

Everyone wants to go back to Earth to be home again (predominantly for medical care), but there is a segment where their demeanors change to embrace the corporate themes underlying the game. The whole mission is backed by corporations seeking to harvest resources for commodities. This is subtly conveyed through descriptive writing. But its brief manifestation among the crew was awkward.

For a brief moment all the NPCs care about is profit and making money, not whether their infection is going to spread in their bodies and kill them. At the start of the game some characters have distinct personas. It makes sense that they would all succumb to (Spoiler - click to show) zombie-like symptoms from the infection, but I feel like the game dissolves the NPCs’ individual identities for a single scene.

“The only thing we got to protect is our pay day! The gig is to find some alien plant or monkey with mojo that can be turned into medicine with serious worth!”

Next thing you know, it’s all about biolabs and seeing Earth again. There could have been a smoother transition here.

Visuals
Game uses a default Twine appearance that many players will recognize. Black screen, easy to read white text, blue links that turn purple when you click on them. The game will occasionally throw around different text colours paired with blinking or delayed text effects. A few spelling/dialog formatting issues but otherwise this game feels like a finished piece.

Final thoughts
It’s not the best plague-on-a-spaceship game I’ve played but it was certainly intriguing enough to play for several rounds. While characters were meekly implemented, it has its strengths. The horror element was especially well done because it takes an already precarious situation and slowly unfolds it to reveal a horrendous truth about the botched mission: The crew has discovered an infection that turns people into aggressive (Spoiler - click to show) sort-of zombies.

It’s a story where humanity found more than what it bargained for, and The Virulence Protocol conveys that idea with great enthusiasm.

You play as Rovie, a rover on a research vessel called the Curious Kitty. Daphne, the onboard AI, activates you to explain that the ship has crashed landed on the mission’s destination, planet Zephyria. Your task is to explore the landscape and gather research while Daphne repairs the ship.

Gameplay
Plasmorphosis allows the player to roam the planet freely like a parser game. It even maps the area with compass directions. This pairs well with the game’s theme of exploration. Between the Curious Kitty and the planet’s surface, there’s about a dozen rooms. Your goal: Study the planet.

You make progress by collecting research points with your scanner. The scanner can be used on lifeforms or alien objects/artifacts, such as carvings. To complete the game, you must accumulate at least 100 points. However, the planet does not have enough material to meet this quota. The player is required to get creative with the local ecosystem.

The planet is crawling with simple organisms called Zephyrian Protoplasm. Blobs… with shapeshifting properties. These critters transform when you touch them with different objects. For example, if you toss a (Spoiler - click to show) chunk of heat shielding at a Protoplasm, it turns into an *Oven-Safe Slime. Transformations come with unique properties that help you overcome obstacles. (Spoiler - click to show) The Oven-Safe Slime allows you to walk across the river of lava. Experimenting with different objects and properties is the main mechanic in Plasmorphosis. (*I kept expecting this to be Oven-Safe Slime™)

Gameplay relies on an inventory system. At the bottom of the screen is a drop-down (well, technically it is “drop-up”) menu of your inventory items. When an item is selected, it is applied to anything you examine. I wish the game would let you examine items in your inventory, but it’s not essential. There is also a database that keeps track of your research points and log entries for scanned items.

You can complete your mission and end the game after making 100 research points, but the game eagerly encourages you to continue investigating the planet for science. My final score was (Spoiler - click to show) 160/100 with 23 database entries. I believe that is the max. It was fun, finding ways to (Spoiler - click to show) enter inhospitable areas using random objects on Protoplasm.

Not all of it is seamless. There was a bug that kept me from starting over with reset progress even after I wiped my save files/autosave file. I had to do some backtracking to fully restart (author has now fixed this issue). Occasionally, character scenes were repeated. But nothing that really dulls the experience.

Story
This is not a story intensive game. The only backstory is that the mission is backed by Star Research Co. There is a feeling of the Company breathing down your neck about meeting your research quotas. Either that or Daphne is being overly dramatic. It’s hard to tell. I suppose there are some undertones about resource exploitation. For each entry the database lists ways the subject can be used for industry, including pharmaceuticals, robotics, textiles- I’m reading too much into this.

The mission is also about understanding the sentient life that once lived on the planet: Zephyrians (not to be confused with Zephyrian Protoplasm). Zephyrians were (Spoiler - click to show) insectoid creatures that once inhabited the city ruins. They were skilled in the arts and sciences, and different parts of their history can be observed throughout the game. You can figure out what happened to them by checking it out. There is no major story or plot twist, but it is quite interesting.

This game really makes you feel like an anthropologist. Or is the proper word xenoanthropologist?

Characters
There are only two characters (unless you count the Protoplasm) in this game: Rovie (you) and Daphne. The character quirk of the protagonist is that they do not speak in English, leaving it up to Daphne to translate everything for the player. This led to some charming exchanges.

“Great, you found it!” cheers Daphne.
“Beep?” you ask suspiciously.
“Oh, I'm just accessing your optical sensors,” the AI explains gleefully.

Characters certainly have their own personalities. I thought it was (Spoiler - click to show) humorous how the game briefly tricks the player into thinking that Daphne left the planet without them returning to the ship. It was a nice diversion in the gameplay.

Visuals
I would describe the visuals as a simple user-friendly design with a splash of colour. I especially liked the font and text colours for the title screen. Generally, the screen is black with white text. Room titles shown in orange. Links are conveniently colour-coded. Blue for exits, green for objects/scenery. Pop-up boxes are used to explain outcomes of an action, or dialog. Basic enough.

Final thoughts
The author has made multiple high-quality Twine games, and Plasmorphosis is no exception. It’s fun and upbeat with well-implemented puzzles that provide a challenge. It kept me busy for at least an hour.

I would not consider this to be a “kid’s game,” but its lighthearted content (dinosaur gummies, friendly AI- well, anyone can love this) can appeal to younger audiences who are familiarized with more technical Twine puzzles. I mean, there’s a ship called the Curious Kitty. That can leave an impression about the target audience. So, sure. Call it a kid’s game if you want. But if you enjoy Twine science fiction, give it a try.

(And appropriately, this review is not going to be a short read.)

Trigaea in a sentence: An epic sci-fi Twine game that looks and feels like it walked off of Steam for twenty dollars. When I first saw this posted on IFDB, I did a double take and told myself, “There is no way that this game is free.” It is. The amount of time, brain power, and creativity that went into this thing produced such a polished, cool, and ambitious piece. I am grateful that the author decided to make this game available to play for free.

Gameplay
Prologue: You wake up inside a tank filled with strange green liquid in an unfamiliar room. A step outside the door reveals a wasteland of broken machinery- you did not wake up in a building. You woke up in the wreckage from a major accident, and your memories are gone.

The protagonist, whom you name, has a brain implant called a Rosetta that compresses an individual’s memories and consciousness. Upon death, the information from the implant is transmitted back to a compact AI-run lab called a Progenitor (where you woke up) that grows a new copy of the body with its own Rosetta. The data transfers to the new implant and the protagonist steps out of the tank as good as new with hardly a gap in awareness.

Early gameplay consists of exploring the wasteland to learn more about your surroundings. Combat is a frequent feature throughout the gameplay. When an opponent appears, you have a list of options on how to respond during the encounter. If you win, you earn microchips that are used as currency. If you lose, you die and wake up again in the Progenitor. This is streamlined to make it simple for players to rebound after a setback. Combat is both easy to use and easy to master. Collecting microchips and quartz chips are also vital to regaining your memories. Later gameplay shifts towards contacting the inhabitants of the planet to learn more about the unknown disaster. Rather than just exploring, you start to have more concrete objectives to complete.

I have played plenty of games advertised as having loads of optional content. Not all turn out that way, but Trigaea really is one of those games with substantial optional material tacked on to its already-extensive gameplay. And on that note, the gameplay is extremely long. Absolutely worth your time but you will not fit this in during a lunch break. Just know that once you complete it, (Spoiler - click to show) you can replay without losing your health and stat levels. Skip the intro, that sort of thing. That was convenient.

One of the coolest features in this game is about augmenting yourself for survival. You can spend microchips to receive genetic modifications or cybernetic implants that grant new abilities. This selection of choices only expands as the game continues. My estimate is that this will be a popular draw for players.

Story
There is so much story content I hardly know where to begin. Probably the best thing for me to do is encourage you to play it rather than making this review longer than it needs to be, but I just have to discuss some of it.

Background context: (Spoiler - click to show) Humanity eventually advanced enough to populate the rest of the solar system, but the space colonies often clashed with the Earth government about resources, especial fuel. Riots and altercations became a common issue. A solution was developed: Project Amber, finding another home, and sources of fuel, for humanity. This was a project spanning decades in the making. Correctors were trained at an academy and assigned to govern a ship filled with thousands of people in stasis pods. Upon arriving a new world, Correctors would help settle the planet and guide humanity. Preparation included scoping out potential worlds with high levels of habitability. That way, even if the planet proved to be unfriendly to Earth-based life, terraforming technology could step in and make it habitable. Then one day, the conflict between the space colonies and Earth government goes too far. Project Amber must launch now. Preparation goes out the window as ships hightail it to their designated planets. Unfortunately, all the planets are too inhabitable. Except this one. Two ships, SCC Nuria and SCC Caleuche, end up orbiting Trigaea. Things did not go as planned.

Now what?
We know that the protagonist was trained to be a Corrector. Part of that training involved receiving the Rosetta implant with a personal AI. Correctors are quite valuable. As you will experience several times, everyone freaks out when they learn that you are a Corrector. Moral choices appear on the horizon as your supposed responsibilities as a Corrector is made known to everyone. You become the go-to fix it repairperson. Someone who can do the impossible. You are a Corrector. Obviously, you are supposed to correct things, right? This is where things get complicated. They have questions. You have amnesia. Recovering your memories is crucial to making informed decisions as the lives of more NPCs fall into your lap.

As you regain your memories you realize that you are in over your head. The situation is not as simple as (Spoiler - click to show) “uh, a ship crashed,” but, to limit spoilers, an Earth ship(s) collided with the planet. Everything that could have gone wrong, went wrong. There are THREE struggling factions on one miserable planet: humans, natives, and robots (by the way, Trigaea is the name of the planet). (Spoiler - click to show) Natives, called X'irii, were on the planet long before this mess happened. Human colonists managed to hack together an existence in the ship’s wreckage. Some humans live as Outer Tribes, but no one seems to care about them. Finally, the robots that survived built their own hive city managed by advanced AI.

One of the strongest parts in this game is how it puts you in the shoes of each faction. The first faction you contact are the (Spoiler - click to show) human colonists, followed by the robots, and then the natives. You may encounter these groups earlier in combat, but contact is when you visit their “homebase.” Your Progenitor allows you to morph into machine and alien forms to blend in. The major clash in perspectives is (Spoiler - click to show) between the humans and the natives. The robot faction is more or less content with minding its own, but they too have an invested interest in the planet’s population.

The human colonists form the baseline perspectives for the first half of the game. From this angle you will look at the other factions and be absolutely convinced that human colonists are the way to go and everyone else are savages. The X'irii have wiped out every human colony except for Delta Colony. They brutally kill human colonists. And yet, when you visit their native home groves you realize that they too have a rich cultural heritage, sense of identity, and drive to protect their own families.

Humanity’s interstellar spaceships came with a Terraform Sphere to assist in colonization a new world. Trigaea is reasonably habitable, but one ultimately foreign to Earth-based biology. As a Corrector, everyone wants something from you: The second half of the gameplay is about finding the (Spoiler - click to show) Terraform Sphere, that is, if it managed to survive the wreck.

Moral choices
So. Eventually, you (Spoiler - click to show) locate the Terraform Sphere. The keystone of the game is moral choices. Get ready to enter Spoiler Land. Seriously, look away. (Spoiler - click to show) Here’s the deal: Activating the Terraform Sphere will make the planet perfect for humans but would wipe out the X'irii in the process. Quite frankly, I was inclined to side with the natives, but naturally the game had to throw some curveballs.

When humanity set to colonize other worlds one principle that was considered while screening for compatible planets was to find one without any intelligent species already living on it. Trigaea happens to be the first planet with sentient alien life discovered by humanity, ever. Arguably, wiping out this race for human benefit would be immoral. Thing is, due to circumstances that I won’t discuss to avoid spoiling everything, Earth is no longer a home. Furthermore, all of Earth’s ships sent to explore other worlds failed. Your own ship had no survivors. The humans on Trigaea are the last of the human race. If you side with the natives in this scenario, humans go extinct. And there’s also the robots to think of.

What would you do?
In this section, I am going to discuss some of my viewpoints in case you want to compare notes (and please do!) I will throw it under one big spoiler tag.

(Spoiler - click to show) I don’t think I would wipe out the X'irii even for the last dredges of humanity, or at least not for the humanity we see in the flashbacks. The humanity in the flashbacks really rubbed me the wrong way. Humanity lost the Earth because of squabbling, and even on the starships there is fighting between former space colonists and those who lived on Earth. I am only touching the tip of the ice burg here. But when put to a vote, nearly everyone onboard was content with squashing the natives to claim the planet.

To be fair, the colonists we meet in the gameplay are descendants of those who survived the disaster. Technically, they are not the same humans as featured in the flashbacks. Earth is a faint memory passed on through generations. Would they share the same perspectives of their ancestors? Thing is, an Earth-old feud still exists, even if the details have gotten hazy. The Outer Tribes are the descendants of the survivors who came specifically from the old space colonies. Delta Colony and its sister colonies were founded by the humans who originally came from Earth. That feuding is still there. And both sides would not hesitate to activate the Sphere. It comes back to the original question: do we commit genocide to wipe out the natives to make Trigaea humanity’s new home?

Oddly enough, the natives are little more receptive, perhaps even sympathetic, about the humans’ reason for being on the planet. You say Trigaea, but the natives call their planet X'ir, which is also the name of the god that sustains life. X'ir follows a reciprocal relationship. If you take care of the planet, it takes care of you. From their perspective, the humans abused their planet (an understatement) and were exiled- and the natives feel pity about that. However, if humans, to put it bluntly, managed to screw up their own planet, what’s stopping them from destroying X’ir? Already, humans squashed countless X'irii simply by falling from the sky. And now, human diseases and garbage from the wreckage has been poisoning the land, causing the natives’ offspring to be deformed. Thus, they feel compelled to fight against the foreign invaders. Besides, [name redacted] is encouraging them to raid the colonies. I am not saying that you should agree with the natives, only that they too have a valid perspective for how they respond to other factions.

What frustrates me about the human colonists that we meet is how oblivious they are to the impact of their presence on the natives. The natives aren’t using the humans for target practice. They are defending their home. But understandably, that means little when you are trying to protect your hovel of a home against an alien race that keeps trying to kill you. Human colonists trying to make the most out of a difficult situation and are so bogged down with daily survival that they probably do not have the time or energy to reflect on the virtues of a species that has shown nothing but hostility. When family and friends are at stake, the last thing you want to hear is, “well, it is their planet.”

I certainty do not have a polarized perspective. Halfway through the gameplay is a pivotal event where Delta Colony calls for your help in defending against a X'irii attack. In this battle you are on the colonists’ side, but the game will continue even if you fail to stop the attack. Failure just means that the colonist population is severely reduced. Despite my feelings for the natives, I would always defend the colonists in this scene. Why? Well, they are trying to kill characters whom we already know on a personal basis. And that is my point: There are no easy stances. There is the faction, and the individuals within it, and each faction has individuals who form a connection with the PC. The game forces you to make tough choices. (If it makes you feel any better, you do not have to kill a single person in this game. You even get a trophy for doing so. If you fight in non-lethal mode, you merely subdue your opponents.)

These dynamics foreshadow major moral choices involving the fates of each faction. The challenges encountered in the gameplay anticipate decisions about (Spoiler - click to show) wiping out one race to save another. At first glance it seems like you must choose either Faction A, B, or C when in fact over a dozen endings offer a spectrum of outcomes. Everyone wants you to side with them but, if you play your cards right, you can put your foot down and consider, “why not all of us?”

Still, that does not make the decision easy. There is only one consensus: (Spoiler - click to show) I would make a horrible Corrector.

Story mechanics
The story features two commonly used tropes: Amnesia and experiencing the overarching story primarily through flashbacks. These can be touchy clichés, but the game pulls them off. They do not feel contrived, and instead, provide a platform for experiencing the story.

With amnesia, I like games that slowly construct an underlying context behind the protagonist’s reason for having amnesia that, when revealed, builds upon your understanding of everything you encountered in the gameplay. It creates that moment of insight that makes it all click when you finally piece it all together (If you are interested, Worlds Apart is a master at this). Trigaea takes one big reveal, breaks it into smaller pieces, and places them strategically across the gameplay’s timeline to keep the player’s attention from drifting without diminishing their impact. The cause of the protagonist’s amnesia also has a compelling reason. (Spoiler - click to show) Due to an unknown accident, which we slowly learn about in the gameplay, the Progenitor was damaged, compromising the transfer of your memories. When those memories come back- let’s just say that there is substance to this depiction of amnesia.

As for flashbacks, while the game heavily relies on them for exposition, rich story content about your circumstances is also infused in the gameplay. Rather than merely “watching” the story, you take an active role in piecing it together. A smart design choice is that some flashbacks are optional. They are unlocked by spending microchips or quartz chips that allow the player to learn more about the protagonist’s background and the world that they came from. Collecting these memories provides an objective for players who want to milk the gameplay as much as possible for more world-building. Being optional, you can choose to skip them if you would rather focus on immediate gameplay.

Endings
There are a lot of endings. Fifteen. This is the final implementation of the player’s skills and responsibilities as a Corrector. You have already spent hours playing. The game took the good, the bad, and the ugly, rubbed it all in your face, and now challenges you to make a tough decision: How will all this end? The author posted a walkthrough for the endings that organizes them into branches. It is a useful guide if you feel overwhelmed. Some endings will leave a lasting impression.

I won't say it, it is too much of a spoiler to discuss it even here, but one of the ending branches just left me thinking, "you are kidding me," where you are so surprised, you are not sure whether to be annoyed, pleased, or confused. I still don't know what to think about it. It does provide some closure for certain drastic events which I think players will appreciate since this is a rollercoaster of a game. The only mild downside is that it gave me a slightly skewered view of the other ending branches, hence my reason for not wanting to discuss it. It was a surprise and I like how it tests your understanding of reality as you try to navigate this wonderous world of advanced technologies that we can only imagine.

…………………………But then it does it a SECOND time!!! There is an ending (another branch of endings, actually) that tops even that! You are still required to go through the ending branch that I just mentioned to access it which only makes it more surreal. It tricks the player by saying, “oh, you thought you saw the bigger picture? The ‘actual’ layer of reality? Sucker. Think again!” It was wild. The game truly, truly (this time) caught me off guard. The only impulse my brain had was to applaud. I am being dramatic, I know, but it reminded me of the saying, "fool me once, shame on you, fool me twice, shame on me.” If such a statement could be applied in interactive fiction, it would be here. If the author is reading this, thank you for creating this game.

For a hint, it reminds me of a particular Rick & Morty (I love that show) episode. It is up to you to figure out which one it is.

Characters
Esra
Esra is one of the most empathetic AI NPCs you can find in interactive fiction, and the first character we meet in the game. You choose whether Esra is male or female but for this review I will just use "they."

Esra operates the Progenitor that allows you to respawn and carries out genetic modifications. They also have access to your Rosetta implant and will communicate with you throughout the game. There is a whole backstory about Esra- you will realize that this is the case for many characters in this game- that reveals how advanced, sentient AI is developed in the game’s world. Even the AI has a backstory? Yes. It’s quite fascinating.

They are also the NPC whom we interact with the most. The early gameplay contains more casual banter, while later conversation becomes more focused on immediate objectives. When I first played the game, these early interactions seemed to suggest that the relationship between the PC and Esra was malleable. Dialog options had distinct attitudes consisting of friendly, polite, no-nonsense, standoffish, and mean demeanors. Because of this, I figured that you could decide on your relationship with Esra and then see how it manifested in the gameplay.

1. "I'm sorry you have to watch that."
2. "I'm glad you're watching out for me."
3. "If you've got time to watch, why don't you help?"
4. "Geez, I don't get any break from you, do I?"

In one playthrough I was a complete (Spoiler - click to show) you-know-what to Esra (tick off the AI NPC to learn if it results in a certain ending, right?) in all the dialog options to see if that influenced character development over time. I kept waiting for them to turn on me, but they never did. Then I reached (Spoiler - click to show) Ending 10. Despite what I did, (Spoiler - click to show) Esra went the extra mile to make sure I came out top at their own expense. I felt so ashamed. Several minutes went by where I just stared at the screen, that's how much it elicited a reaction out of me. I didn't deserve them.

Once the gameplay moves past the introductory parts, the protagonist and Esra go into teamwork mode for survival. There are some small (and interesting) disputes that you can pursue but they will not influence the characters’ overall relationship. Esra is devoted to your success regardless of your attitude.

Everyone else
I am not even going to try to write about every character. As I mentioned earlier, there are three factions on the planet that you will eventually contact in your explorations. It does not happen all at once. Each faction has its own unique NPCs that play a part in the story. Characters are also shown in the flashbacks, but those come with heavy spoilers. Every NPC, whether you meet them face-to-face or not, adds something interesting to the game.

There is (optional) romance in this game, but that part did not really fly for me. Some of it, especially “flirting,” was almost a bit cringy. The protagonist’s sexual orientation is determined by the voice you choose for Esra, and there are about four choices that let you decide how to approach romance, if at all. Some players might like it, but I was too busy with the rest of the story to be interested.

(Confession: When I first picked up Trigaea, I was kind of hoping to play the villain. That honor goes to- major spoiler- (Spoiler - click to show) just kidding, you will have to play the game. Then again, “villain” is subjective, isn’t it? At the beginning, all I had was this wasteland and the ability to come back from the dead. I had an AI who would splice my genome with that of animals. I could have dominated it and made it my own. But as the gameplay started rolling out memory flashbacks and NPCs were added to the big picture, I realized that the PC is meant to be more of a heroic protagonist while leaving “heroic” up to the player’s interpretation. Oh well. Maybe in another game.)

Critiques
You are probably wondering why I am giving this game four stars instead of five (although it came pretty darn close) after raving about how amazing it is. My main critique is repetition, which is tricky in extra-long games like this one. What baffles me is how the game manages to be repetitive and dynamic at the same time. I know the phrase “repetitive gameplay” can scare players away but know that these occasional lulls are overshadowed by riveting, everchanging gameplay. Repetitiveness is boiled down to combat and exploring the wasteland.

Esra gives you advice on what to do which is helpful. But sometimes the only guidance you have is to explore and harvest microchips. During these parts the game shares the symptoms of a repetitive combat simulator- that is, until something does happen. Then the game pulls a surprise rabbit out of the hat of wasteland drudgery and makes things engaging once more with a new development that redirects the gameplay to something interesting. Yes, eventually you will notice some repetitiveness, but it takes a while before you start to feel fatigue (and even then, you can’t stop playing). I also noticed that even when the randomized combat lost its charm the plot-oriented combat scenes were still exciting.

The one tedious component that grated on me is how you gain microchips by killing things. It makes sense with a person since you could theoretically just search their body for microchips, but why would some random animal out in the desert have them? You kill a man-eating starfish and microchips come spilling out of the beast as if it were a piñata. The logic of that does not quite resonate with me. Unless microchips are the equivalent of oxygen… maybe I should just ignore this technicality.

Notes on formatting
The game occasionally suffers from purple prose. You say that your eyes are blue, and this is how the game interprets it: “Your eyes are scholarly and sharp, and tinted as blue as a old mountain lake. Your pupil looms in the middle like a full stop, dotted with parchment ink.” It seems contrived.

There are also some spelling issues. Sometimes Esra’s pronouns were the opposite of the ones I selected. In one playthrough Shay’s pronouns flipped flopped between him and her. Frequent grammar issues are also present. “They looks heavily injured,” taunted me everywhere. In one case, “googles” instead of “goggles.” But in all fairness, these errors were like drops in a swimming pool compared to how much text there is. This game has been thoroughly tested, and it shows.

Visuals
Oh man. This is where the game really looks like a professional piece. There are dozens of detailed sci-fi/dystopian backdrops that would put a visual novel to shame. I looked at the credits and saw that the artwork is from contributions of quite a few artists, and it goes a long way. Even if you decide not to stick with the game in the long run, at least you get a glimpse of the visuals.

Trigaea is also a great example of the possibilities of Twine stylization. Design elements are used to create a flashy interface. Experimentation with symbols, borders, colours, and text boxes add a futuristic vibe. It is easy to forget that you are playing a Twine game.

Final thoughts
I think a lot of players will appreciate elements of Trigaea, such as the smooth visuals, but if you are not a sci-fi fan, your interest may waver early on. It is also not for the impatient. I love science fiction and was in it for the long haul and yet there were times where I was hoping that the game would just hurry up already and move to the next part of the story. It’s worth it.

Sci-fi fan or not, this game is intense. The story is vast and full of tragedies. Thick backstory. Rugged characters. Bizarre technology. Violence. All packed together into lengthy gameplay. But beneath it all is a solid framework. The build-up of all this is for the player to gradually realize the protagonist’s purpose and responsibility as a Corrector, and then make difficult decisions based on the endless content poured on them over hours of gameplay. The notion of finally reaching the point where a major decision is placed in your hands is what makes this game resonate.

Anyway, great stuff. Thank you for reading this saga-length review.

It is the year (I assume) 2073. The most recent technological advancements of the ages have taken a disturbing turn, and you and your tech-savvy friends want to disrupt it. Your target: A film premiere with an audience of six thousand people. The film, GONCHAROV, is the first of its kind, directed and produced by an artificial intelligence called MATTEO JWHJ-0715.

What is up with Goncharov?
I did not know anything about "Goncharov" until I saw the posting of the Goncharov Game Jam on IFDB and decided to do some online searching for background context. The competition posting also has information.

Goncharov (if you already know this, just skip ahead) is a recent meme about the promotion of a gangster film called Goncharov. The film was released in 1973- wait a minute. That's not quite right. Sorry, Goncharov is a nonexistent film said to have been produced 1973. An alternate timeline version of 1973. If you see the "poster" for the film, it's extremely polished and convincing. Martin Scorsese is listed as the director while (someone?) Matteo JWHJ0715 is the film’s writer. It even drops actors’ names. Even though people knew this was fake, they still had fun formulating a fandom/following for it. You can almost convince yourself that you have, in fact, seen the film before…

Also, (yeah, I used Wikipedia) I saw THIS: On November 25, 2022, a game jam of Goncharov was run by Autumn Chen on itch.io.[14] There’s an article attached to it. Pretty cool!

Gameplay
Gameplay is not particularly interactive. Instead, it relies on the story, dialog, and visual presentation to carry itself through. This can be a risky gamble, but I think it succeeds. In fact, the only player choice opportunity is to (Spoiler - click to show) decide whether to show a warning, promise, or memory scene during the team’s sabotage of the film. The espionage undertones keep a steady pace, and the gameplay is short enough to maintain the player’s attention as the story unfolds.

The entire gameplay occurs over communication lines with your teammates. The plan is that Varda, your teammate/friend goes to the theater for the premiere while the rest of the group works remotely. The protagonist's picture is always at the upper right corner of the screen while NPCs are shown near the lower left corner, both of which have dialog boxes. The black box at the center of the screen is not dialog, rather it is the game's narration.

There is scrolling text, but it did not bring the scrolling text fatigue that I sometimes experience with games. When you read text like a laser beam, any scrolling effects can feel sluggish. In this game, however, the effect is minimal. Once the text appears you tap the screen to move to the next sequence. The game does not rush you. This translated into a stable gameplay experience (this was my first encounter with the tape window development system).

Story
The game contemplates the real-life neck and neck competitive nature of film production companies as they strive for innovation and to be the first product on the shelf, especially with premieres. A premiere is critical because that first audience glimpse is the big money maker. Now, in the game, Perennial Pictures tries to take it to the next level. The AI’s film is described as the company’s “most prized weapon in the war for attention.”

Regarding this “weapon,” GONCHAROV 2073 considers the wild possibilities of technology available during 2073. Here, corporations have adopted the practice of “artificial resuscitation” where a subject’s digital footprint is used to capture their voice, mannerisms, and other defining details to create an eerily life like simulation. People must give permission for this, but the system is opt-out. This means that everyone is automatically said to have given permission unless they opt-out to do so, raising potential ethical concerns.

Perennial Pictures is one such corporation that seeks to embrace this new technology. Artificial resuscitation is still a controversial matter, and GONCHAROV is meant to earn favor with the public. Its film features the same actors included in the meme inspired movie poster that I discussed at the start of this review. But the twist is that artificial resuscitation is used on the long-dead actors to create “actors” in this AI’s film. The human element has been removed in the film’s production, and yet it can leave the illusion of a human impact on the audience.

One of the more unsettling scenes in this game is when (Spoiler - click to show) the Perennial Pictures personnel are trying to stop the sabotage and alter their Martin Scorsese simulation to soothe the audience with familiar visual cues: They've hastily programmed a new expression onto his face: an apologetic smile. That apologetic smile can do so much damage. If we really did have this technology, could we make Goncharov a real non-nonexistent film with all the actors and intended details? Wow.

The big tragedy (spoiler time) of GONCHAROV 2073 is when (Spoiler - click to show) Varda totally betrays everyone. The game evokes a gradual yet increasingly rapid downward slide of emotions in this final scene. It starts with confusion, then unease, then shock, and finally panic. This avalanche kicks off when you hear Varda talking to someone over her comm line about submitting a report and receiving payment. Then, when you talk to her, she goes on a tangent on how the mission was a mistake and starts dropping some concerning implications about her behavior. Suddenly:

Behind you, down the narrow hall - the sound of heavy footsteps at your front door.

Really, Varda? Or should I say Leica since you don’t care about code names anymore? The betrayal is strong. Here, the game gleefully heaps on the suspense. It shows no mercy. Those footsteps just keep coming. Before you know it, Perennial Pictures’ military forces are breaking down the door, and the game ends.

My understanding is that (Spoiler - click to show) Varda sold everyone out because she needed the money due to increases in living expenses. She agrees that it hardly counts as an excuse but that she did it anyway. At least she is not trying to take the moral high ground about selling out her teammates. Still. I’m not a fan.

As for the mission, her perspective is that the demonstration is only going to encourage people to want to watch this AI-directed film to witness the artificially resuscitated dead man who seems to embody every nostalgic feeling a person can have (and previously never had) about film, culture, and everything else. The tragic part is how the demonstration aimed to protest capitalistic domination of film production and other artforms, particularly with its commoditization of deceased individuals, only for her to betray everyone for money.

Characters
You play as Kon in this endeavor. That’s your code name, at least. The other members of the crew are Varda, Tsai, Sissako, and Vertov. Everyone has their moment of dialog, but character interaction focuses on Varda. The characters sound cool and look cool, but don’t have much exposition. Oh, there is one other NPC. (Spoiler - click to show) Artificially Resuscitated Martin Scorsese. He gets his own character portrait and everything.

Visuals
Visuals are atmospheric and stylized. The black and white background scenery is that of an office (or safe house, if we are getting into the espionage spirit). The artwork is pixelated which creates a cool gritty effect. Characters also have their own portraits that appear onscreen during dialog. Some portraits are tinted with colour that adds a nice contrast.

Final thoughts
The ending will leave you thinking, what just happened? It’s like a riptide. Pulls you in whether you want it to or not. The atmosphere is strong, and I enjoyed the story. It also introduced me to a meme, well, it seems more than just a meme now. And now GONCHAROV 2073 gave me a new perspective on that. I’ll have to check out the other games in the Goncharov Game Jam to see people’s various interpretations of Goncharov. This is a fun game, especially if you are looking for sci-fi espionage themes.

Solve a murder in a near future world by diving into the Wikipedia of that world

This is one of the coolest games I have played.

In Neurocracy, you explore a website called Omnipedia, the apparent replacement of Wikipedia, upon its release on September 28, 2049. Days later, tragedy strikes. Sift through the articles to piece together what really happened.

Neurocracy caught me off guard at first. I opened Omnipedia and was immediately hit by an intimidating wall of cookie privacy settings that seemed to request access to things I had never heard of before. What does it mean by asking to use my "neurometric colloid" for neurometric montages? That sounded like a big deal. But sometimes you have to take things in stride. I opted out of everything I could and continued the game. Later, I made the connection.

Neurometric colloids are a technology portrayed in this game, implanted inside the brain. If you, the player, are supposedly reading a Wikipedia-modeled website in the 2040s, then it is quite possible that you would have a neurometric colloid of your own. The “privacy setting” idea was as seamless as could be for immersing the player. If this were any indicator of the game’s worldbuilding then Omnipedia was just getting started...

Gameplay
You navigate the game like you would Wikipedia by clicking on hyperlinks that lead you to different pages. You can also type in search terms. The central gameplay mechanic used to solve the mystery is the change history feature located on the right side of the screen that allows you to observe edits throughout the timeline. This feature uses red, yellow, and green colour coding to keep track of changes, additions, and deletions which opens a window into new developments and content that is trying to be concealed.

Neurocracy is overflowing with content but designed so the player can keep up with the exposition. Hovering your mouse over words underlined with a grey dashed line spell out the word’s abbreviation while words underlined with a blue dashed line provide definitions via a black popup box. You really learn things. It is a great sampler of modern-day subjects paired with more speculative, fictional ideas. This game will not give you a full working knowledge. But it does offer a micro bite-sized crash course for topics in real-world discussions about ethics and technology. Learn about AI, neuroscience, quantum computing, genetic engineering, genetics, biology, aquaculture, and even sushi.

There are some articles where if I scrolled down halfway to the page, covered all the dates, and then asked you to read it as if it were a Wikipedia entry, it would take you several minutes before you realized that it was fiction (consider the article titled, "Piscine transmissible amyloidotic encephalopathy”). There is even a convincing reference section at the bottom of the page. If only I could click on those articles. I was extremely impressed with the realism. The game also gives a shoutout to familiar topics such as COVID-19 or Elon Musk’s neurotechnology company, Neurolink. These topics are smoothly integrated into the gameplay and are fun to discover.

It takes a bit to adjust to the slick interface and gorgeous visuals before you stop flipping through articles excitedly and finally sit down to absorb the content inside them. Random curiosity-driven excursions through Wikipedia for me often consist of a mix of thoughtful reading and skimming. The deeper down the Wikipedia rabbit hole, the more I resort to skimming as my brain flits from topic to topic. Omnipedia was the opposite. Conjure up the idea of having so many presents you do not know which one to open first. That was me. I finally told myself to pick an article and read it, and for 20 minutes or so, that's all I did. The next step was piecing everything together.

Story + Characters
The lifeblood of this game. Here is an overview of the surface story:

The game’s overarching story focuses on Xu Shaoyong, founder of Zhupao, a huge technology conglomerate, and the wealthiest man in the world. On September 30th, two days after Omnipedia is released, Xu Shaoyong is assassinated when a security drone open fires at his private helicopter upon his arrival at an airport in China. Along with him was another prominent figure, Yuri Golitsyn, who ran a large-scale energy company. This ripples across the world in complex ways that you must decipher. The assassination narrative is spread across ten days, the tenth day still portrayed as being an ongoing event.

A major theme is the balance of biosecurity and personal privacy. The gameplay is filled with the aftermath of the CMD (Cariappa-Muren disease) pandemic where an entire stock of genetically engineered bluefish tuna was found to be a vector for a prion disease. The resulting CMD phobia only spurred an argument in favor of heightened biosecurity. We see the usage of quantum computing, neural networks, and other technological advances to conduct surveillance and collect vast amounts of consumer and personal data, justifying it for the sake of monitoring biological threats. While part of this reasoning has merit, we see major problems with this approach. Whistleblowers reveal a lack of transparency in data collection and unethical usage of consumer products, often for corporate advancement. Neurocracy takes this a step further asks about the implications of these practices in more futuristic technologies such as brain implants. Cyberattacks are already a familiar phenomenon in our world, but what about brainjacking?

As technological advancements emerge, the realm of ethics only continues to grow. Even Omnipedia is shrouded in controversy. Wikipedia fizzled out and Omnipedia stepped in among criticisms of its supposed corporate favoritism. But by utilizing the revision history feature you can come to your own conclusions.

As for the characters, I found them to be intriguing even if we only learn about them through the pages of a website. (Spoiler - click to show) Connie Muren's death was especially saddening given her commitment to her work although her posthumous comeback against Spencer Hagen was quite moving. The characters themselves were just as interesting as the story.

Visuals
The best part. I could say that about most things in this game, but the visuals really are a defining feature. This goes beyond the visual interface which already boasts of a clean-cut design with a blue Wikipedia reminiscent logo at the top left-hand corner of the screen. Neurocracy also features plenty of artwork of people, logos, locations, and technologies commissioned by artists. As is the case with Wikipedia each page only has a few visuals, but the quality of the art makes each piece shine. I can recall at least one article that had a small video imbedded in the page, which was a cool surprise.

Thoughts on structural design
After a long while I reached the point where I had viewed and analyzed a large chunk of the story’s content and wondered what to do next. I went online to learn more about the game, only to make a startling (to me, at least) discovery: (Spoiler - click to show) the player’s investigation is independent from the gameplay. I thought that the act of going through the content, of digging deep, would have some payoff within the game. A payoff beyond the deductive reasoning that occurs from article to article. Excalibur comes to mind.

Excalibur is another excellent and ambitious interactive fiction game. It is made with Twine and designed to look like a wiki fandom page for a fictional TV show by the same name. You read the articles to spot the controversies behind the show while pondering fandom culture and the dynamics of shared memories of media content. It too is open ended, but the twist is that content surfaces as a result of your explorations. For instance, reading about certain material results in more material being “posted.” The pinnacle moment of the game’s interactivity (go play the game) comes later, but even after that, the game never ends. There is no winning or losing or a congratulations for “completing” the game. You dive below the surface, and the game quietly acknowledges your participation.

I was anticipating something similar for Neurocracy. But Neurocracy is not Excalibur. They are two different games. And quite frankly, this game does not revolve around me. I decided to see it from the authors’ approach. Originally, the game was released episode by episode in 2021 to the public where players were encouraged to take notes and share theories with each other while waiting eagerly for the next episode to be released. That is the true investigation of game’s story. You take the investigation out of the game and into the audience. Meanwhile, I play all of it in one go a year later without any attention to this structure. There is also something to be said about accepting that sometimes games do not intend to give you all the answers. That in itself is part of the experience. And on that note, if anyone wants toss around theories, do not hesitate to comment on this review.

I must admit, the game’s design cleverly maintains the illusion that you are in fact sitting at your computer in 2049 leisurely browsing Omnipedia. Having the game act like a game would risk breaking this. Briefly, I wondered if there was an angle with the neurometric colloid privacy permissions. If you had such a thing would your browsing experience with Omnipedia be different? I opted into the privacy to setting to see if it changed the gameplay. It did not, but that type of experimentation is also part of the fun. The game entices players to invent ways of interacting with it.

Ultimately, (Spoiler - click to show) my sadness was about not being able to learn more about certain subjects. I was deeply disappointed because I was drooling for more. I felt like I had barely scraped the surface of this story’s vivid universe. As I described earlier, blue words with an underlined dash have popup definition boxes, but later in the story, some words turn into links with their own pages. I had my eye on several character names and terms that I hoped would become articles. Learning otherwise was a bummer, but it also made me appreciate the sheer volume of content- writing, artwork, user interface- that went into this game to produce over thirty detailed pages of glossy, futuristic wiki material. It remains, without a doubt, one of the coolest games I have ever played. That is nothing to sneeze at.

Final thoughts
Now that you have (finally) reached the end of this review, all I can do is recommend playing Neurocracy. It will blow you away. Its story is fascinating and deep, the artwork beautiful, and the interface is effectively convincing. You do not need to be an interactive fiction fan or a sci-fi fan or a Wikipedia fan to enjoy this game. And even if you don’t, the game’s discussions about the intersections of technological advancement, personal rights, and societal ethics will still linger in your mind as you draw parallels from today’s world. I thank the game’s creators for creating and sharing such a fascinating piece.

(As a formality, I found and accessed the game through its listing on IFDB which took me right to the game’s website.)

You are President Gusto and have been granted leadership over Terrota, a recently independent world and your home planet. So far, it has a flimsy platform for racial relations, economy, and reputation among other planets. But with your guidance it may finally have a chance to make a name for itself.

Gameplay
Gameplay involves making decisions as issues present themselves. How to build your army, which neighboring planet to trust, how you punish rioters. It is also linear. Issues are always presented in the same order, but all decisions contribute to the outcome of your leadership. Your choices matter.

Again, a tough decision to make. You ponder over this a lot. You consult with your ministers. Then you make a call....

Biturn - The relatively neutral big neighbour
Pytal - The far away ally
Ramdael - The military super power

Top objectives are to build Terrota’s economic structure and to create peace among the population, but preventing war, or at least building an army strong enough to win one, is also important. Usually, you will reach an ending that reaches one or two of these goals, but it takes some trial and error to reach to reach an optimal one. Terrota is meant to be played more than once.

There are no deep, achingly tragic moral choices in this game, but there is a strong sense of responsibility as you make decisions that heavily impact the people on your planet.

This announcement obviously does not go well with Mischins. They cannot digest the fact that they lost their jobs overnight.

They take up to the streets vandalizing and destroying everything they see.

You experience it from a more detached perspective which gives the game a feel of a management sim. However, it would not really qualify as such, or at least not like other games that share a similar concept. While you need to balance your citizens’ trust, the chances of war, and the strength of your army, this is not a game with fine-tuned variables or stats. If you want resource management, look elsewhere. But if you want something low-key, minimal, and interesting, I encourage you to check out Terrota.

Story
Story takes center stage in decision making, but the overall game feels relatively light on story. It often uses ambiguous titles or entities, such as "Galactic empire." While this cuts down on the worldbuilding, the upside is that it avoids dragging the short gameplay with excess details. There is a nice balance of details and simplicity.

I liked how the start of the game has three news articles that provide some exposition. The Galactic empire decided to grant independence to planets on the outer edge of the galaxy, including Terrota. This was done primarily because these planets were never prominent hotspots for economic growth. Of course, that can change if you make the right choices.

It is an oddly interesting story. Not one that captivates or amazes, but one that makes you want to roll up your sleeves and play for the best outcome. There are multiple endings that summarize your leadership. The best outcome I reached was: (Spoiler - click to show)

Terraota has grown into a peaceful planet, while President Gusto made sure it evolved into a military super power by building its image in the eyes of its neighbours. There were no wars which helped Terraota focus on other areas to become a super power.

Characters
In science fiction, or at least in interactive fiction, we often assume a protagonist or supporting characters are human unless said otherwise. There is no mention of the human race in this game. Instead, the population of Terrota consists of Badula, Mischin, and Badula races. No humans here! (I think.) Besides that, and the protagonist’s title, there is little attention to individual characters or characteristics beyond anonymous roles.

Visuals
Visuals take a basic but directed approach. The entire screen is an artist's rendition of an exoplanet against a nebulous region of space. Full image backgrounds run the risk of making text difficult to read, but that is not an issue here. It looks cool and fits perfectly with the planetary theme.

Text is white, but choices that influences your leadership are highlighted in red or green. Red is a negative reception, green is positive. Since things are not always polarized, a lighter shade of red is occasionally used to emphasize a mixed result, see below.

Result: You lose some trust with your citizens, while you have also reduced the chances of war with Madrusa.

Even though it is a simple Twine game, the visual design makes it far more polished and professional looking than if it skipped stylization. Experimenting with visuals can go the extra mile. It was certainly the first thing that caught my attention when I started playing.

Final thoughts
Terrota is fun sci-fi leadership gem in a clever Twine format. For sci-fi fans, I think it has an appeal for a fairly wide range of tastes. A bit of everything. If the phrase “interplanetary politics” catches your interest, give this game a try. It is also the perfect length for a lunch break game. I enjoyed it.

In Galactic Peace, astronomers observed a new planet in the Alpha Centauri system. This planet is called Guava and has six moons, three of which contain humanity's first sign of extraterrestrial life. However, communication broadcasts reveal that these three moons do not have peaceful relations with each other. Given the system’s close proximity to Earth, any war could be disastrous. You have been sent to intervene, deescalate, and hopefully make some allies for your home planet.

Gameplay
You begin on Earth at your launch site, ready to board your ship the Peace Flyer. This is a big deal. You are surrounded by press, politicians, and engineers who are all encouraging you to create galactic peace, or at least galactic peace in our corner of the galaxy. There is a small coordinate puzzle. I have never been good at those and have memories of playing long sci-fi games (such as Enlisted) where I needed to cling to a walkthrough for half an hour as I carefully replicated the quadrants. Not an issue here. Coordinate puzzles are only at the beginning and end, and they take hardly any time to complete (yes, I used the walkthrough).

Once you reach the Alpha Centauri system you can land at Guava, or any of its moons. Its moons are Abacus, Bandana, Cappa, Xenon, Yoplait, and Zappa, with Abacus, Bandana, and Cappa being the home worlds of each race. The gameplay can be organized into stages. Gain each leader’s trust, teach each leader on how to lead, and then introduce leaders to each other to inspire them to work together. Early on, this involves finding appropriate items to please each leader before transporting them to different moons for negotiation.

Story
The story can be disjointed. Here, these three races are on the brink of war and yet their leaders do not bat an eyelash when this random human creature lands in a foreign spaceship to "negotiate." Somehow, they manage to speak and understand English.

The Cappa Leader snarls. "If you cared about us at all, you would know that we are dying from a terrible kalempa shortage. But I guess you just don't care about that." The Cappa Leader snarls. "Just leave us alone."

It also follows a theme of “humans to the rescue!” This felt strange, especially since these are supposed to be advanced space-faring peoples. The game’s description warns that these races have substantial firepower that could blow off the Milky Way’s arm, and yet this technology is never even suggested in our interactions with them. The Abacus leader is dealing with a crisis. They want to (Spoiler - click to show) fasten a scroll to a board, but it keeps falling off. Solution: Take a piece of chewed gum and tack it on for them. Bam. The entire civilization is in your debt.

Characters
Galactic Peace is not a particularly serious game, especially with its characters. Sometimes this cultivates an endearing atmosphere, other times it creates a watered-down effect with the player’s mission. There is something appealing about spacefaring and (supposedly) weapon wielding leaders (Spoiler - click to show) bonding over flowers.

The Abacus Leader takes a deep breath, and declares, "Oh, I love the smell of blue flowers!"

The Abacus Leader and the Bandana Leader, sharing their love of blue flowers, gaze at each other with affection for the first time in years. Slowly, they break into a shared smile. After a few awkward moments, they even shake hands. Of course, they will never be close friends -- but you get the sense that maybe, just maybe, now they can work together.

** Your score has increased by 5 points. **

But ultimately, these leaders have no real character. Leaders are portrayed as somewhat loopy characters who stand their ground at first but later become submissive to the player's actions. They start out as "grouchy," then “friendly,” before finally reaching a state of enlightenment achieved by watching Earth popular culture in the form of CDs and DVDs that give them the wisdom to rule peacefully.

They also allow the player to lead them like sheep. Once you help them, they will follow you around with a one turn delay. If you want them to follow you onto your ship you would enter the ship and wait for them to arrive. Otherwise, you close the airlock to prevent them from boarding. It’s like closing the door in their faces. None of them have any objection to this type of handling. Their behavior becomes almost puppy-like. The Bandana Leader slowly arrives, happily and lazily following you. These are sentient and proud leaders of worlds that could wage legitimate warfare on its neighbors. If anything, this seemed out of character.

Final thoughts
It seems like this is the author’s first game. As a first effort, it’s of decent quality. There are some occasional spelling and grammar errors, but no bugs. The structure is consistent enough. Gameplay mechanics are built around traveling to each location in the Alpha Centauri system and either giving tokens of good will to NPCs or cajoling them to follow you into your ship so you can transfer them elsewhere.

That said, the story is not as interesting as it sounds, especially since it does not take long for the NPCs to break their molds as Civilization Leaders and turn into rather submissive followers. At least the player does do something significant for the (Spoiler - click to show) Cappa leader. So, there are rewarding moments.

Galactic Peace is an enjoyable game. The core ideas are likable, but its supporting content lacks depth. I would recommend it to players looking for a sci-fi game with a focus on space travel and visiting alien worlds. There is even some diplomatic value. Otherwise, it may not sustain your interest.

The protagonist is a biosynthetic technologist whose job is to restore extinct animals and habitats. They also designed The Great Memorial Reef, a project to memorialize Earth’s loss of coral reefs after severe climate catastrophes. Not all of it is natural. The fish are robotic but life-like, and the reef is an experiment in biosynthetic technology. Earth is degrading. Any research about biosynthetic technology will assist in terraforming efforts across the solar system.

The gameplay is short. A playthrough spans across four to five choices. You are swimming in the Sea of Memory that houses The Great Memorial Reef. As you take in the wonderous view of your project you cannot help but note that you cannot remember who you are aside from general details about your work. Your goal is to find the answers in the setting.

The plot twist is when (Spoiler - click to show) we learn that the protagonist had died but left behind instructions for their memories to be preserved in the cybernetic fish. The player realizes that (Spoiler - click to show) the PC is a fish reliving the original protagonist's memories. We do not know how the protagonist died or even the nature of their death. Was it an accident? Deliberate? Climate change? Or a matter of human lifespan?

For such a short game I think the author does a good job at maintaining a reasonable level of details to avoid overwhelming the player, but I would not have minded if the game provided a little more overarching story to piece everything together. (Spoiler - click to show) (What confuses me is that one part of the game says that The Great Memorial Reef was built on Earth whereas later it tells us that we are on Enceladus, a moon of Saturn.)

The game uses a blue text area against a black screen and the text is light blue. This was a little hard to read. At one point my blue light screen filter was on that made the text area appear purple. Surprisingly, this made the text easier to read because of the contrast.

Underwater Memories is a brief sci-fi story about an effort to preserve a natural ecosystem wiped out by Earth’s degradation. This is not a game solely about climate change, but it does touch on themes about long term accumulative effects of climate disasters and the loss of natural and manmade components that comes with it. There is a sense of tragedy as it ponders the implications of losing the Earth even if we have the technology to sustain ourselves on other worlds.

Lord Cephyis Alikarn is hosting a party at his opulent private estate on the Alikarn family's planet. It's kind of a big deal. This will not be a run of the mill party. Manners, etiquette, and protocol are critical because a slip-up can result in death or scandal. Maybe, just maybe, you will get to see the Emprex.

Gameplay
The nuts and bolts of the gameplay is where the game presents you an etiquette-based situation and you then must choose the right way of proceeding to avoid death or scandal. For example, (Spoiler - click to show) you are served a delicacy of a crab-like creature renowned for its meat. However, to preserve the flavor it must be alive when served and killed right before it is eaten. You must kill it yourself. The catch is that its pinchers are highly poisonous. The PC clearly has no experience with this, so the player takes a guess on how to kill it without being killed themselves. This takes table manners to another level.

I like how the game puts you on the spot to capture how the protagonist is not in familiar territory. It leaves the player thinking, "oh no, oh no, what do I do? Don't mess up."

Applaud enthusiastically
Applaud politely
Remain still

This selection of choices should make you nervous.

I would have loved to see more of these challenges in the game. Hopefully, you will stick it out long enough to reach the end. Total gameplay is short but there is a lot of content to absorb.

Story
It is a potent story of grandeur on a galactic scale. We see things that would not be possible or practical in real life but are commonplace in the story's world of raw decadence and political power spanning a galaxy. Along the way we hear information about other planets and societies. This is not a humans-only universe. There are also alien races, some of which are guests. But any world-building is typically limited to discussion of Emprex Hasina Alikarn’s role as galactic leader as the honored guest at a party hosted by her brother, Lord Cephyis Alikarn.

The big pivotal scene is when you (Spoiler - click to show) notice that the Emprex's drink has been tampered with, a sign that she is about to be poisoned. You have three options: Ignore it, turn her glass to the left, or turn her glass to the right. This is based on a tidbit of knowledge you can learn from one of the guests.

At a past formal event, poison was added to guests’ drinks and the cups turned a certain way so that the conspirators knew which ones were safe to drink. The Emprex was about to drink a poisoned glass when her brother intervened, saving her life. In return she granted him considerable power. Since then, turning glasses at parties has almost become a symbolic tradition.

When you turn her glass to the left to indicate poison she picks up on the cue and requests a different glass. She realizes you saved her and asks for the person behind the assassination attempt. It’s not hard to figure out, but I don’t want to spoil everything. I thought this was a clever way of incorporating information gleamed from the gameplay into a final decision that determines the ending.

The ending where (Spoiler - click to show) she is poisoned and dies ends on a cliffhanger. She tries to speak, but then the poison overtakes her and she goes limp. And? It felt incomplete to leave it like this. The winning ending leaves some unanswered questions but otherwise wraps up the story and gives the player a few choices on how to use the Emprex’s favor. I was surprised that (Spoiler - click to show) she allows you to suddenly be promoted to such high-level positions without any formal experience but if the protagonist managed to survive an Alikarn dinner party than perhaps they have more going for them than what meets the eye.

Characters
Ah yes, the protagonist. The intro in A Tragedy of Manners stresses how seeing the Emprex face-to-face is an extremely rare privilege reserved for the most elite. It builds rumor and secrecy about the odds of someone being allowed to visit the Alikarn family’s planet let alone be invited to a family party.

You have heard rumours that the Emprex herself might be present, but such a thing is impossible. Someone of your lowly status would never be allowed in her exalted presence.

The whole point of the game is that you are in over your head. The protagonist comes strolling in late to what the game calls “the most dangerous dinner party in the galaxy.” But the gameplay can undermine the societal exposition provided at the start of the game. (Spoiler - click to show) You pretty much walk in and bam, Emprex sitting at the table. For the player’s meager standing I figured that there would be more ceremony involved before they could meet her.

Some additional background on the protagonist would have helped. There are some mixed messages and I feel like I am overlooking something. The beginning suggests that the protagonist is a nobody who somehow managed to snag an invitation. They lack social standing and knowledge on formal protocol, admitting that the Emprex would have no reason to grant them an audience. And yet, (Spoiler - click to show) the Emprex vaguely mentions the protagonist in her toast, acknowledging that they are an invited guest before making an announcement. She wants decision making in the empire to be witnessed by individuals other than nobles. Excellent. By why was the protagonist invited? Why them? Seriously, who is the protagonist? I would like some clarification, that’s all.

You do not interact with NPCs as much as you see them and that is just fine with me because appearances and fashion come first. The Emprex’s dress was cool. This game takes the idea of a formal wear sci-fi dinner party and multiplies it by ten. One memorable NPC interaction was with a Legacy staff member. Legacy is where (Spoiler - click to show) entire families serve as staff from generation to generation. Each new generation has a cybernetic implant containing the knowledge and experience of past family members so they can perform their job with the equivalence of centuries worth of expertise. A creative character concept with unsettling undertones.

Visuals
This is an Ink game. Visually, it sticks to a standard appearance of a white screen, grey text, and orange links. Simple and easy to read. Nothing notable to share.

Final thoughts
I love the idea of a space opera etiquette game, and I would be eager to play it more if it were longer (I wish it were longer). The ambiguity of the protagonist’s social standing caused confusion and occasionally backtracked from the exposition but there is still something rewarding about a low-key PC succeeding while totally out of their element.

You lean back, basking in the glow of conversational victory.

Especially when that element is a dramatic futuristic dinner party with (Spoiler - click to show) cybernetically enhanced staff and (Spoiler - click to show) deadly main courses. I had a lot of fun at seeing the outlandish and imaginative world of Sanctum, the ruling planet of the Luminous Empyrean!!!!

You are in a cryotherapy room, awoken by a smiling AI who has a little task for you to take care of before you go back to sleep. Of course, you will comply.

Gameplay
The game begins on a one-person ship called the Silver Lining. A ship called the Charitable Donation had gone missing and reappeared without any sign of its crew. Survivors? That is for you to figure out. The Charitable Donation is a research ship designed to be a floating lab in space to conduct experiments deemed too dangerous to perform on a planet. Behind this looms CORPORATION UNLIMITED, a mega-corporation that holds modern society in its palm.

After waking up from cryosleep you are briefed on your mission by DOC, the standard AI built into CORPORATION UNLIMITED’s ships. You learn that you are a Reclamation Unit (and human, even if CORPORATION UNLIMITED does not act that way. Speaking of which, the game insists on spelling that in all caps so I will do the same!) and can even choose your serial number. I was Reclamation Unit #7. How exciting!

It is slick how the game incorporates a general parser tutorial into the game by having DOC test your motor and cognitive skills as you re-orient yourself. It is a tutorial that does not seem like a tutorial even though you obviously know it is one. It is super short, so it does not drag on for players who know what to do.

This is time travel game. I want to be careful but do not consider that to be a spoiler because it is established early on and is the focal point of the gameplay. Soon after boarding the Charitable Donation, you trigger a time loop that sends you back to the cryotherapy room in 50 turns. Using clues found on the ship you try to identify tasks and complete them before the counter runs out. Then it’s back to cryotherapy.

I like how the solutions are revealed in layers. There was never a point where I was unsure of what to do. For example, (Spoiler - click to show) the captain left a password in her room along with a message saying that hints for a second password could be found on her computer. I knew that this was my immediate objective, and the information from this puzzle had clear applications in the rest of the gameplay. The crew literally lays it out for the player. They even give you a (Spoiler - click to show) passwords log that you can carry in the time loop without losing it.

The game does use some cliches such as learning about the story largely through journal entries (extra points because it is on a spaceship). But what makes Reclamation different is that you are not merely reading things that were abandoned. (Spoiler - click to show) Those entries are for you. The crew wants you to find them. Suddenly, these entries are no longer optional deposits of story exposition. They take an active role in the gameplay which gives them an edge. Plus, the amount of material, I feel, is reasonable.

Not just another time travel game
When I play time travel games, I sometimes find myself placing them into two categories (I know, there are plenty of games out there that do not fit either one). In the first, the player can navigate the timeline and are free to decide when to leave. Often, the protagonist rides around in a physical machine that they operate. There are no time-based restraints that control the gameplay. Examples include First Things First and Roger’s Day Off.

The other category focuses on a time loop that the player cannot control, such as Reclamation. Some of the best time travel games out there use this approach, although it can be difficult to map out the passage of time relative to the gameplay. I think of games like Möbius which are high quality but features a (welcome) challenge with matching the time loop with the player’s turn count. In Reclamation, time travel is streamlined and easy to visualize. If you compare time travel games, you will get a sense of what I mean. I am not bothered by accepting hints, but I am pleased to say that there was never a point where I needed to use them.

Even better, Reclamation adds a unique premise to its portrayal of time travel that also provides an integrated explanation as to why the player is always sent back to the cryotherapy room. The logic is that (Spoiler - click to show) if you are in a lab and perform a time loop that resets, say, after an hour, you will not end up in the lab. Instead, when it resets you are sent to the location where you previously woke up (unless you sleep in the lab, of course). This unpredictability was a side effect that the crew could not control and noted the dangers it could pose. As for the player, because they woke up in the cryotherapy room that is where they are transported. I thought that this was a creative way of tying parts of the game together.

Story
Reclamation takes place in the 22nd century and has familiar dystopian themes in its storyline. It reminds me a bit of Vicious Cycles, another parser (made with Inform) time travel game that considers the ethical implications of a vast corporate entity having the sole access to technology that can alter time. The player is stuck in a time loop that repeats until they find a conclusion. In both stories the creators of said technology start to have second thoughts about their work.

We know that CORPORATION UNLIMITED calls the shots when it comes to scientific progress, but you can only go so far before people snap. (Spoiler - click to show) Discovering how to create a temporal time loop was not enough. According to the captain’s correspondence, CORPORATION UNLIMITED wanted the research team to stay longer in space to develop a way of building this time travel technology into a nifty hand-held device.

By now everyone had figured out how this technology would be used. (Spoiler - click to show) CORPORATION UNLIMITED planned to put people in temporal time loops to maximize productivity. Time spent in the loop would feel like nothing to everyone outside it. You could get a year's worth of productivity instantaneously at the expense of people working away in the loop like a hamster on a hamster wheel. The crew of the Charitable Donation (such a cynical name, really) (Spoiler - click to show) have no intention enabling people to be turned into temporal hamsters, let alone accessorizing the technology for CORPORATION UNLIMITED's convenience. And so, the crew decided to destroy their own research. Discreetly.

Of course, that leads to (Spoiler - click to show) the question of, “where did everyone go?” The crew disabled their AI and made a small temporal copy of their ship and are hiding in it. The crew figured that CORPORATION UNLIMITED would investigate by sending a Reclamation Unit and decided to initiate a time loop to keep the protagonist from dallying with the corporation and instead follow the crew’s instructions to submit a report saying that the destruction of the time travel technology was an accident.

I have one question. It is about the (Spoiler - click to show) cat. Why did they not bring the cat with them? Was this intentional? Djamila's datapad says, "Once the cat was out of the bag,” which typically is a figure of speech, but I wonder if this is also a reference to the ship’s cat (who is named Pluto, by the way).

Characters
This is a world where everyone is formally identified by their job position and a number. You, for instance, are a mere Reclamation Unit (at least you get to choose the number). On record, the crewmembers of the Charitable Donation are units too, but their casual correspondence reveals lively personalities with real human names. The crew is interesting even though we never seen them in person. By reading their messages it really felt like they were guiding you along.

And no, (Spoiler - click to show) DOC is not on your side. He kind of reminds me of Georgie from lighthouse.

Visuals
This is an Adventuron game that utilizes some basic visuals. A built-in map is added for the player’s convenience. The map shows an outline of the Charitable Donation with boxes representing rooms. Nothing fancy, but practical. The screen also turns white as the time loop restarts and sends you back to the cryotherapy room which creates an intense effect.

There is one other visual besides the map: DOC, the ship AI. He is a cheery hologram of a beaker with a face, glasses, and a red bowtie. He is filled with blue liquid. (Spoiler - click to show) Despite his appearance do NOT trust him.

Final thoughts
This game has all the tropes: Cryogenic suspension at the start of the game, a single all-powerful megacorporation, a mysterious and seemingly abandoned spaceship, a mainframe AI, frequent use of journal entries, and time-travel thrown in for fun. And yet, it takes these tropes and sews them together into something novel and fun. While Reclamation has many similarities with other games, it feels like an original piece. It offers gameplay challenges without being too difficult and was rewarding to complete. There are two endings, and the (Spoiler - click to show) Humanitarian ending was brief but quite human.

Even if an NPC-less scavenger hunt in a dead spaceship is not of interest to you, Reclamation may surprise you with its player-oriented gameplay and interesting story.

In the far future, climate change has done a number on planet Earth. Glaciers are melting. After a particularly large melt scientists found a strange strain of fungi with incredible resilience to extreme conditions and sentient properties. After tinkering around with genetic engineering, the military winds up with humanoid plant-based beings called Hyphaens.

Upside: They make great soldiers. Downside: Without social interaction they cannibalize each other.

Gameplay
The game starts with heavy exposition before launching into gameplay. The protagonist is desperate to secure a job after being dishonorably discharged from the military and manages to find employment as a companion for a Hyphaen. Here, character customization is cleverly woven into an application form that allows you to edit the protagonist's gender, height, and other characteristics. The gameplay then consists of preparing and traveling to meet your assigned Hyphaen.

One thing I disliked was how the protagonist makes informed decisions while the player is left in the dark. The main example is if you decide to (Spoiler - click to show) explore the mall. The protagonist automatically starts buying all this stuff that is later used to create a makeshift weapon for self-defense. A brief mention of the protagonist’s intent for buying would suffice. Something like, “hm, these substances may be useful in repelling Hyphaens,” would have been helpful for context.

Story
The turning point is a gnarly scene where (Spoiler - click to show) the protagonist is being devoured by their assigned Hyphaen up arriving at the apartment. There are three endings, two bad, one good. So far, I reached (Spoiler - click to show) BAD END 1 and (Spoiler - click to show) GOOD END but not the third outcome. The good ending involves (Spoiler - click to show) fighting off the Hyphaen. It leaves the player on a bit of a cliff hanger since it just ends with the protagonist leaving, although there is the implication that the protagonist is now on the run from killing military property. I do appreciate how the author provides some additional exposition on what happened before ending it.

I spent a chunk of time trying to find a way to (Spoiler - click to show) avoid being attacked by the Hyphaen but I do not think that is possible. There are some mixed messages that I tried to decipher. The Hyphaen’s dialog after you successfully defend yourself suggests that the Hyphaen merely wanted a connection. That said, there is no kidding the fact that such a connection would result in the death of the protagonist. It was only after re-reading the concluding text about "separation-induced aggravation" that I started to hammer together an explanation.

I’m just going to take a whack at it. (Spoiler - click to show) There is some hive mind plant entity in the arctic that is connected to the Hyphaens that function as a "fungal network." This entity(s?) is referred to as Mother and Father, or at least some translation of it. An expedition went down there but was ordered to return when things started getting weird. We learn about this from one of the protagonist’s memories, but it is cut short.

Naturally, Hyphaens' central impulse is to communicate with themselves and a parent hive. But when humans decide to cultivate (or grow?) them in a civilization in a sad dome on a tundra, that living connection is lost. They still have social interactions with nearby Hyphaen and humans, but it is not the same as a hive. Without this link their mental state falls apart and aggression occurs when they socialize. Hence why the Hyphaen attacks the protagonist. Human companion programs were meant to stave off aggressive tendencies through regular mild interactions, but in this case, it was not adequate. That scene was intense.

Visuals
The game has a stylized appearance and colour scheme that adds a nice ambience. Black text box with wide margins and rounded corners that casts a shadow against a green background. This is paired with thick white text and yellow links. Also, there are these black rectangular boxes that briefly appear at the top of the screen throughout the gameplay that say things like (Spoiler - click to show) “TERMINAL: Dome Termed,” almost as if they were achievements before vanishing (see note).

Cover art is weird, terrifying, but cool. I assume that’s a Hyphaen?

Final thoughts
At first, I was not sure if I liked this game. I felt that the game was too short (though by no means incomplete) and that it left me with too many questions. But during my first playthrough I glossed over the large amount of exposition and backstory that the gameplay provides. When I went back to absorb the details, the story became more potent.

While I would have gladly played Defrosted if it were longer, I do think it is reasonable in length to keep players from being burned out. Its length is best described as compact. A lot of thoughtfulness has been put into this game and I am curious to see the author’s future work.

NOTE: Just as I was finishing this review my usual unobservant self suddenly made a big discovery. There is an arrow button at the top left corner of the screen (I know, it’s obvious) that opens to a menu with some useful features.

It has a dictionary of terms that are updated throughout the gameplay, and stat levels for the player’s strength and pheromone levels. The popup boxes that I mentioned earlier are meant to inform you that new terms have been added to the dictionary. I cannot believe I missed that.

Oh no! Aliens have arrived and the fate of the city is now in your hands. Campus Invaders is a comedic sci-fi peril story about a normal citizen tasked with saving the day when aliens from space park a spaceship over Vigamus Academy’s campus. And here all you planned to do was attend a seminar!

Campus Invaders has ups and downs. On one hand, this is a great game for newer players because the puzzle logic is not too difficult (Spoiler - click to show) (ex. teacher stuck in a vending machine? Look around to find a coin. And you do. It is laying out on the floor of another room) while also having the player think outside the box, such as dealing with the alien in the bathroom. Objectives are also easy to follow because NPCs tell you want to do and then point you in the next direction after you have fulfilled a task. The downside is that the implementation of the puzzles is not as well-fleshed as the concept behind them.

The main issue is that elements are scarce. Gameplay follows a show/trade pattern of showing or giving something to one NPC in exchange for something that you need to give to another NPC. I think there may be a term for that. Because the setting is a research facility and the protagonist is prospective student, the interactions tend to be about gaining approval or permission to access new locations. Nothing wrong there. What falls flat is that character interactions lack substance which drags the game down since character interaction makes up a chunk of the gameplay.

NPCs have their one moment before retreating into the background as awkward scenery. It feels unnatural. Lack of responsiveness is primary issue. I was a bit surprised at how faculty do not react when you run tearing into their office amid an alien invasion. They just sit there at their desk until you talk to them. When you first speak to them, they have a verbal response, but afterwards you get a pre-recorded message that does not even come from the character, or when you first meet Mica Hela the game says, “Mica Hela welcomes you to her office and tells you that anything (or almost!) she can do for you, she will,” rather than her character speaking to you.

Besides character interactions, the other flimsy element in the game is with the scenery. While the room descriptions are interesting, the things inside them are only sparsely implemented. The description for the terrace is:

You went out on the terrace of the upper floor of the Vigamus Academy, on which a beautiful warm sun shines. From here you can clearly see the large alien spaceship that stands out in the sky and the thousand colored lights that turn on and off on the glittering metal hull. To the west, you can go back inside.

>x spaceship
You can't see any such thing.

I thought that the spaceship was clearly visible. It was frustrating to be unable to examine key items to learn more about them.

There are no true bugs that keep the player from making progress, but there some superficial ones. The game allowed me to pick up the trolley and carry it around in my inventory like a bookbag. It is ironic that it says, "You could use it to put in the bulky stuff you won't be able to carry by hand." You would still be carrying the bulky stuff anyway when you put it in the trolley. This was weak design.

It is not the most polished game but still decent. While most of this review has been spent analyzing the downsides of Campus Invaders, there is merit. It has spirit and is short enough to keep the story’s enthusiasm from fizzling out. Never does it waver from its atmosphere. Perhaps some testing would have tightened everything to make it more of a finished piece, but it still offers a fun time battling with alien invaders. (Plus, I liked the inclusion of a (Spoiler - click to show) secret section in the game).

In A Long Way to the Nearest Star, you play as a criminal on the run after an almost unsuccessful heist. You escaped with the goods but damaged your spacecraft along the way, forcing you to find a place to hide and make repairs. Luckily, you stumble across a seemingly abandoned research vessel that may solve your predicament.

Gameplay
After a brief intro, the gameplay begins in the landing bay of the mysterious ship where you discover that you are not alone. Your presence caught the attention of the ship’s AI, Solis, who communicates through terminal screens placed throughout the ship. Solis is eager to help but clearly guarded about the circumstances surrounding its own ship. The player is reliant on Solis to help them navigate the ship but is also compelled to find ways to sneak around the system.

The story and characters are worth about three stars, but the overall game gets four because of its puzzles and how those puzzles are implemented in a choice-based format. This is a puzzle-intensive Twine game with free range of movement. You have access to a fairly large ship, and the game lets you wander through it almost like you would if it were a parser game. This approach may appeal to some players. Some of the gameplay mechanics are quite clever. I especially liked how the game allows you to program the janitor bot to go to a location and then automatically follow it. Useful for puzzles while reducing travel time.

There is a lot of in-game guidance. In your inventory is a notes section giving you an overview of what you have learned, and if you take a break in your own ship the game gives you some suggestions of what to do. The author also has hints cleverly formatted into a Twine piece included separately with the game. All of this was nicely done, and I felt it was worth a mention.

The author gets some bonus points for worldbuilding. The terminal in the research lab allows you to look up planets in a digital encyclopedia. When the game ends, you are presented with the statistics of your playthrough which includes how many planets you researched. That alone was enough for me to replay the game just to comb through to find any planet names that I could punch into the encyclopedia. In case you are interested, I found 11 planet names.

Story
The story retains a suspenseful and intriguing quality. The gist (I do not consider this part to be a spoiler since we know this at the start of the gameplay) is that there was a collision with the ship that caused toxic gas to enter the ship, killing everyone onboard. We learn this from Solis, (Spoiler - click to show) but the player knows right away that Solis is not being entirely truthful. It is not a matter of discovering whether Solis is hiding something. It is a matter of finding what it is hiding. Entering the medical bay was kind of chilling. On top of that, it has six endings which encourage replays.

At the end of the game there is this abrupt plot twist that it failed to pull off. This sudden twist, mega spoilers by the way, occurs (Spoiler - click to show) when you learn that Berthold was behind it all. It turns out Solis did not kill Trill, but Berthold did and made Solis think otherwise. That part had some decent backing. But then there is ambiguous explanation on the other ways Berthold potentially interfered, followed by an avalanche of speculation of why he attempted sabotage. You show Solis the captain’s real data pad, and the game rushes to explain everything in one swoop. Yet, it does not even clarify everything. The game says, yeah, Solis gassed the crew, but it also did not gas the crew. Any uncertainties are blamed on glitches. It seemed flimsy in comparison to the rest of the story which had been carefully constructed.

Characters
The player can choose the protagonist’s (fake) name and their brief cover story, but otherwise the game is hesitant to give out details about the protagonist since they are on the run. You can still get to know the PC in subtle ways, such as reprogramming the food options in food synthesizer and eat them. This gives you a look into the protagonist’s previous experiences. Some are quite interesting.

I did not particularly care about the characters which surprised me (This game is almost NPC-less. By "characters" I mean Solis, the protagonist, and the janitor bot. Okay, the janitor bot was nice). If anything, I was more interested in the crew (Spoiler - click to show) which is a shame since they are dead. We only get to know them through video recordings and see their corpses in the medical bay. They seemed to be a unique blend of species and cultures.

AI characters can be a lot of fun regardless of if they are villainous or friendly. I like it when such characters engage with the player, and Solis does just that. But for some reason, Solis did not have much of an impact on me. I find it hard to pinpoint why.

Despite the (Spoiler - click to show) ominous feeling we get from the “account” of what happened to the crew, Solis does seem genuinely interested about the player. The early gameplay has some cliché “gee, hello there, organic life form,” banter that stretches on a bit. Other times the exchange is more meaningful. I like how discussions tend to incorporate mentions of planets or civilizations that give you a broader sense of the story’s world.

Still, the character lacked in dimension. Remember how I said the game gives you a statistical report of your playthrough? It includes Solis' attitude towards the player which I thought was interesting because it made me reevaluate some of my choices to see how they influenced interactions.

Visuals
Generally, the game uses a black screen and links clearly indicated with light grey rounded boxes. This basic look is offset by some stylization that adds some flair.

For Solis’ dialog, visuals are used to create the impression of looking at a terminal screen, featuring a rounded black textbox with a thick border and green text. This was a simple but effective look. Similarly, when it comes to reading data pads the game puts the text in colour-tinted boxes with rounded corners to simulate the feel of reading off a tablet. All of this was creative and eye-catching.

Final thoughts
Overall, it is a quality game. It was not as potent as I expected, but the gameplay is solid and will likely be appreciated by players. This would be a good choice if you are someone who likes Twine games with a little more technicality because it has plenty of puzzles and freedom of movement to interact with the setting. Its IFComp submission says that its playtime is about two hours which is about accurate. Give it a shot.

If you enjoyed A Long Way to the Nearest Star, you may like Lux, another puzzle intensive sci-fi Twine game where the player heavily relies on the guidance of a mainframe AI as they navigate a nearly NCP-less setting in the aftermath of an unknown disaster. It is also an IFComp game from a few years back.

Those were the words going through my mind as I looted the storage lockers while hiding from a xenomorph monster. In this game you play as space-based scavenger camped out on planet Mercury. You need to repair and refuel your ship but cannot afford it. The plan is to wait for a scavenging opportunity. Finally, you spot a derelict ship drifting towards the sun. Perfect for looting. But just because it is derelict does not mean you will be the only living thing on there.

But first…
If you liked the planning part of Sugarlawn then this may be the game for you. It has a lot of replay value in a similar fashion. Into The Sun borrows a few structural features found in Sugarlawn. In Sugarlawn you are a contestant in a reality TV show about collecting as many antiques as you can in 30 minutes or less. When time runs out the player is presented with a list of the items they collected and their monetary value.

Into The Sun is similar in the sense that the protagonist is collecting items under a time restraint with the central goal of maximizing monetary gain. It too, evaluates the profitability of the player’s looting excursion at the end of the game. But Into The Sun is no copy of Sugarlawn. It does not take a fill-in-the-blanks approach where merely the setting and inventory items are swapped out to create a sci-fi replica. The game still distinguishes itself in both gameplay and story.

Gameplay
You begin on the derelict ship’s middle level next to the airlock that leads back to your own ship. Things are eerily silent but that soon changes. The author has maps for the game, and I highly recommend using them unless you want to visualize an array of junctions, companionways, and levels. I just opened it in a second tab to refer to as I played.

There is a time constraint. As the derelict ship drifts closer to the sun, it gets sucked in by the sun’s gravitational pull. The farther an object goes in, the more difficult it is to break out. The top of the screen lists the gravity level as it increases. If the player waits for too long, they burn up with the ship. I feel like the time limit is reasonably paced. It adds urgency without overwhelming the player.

One of the main gameplay attractions is the xenomorph alien that adds suspenseful atmosphere and logistical factors that the player must manage. The xenomorph is trying to hunt you down. There is always a sense of danger since you can hear it searching.

Starboard Shuttle Bay - Deck B

The shuttle bay is a round room with an airlock on the forward end. There's not as much smoke in this section, but there's a lot of haze. Looking through the observation window, you see a shuttle that holds four.

The airlock's been beaten on and is damaged. The only exit is port.

You hear something slithering towards the port side of the ship. Distant, but it's coming towards you.

The player has limited means of defending themselves, and it is so tempting to just “undo” whenever you run into the alien. But I appreciate how the game does not let you off the hook that easily when avoiding it. As it travels the ship it spits acid on valuable things, destroying them. If you want to nab this or that you better plan around the alien’s movements before they get *acidified. Sure, you may be able to “undo” to skip the inconvenience of fighting the alien but that will not stop it from trashing the ship. While the player may be able to use loopholes here and there, they cannot do so entirely.

All sorts of obstacles emerge for you to dodge. Oh, you want to go down this passage? Too bad. A pipe just broke and hot steam is spewing everywhere. It really makes the player think on their toes. Play the game to see for yourself.

And best of all….

NO INVENTORY LIMITS!

Don’t get me wrong, inventory limits can have a purpose. They add an extra challenge to the gameplay and promote strategizing. Still, they are frustrating, and I am a tad spoiled by games that do without. Deep down, I love it when there are no limits especially for a game where the goal is to loot anything that is either not nailed down or nailed down under lock and key. Barriers mean little for eager scavengers. This raises the question of how realistic it is for a protagonist to be able to gather endless amounts of stuff while still being able to climb ladders and similar activities that require the use of at least one hand. In this game it is no problem. The protagonist has a sci-fi equivalent of Mary Poppin’s handbag which allows them loot derelict ships with relative ease.

Story + Characters
The story is focused on the protagonist’s objective of scavenging enough to afford to repair their own ship. But there is some secondary story content about the derelict ship and its long-dead crew which is gleaned from flashcards found in the ship. When you put the flashcards in the data reader you find the ship’s old logs. So far, I only found two flashcards, an orange one and a yellow one. I do not know if there are more.

It is a bit of a cliché storyline but still intriguing. (Spoiler - click to show) The ship received a signal from an unexplored planet and the crew decided to investigate the surface. A crew member was infected by something that later killed him and infected another crew member. Something happened and suddenly there was a xenomorph onboard. That is all I know.

The only question I have is about a comment the game makes about the (Spoiler - click to show) ship’s AI. If you acquire the AI core the game says, "you get 200 dollars for the insane AI." When it says, “insane AI,” does the game mean that the AI was responsible for the disaster, perhaps for the strange signal or the creature infecting the ship? Or is it just malfunctioning?

Final thoughts
In a nutshell, Into The Sun is ultimately a replay puzzle in a spaceship setting. And a fairly unique one.

At first glance, I assumed the game would follow the familiar mold of a protagonist exploring a disabled ship as it drifts through space. Usually these involve repairing it with a “quick fix” to restore the power or warp drive or similar concept to enable escape or rescue. Instead, Into The Sun throws this to the wind. Repairs? Strip everything of value and leave. Oh, and there is an alien monster tossed into the mix. I just had a lot of fun with strategizing and exploring the setting.

Right now, it is one of my favorite entries in this year’s IFComp, although I still have quite a few remaining to play. We will see. If anyone is interested, my current high score is (Spoiler - click to show) 3,100 adjusted dollars. Someone will likely surpass that sooner or later.

*You certainly do not see that on Sugarlawn!

You are trying to submit a story to the Salangrazarian Publishing Department. A rather controversial story. But if you want to be a published author you must write and rewrite to please your editors. Especially the rewriting part.

Gameplay
Gameplay is linear. The player does not choose what to write. Instead, the protagonist writes a sentence and receives feedback from the editor. Interactivity consists of the player choosing whether to accept or reject the feedback. The only way of making progress is to accept the feedback but the publishing company’s response to rejection is humorous. The player can experiment with this throughout the game to find the different responses. Be aware, some of the story contains physical and sexual violence.

Technically, the game does not delve into a full story. It only consists of a paragraph, but for a short Twine game this is effective enough at conveying this idea.

Story
Initially, it did not strike me that the protagonist was trying to write a story based on an actual historical event. The first time I played the game I simply made the editorial changes without question to see how it would end. It seemed like they were reaching for story cliches, futuristic stock answers for a standard fairytale. Rather than an evil wizard or a menacing dragon in an ancient kingdom you have barbaric ogre-like aliens raiding jungle planets. Then I glanced at the game’s description and played the game with the intent of always rejecting editorial feedback. A deeper story emerges.

Regarding the massacre mentioned in the game's title, (Spoiler - click to show) Salangrazar had invaded Tripladin (which I believe are individual planets). In fact, "invading" would be putting it lightly. The capital was ransacked, and the citizens conquered. Tripladin is still under siege. Thus, why the Salangrazarian Publishing Department is so touchy about the protagonist's story.

The editor, I think, seems somewhat oblivious to the protagonist's true intention with writing the story. Rather than critiquing the story with the sole effort of acknowledging and calling out the protagonist’s attempt at sneaking in subversive content, the editor seems focused on critiquing it from the standpoint of merely evaluating a product that will sell, by nipping at small technicalities. The main giveaway is when (Spoiler - click to show) the player rejects the editor’s comments about the prince assaulting the princess. The rejection message reads, "The truth is out there, but we do not permit it to enter our publishing department." Other than that, they prefer to tip toe around the controversy.

Characters
There are no characters in the classical sense. The only interactions with the publishing company are through editor notes. The PC has no background, but I found it humorous how exasperated they feel as their story becomes increasingly micromanaged. The player in turn, feels prompted to just give up and give the publisher what they want. The irony (Spoiler - click to show) in this is that once you finally hack out a story worthy of being published you learn that you are only going to make $30 in profit. Even worse, the publisher's postal company only sends out payment ships once every 100 years. Oh well.

Visuals
It is a nice example of how you can use a small array of text effects in a simple Twine game. There is a mix of formatting, such as bold and italicized text. Different colours are used and crossed out areas indicate corrections made by the protagonist. Everything is neatly organized against a black screen.

Final thoughts
This game is extremely short and offers some bite sized humor. The premise of submitting a story to a galactic publishing company is a creative concept and could be classified as a “lunch break length” game. The editor’s feedback also opens a window into a variety of unique alien beings in the game’s universe, such as the (Spoiler - click to show) tribes of Rguzar IV or the Kraskan Fleamen, which adds a layer of creativity and light worldbuilding.

I would recommend this game if you felt like playing a short and humorous sci-fi game that focuses more on a general story idea rather than a richly detailed story.

Disclaimer: I am not literate in French. Instead, I played the game with translation. I would highlight the entire page, right click, and select "translate selection to English," which did a decent job (I think). Does that overlook the fact that it is a game made in a foreign language? I hope not. I am not trying to distract from that. But it was a game that I wanted to play for a while, and I was excited to find a way to do so.

The premise of the story is that the protagonist previously received a job from a high-ranking executive of a large corporation with the task of ensuring the safety of a visiting nephew. But when this goes wrong the executive goes on the warpath. The protagonist is now on the run, trying to make ends meet with shady jobs.

Night City 2020 is set in a world where only people with upper-class jobs can live in the middle of the city with skyscrapers containing the best cutting-edge technology. Without a corporate job, an individual cannot even indulge the thought of stepping foot into that area of the city. If you did have such a job, it would change everything.

Gameplay
This is an RPG game. Stats, character customization, combat, you name it. All in a choice-based format. It also follows a choose-your-own-adventure style. The player is presented with one or more choices that are numbered: If you want to do X click to passage 4, if you want to do Y go to passage 10. This format tends to make the gameplay more generalized at the risk of the player not feeling like they can closely interact with the story. I think Night City 2020 makes up for that by allowing the player to fine-tune their character’s stats and inventory items (as is often the case with RPGs). Without these features the game would have been less engaging.

The game begins with customizing your character with cybernetic implants. Each option gives you a wide range of abilities from built-in night vision to brain-computer interface. However, each implant reduces your humanity score, a stat that affects your ability to connect with other people. This was a catchy way of starting the game.

Gameplay branches out quite a bit, depending on the job you pursue. You can investigate a gangster's missing sister, investigate the disappearance of a corporate official's daughter, or accept a mission to assassinate a former rival. Each route has unique gameplay but later, they start to merge. The game has a score system of 20 points. Not all endings reach a perfect score. Instead, the game encourages the player to try out different routes, adding replay value.

Story
While the jobs feature different gameplay in the first half of the game, they eventually gravitate to the (Spoiler - click to show) same location: the pharmacy, where the endgame occurs. This is where the story becomes streamlined. They all center around discovering a scheme of illegal cybernetic surgery and human trafficking. How the player responds to this is tailored to the job you choose at the start of the game. The story content consists of language and violence. There was one scene with some (Spoiler - click to show) brief graphic sexual content that caught me off guard but most of the game does not include this.

There is some worldbuilding. There is an opportunity to check the news online, and the game will sometimes interject news items in certain scenes, such as when using public transportation. The Neuromat implant also sometimes provides extra information on things you encounter. I think this attention to detail helped make the city setting more interesting.

Design/Visuals
Its appearance is white background with black lines and text. Some dialog is colour-coded for convenience. The left side of the screen has a column with the player’s stats and links with reference guides, such as a glossary, that provides nifty background information without leaving the game. This was one of the first things that stood out to me.

Occasionally, there is art. I did not see the first piece of art until later in the game, so it took me by surprise. The art is basic and done in pencil or ink but does augment the player's imagination of this futuristic cyberpunk world (I guess technically it takes place in the past since it is set in 2020 instead of 2022 as I write this review. Everything in it is still futuristic). I found four total.

Design wise, there are some rough areas. I only found one broken link. When I clicked on (Spoiler - click to show) 305 it led me to a page where the only option was 85, but it was not a link. All it said was "[[85]" which required that I restore to an earlier save. I also encountered two cases where a macro error shows up instead of the link. Other than that, the game seemed consistently built.

Final thoughts
It is not a flawless piece, but it is one that can maintain the player’s interest, especially if they enjoy RPG games. Be aware, if you end up translating the game like I did with my browser, you will probably have a slight less seamless experience. There is lots of stat management with a focus on combat, and its branching gameplay encourages more than one playthrough. Overall, it is a nice addition to the cyberpunk genre.

In fact, dazzling would be an understatement. But before we dive into that let’s start with some background.

Note: This review is about a first chapter demo for a commercial game (hm, now that I think about it Andromeda Acolytes is probably the first commercial Inform game that I have played). As a formality, the review is also based off info on the IFDB listing. Other websites have additional content.

Continuing…..

Andromeda Acolytes is part of the Andromeda Series and, based on what I have seen so far, seems to branch off in terms of story depth and gameplay style (such as scuba diving). If I had not known that this game was part of the series, I would not have made the connection, or at least within the demo. The Andromeda Series was created by Marco Innocenti and is certainty worth your time. I was not particularly a fan of Andromeda Awakening - The Final Cut (I must admit, I only played the first half) but was really impressed with Andromeda Apocalypse — Extended Edition which won the 2012 IF Comp (and I played that one several times and recommend it). There are other installments by other authors but those two seem like the "main ones.” Even if Andromeda Acolytes takes the series in a new direction, I have no doubt that it will be valuable addition.

Gameplay
This is a seriously cool game. When I first saw it, I pounced. The demo reminds me of the game Subnautica (non-interactive fiction) and Tangaroa Deep (Twine) composed into vivid Inform piece. For a true effect watch Blue Planet afterwards.

The protagonist’s name is Korhva Vits, but usually referred to as Vits in the game. Vits has been assigned to a submersible mission to clear debris and relocate sea life. The player stays in a dive zone where they manage objects’ weight limits and their own oxygen levels. The game ends once you complete all tasks.

The locations can be overwhelming at first due to the amount of detail (which is also a good thing) but the game makes things user-friendly, especially with character dialog. The “think” command summarizes your tasks which is especially useful. I appreciate how the player’s oxygen levels decrease at steady but slow pace rather than depleting too quickly. Part of the immersive quality is that creatures are swimming around as you explore which gives it a simulation feel. It is the construction of a detail ecosystem that makes it vivid.

Story
The overarching story is that the planet Monarch (actually, I do remember Monarch from the other games) is populated with a modern human civilization that has no knowledge of how humanity came to exist on their world. The demo is too short to really delve into the game’s vast story. If anything, I was expecting a bit more in terms of a synopsis, but the effect only leaves me drooling for more. The game’s description (VR, cities, machines, wild technology, you name it) is vast, and the demo only skims the surface. There is a (Spoiler - click to show) mysterious slab under the boulder in the trench, which was interesting, but otherwise no story developments. But hey, it is a demo, and I think the author balanced story content with gameplay. Andromeda Acolytes paces its worldbuilding.

Characters
The gameplay is in first person. There is not a whole lot of information on Korhva Vits, but unlike Innocenti’s first two games in the series the protagonist is female. I thought that this was an interesting change and look forward to learning more about Vits. The game’s description explains that there are three other female protagonists who will appear in the full release, but for the demo it is just Vits.

There are three other characters whom the player hears over the comms: Dion, Hugo, and Eichi, but the player only speaks to Dion since the other two are in different dive zones. The game uses the “talk to” mechanic and characters have detailed responses based on the location whenever the player speaks. Even though the game does not share much about Dion’s character they are still interesting because of their friendly relationship with Vits.

Visuals
That is correct, there is a few visual elements in this game. There is a map on the right side of the screen and consists of a bright blue gradient background with boxes marking the player's location and the possible exits. This minor but crisp feature evokes an ocean atmosphere with its colour choice. It can also be turned off to save screen space. The author seems to strive to make things user-friendly. Hopefully the full release will continue with built-in maps.

(The cover art is also fantastic, by the way.)

Final thoughts
As you can see, the game’s page on IFDB says that the game will be released in 2025 (potentially shorted if you support the author) which is a while, but I think it will be worth the wait. If the demo is any indicator, I have a feeling that it will be immensely popular with players when it is released. The player only gets to dip their toes into the sand with the demo, but it has every sign of being a stellar game.

Our PC is Yonza, an alien protagonist seeking out a life with purpose. Often games opt with human protagonists with diverse alien NPCs, so I like the game’s approach. It is also a game about gender and life circumstances. As Yonza you will explore these issues by interacting with a diverse range of characters.

Gameplay
The decision at the start of the game is to pick between the Rebel Alliance and the Federation. If you choose Rebel Alliance, you go home to share your decision with your family before leaving to find Rebel presence in the city so you can accept your first mission. This part involves hanging out at bars and burger joints until you find the correct password to meet with other rebels. If you choose the Federation instead, you will automatically be assigned to a mission. This too, involves investigating culinary establishments but character encounters have some variation.

The game has the player roll dice for some choices, but dice concept is only used a few times. I am not particularly a fan of games that rely on dice, but if they are going to utilize it, I feel like they should stick to it. This game abandons it early on. The game also does not say that you need dice at the start of the game so you might be left hunting for one after the game begins. Or you can skip but I still gave it a try on my first playthrough.

Eventually, the game becomes less interactive. Aside from choosing the order in which to talk to people, which does not affect anything, the gameplay consists of clicking on a single link at the bottom of the screen. There is also a lot of text on the screen that can be difficult to process. I recommend playing this game at least twice to experience its content.

Story
The game's genre on IFDB is "Educational," and its description says that its goal is to tackle queer issues in a sci-fi setting. This is an excellent goal. Science fiction opens all sorts of possibilities with alien species, locations, technologies, and political customs that act as a backdrop when exploring present day subjects. For an author, your mind can go wild while conveying important messages to players. In fact, there already are games out there that analyze crucial topics about social issues and human rights through their engaging stories. Star Yonza would be the same way if it did not suffer from unpolished implementation. The idea is still important, but it is too confusing and scattered at the moment for its idea to leave a mark on the player. I liked how the game portrays a diverse range of family structures, such as with Yonza’s family, but the rest felt murky.

There are two story points that the player investigates. The first is (Spoiler - click to show) housing displacement in the aftermath of a civil war, and the second is a lumber resource conflict. The player interviews a selection of individuals for both issues. The most cohesive part of the game is talking to NPCs about their experiences. This is where the game starts to dig in with subjects about housing and economic equality. For each case the game lists NPC responses on the screen so you can compare them until everyone has been interviewed. The gameplay then shuffles on. I found it difficult to outline the game’s story structure and plot elements, but the ending (Spoiler - click to show) is lighthearted. It is about cultivating your own family and friend support system with the people around you. It also a satisfying ending for Yonza because everything seems to click into place.

Visuals
The game sticks to a basic visual design with white screen, black text, and blue links. The text was easy to read though paragraphs are formatted awkwardly.

There are quite a few spelling and grammar errors. I am not referring to pronouns which at first, I thought they were misspellings until I realized that they are intentional. I do like how the author strives diversify beyond him/he, she/her, they/them pronouns in a sci-fi work.

Final thoughts
Star Yonza is a short game (10 minutes) that you should play more than once to get the most out of it. Even though it seems to have (Spoiler - click to show) only one ending there is variation in the gameplay that can be enjoyed. The game is rough around the edges, something that would be alleviated through testing. Regardless, its characters, including Yonza, are still vibrant and its subject matter on queerness is still significant.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Okay, fair enough. But then:

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

Or

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


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

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

Star Hunter begins with "You wake up, ready to make yourself incredibly rich in the forgotten ruins of the Tartuest sector." Sounds like fun. Unfortunately, it is not a particularly fun game. So many rooms. Large locations that are mostly empty and devoid of any story content.

There are only a few cases where the exciting feeling of plundering abandoned alien worlds does emerge, briefly. The author has the right idea, but the implementation is lacking. The walkthrough will make your head spin. If you are going to attempt this game, I recommend that you use it.

Gameplay
You have a small personal spaceship called Atlantis, just large enough for you and the treasures you uncover. A central gameplay mechanic is the management of navigation tapes and transit bubble chips for travelling. Navigation tapes allow your ship to travel to other planets whereas chips enable you to beam down (Spoiler - click to show) (bring your gizmo with you to avoid an unwinnable state) to the surface.

The game has a Robot Bazaar where you trade items with androids. This sounds like a cool concept except that these are the stingiest androids you will ever find. They want chunks of your inventory for most items, and it is extremely difficult to know which items you will need later down the road. Many of the items on sale are red herrings. Things that look like they would be helpful only end up being a waste of precious tradeable items.

There is a pattern of going to a planet to find valuables and returning to the Bazaar to trade those valuables for other items and then going to another planet to repeat the process. After a while it became tedious. If you are not using the walkthrough I recommend saving whenever trading your items.

When it comes to scavenging objects are often found in the most random of locations such as a (Spoiler - click to show) milkshake in the middle of a transit alcove at the Bazaar. They have little context for their placement. I can understand finding a (Spoiler - click to show) discarded spoon in a campsite but a navigation tape conveniently on the ground or a chip in a deep mine shaft? It seems too random and happens throughout the game.

One last note on gameplay: When the player tries to dig deeper and go off the beaten path the game totally leaves them to fend for themself. For example, the (Spoiler - click to show) purple barrier in the bazaar that is said to be off limits but there is a Saxon disc being sold by the black android. So of course, I tried buy it hoping to find something interesting. This is what happened:

Saxon's transit alcove
You are standing in a bare and cramped chamber. Were you expecting something more exciting after all the trouble to get inside?
(yes, yes I was)

I should have known better that the game would not offer anything. Naturally, this also meant that I was in an unwinnable state since I had to sell most of my stuff to get the disc.

Setting
Some places are more engaging than others. Lack of a detail-heavy narrative can give the player an opportunity to just explore and experiment with their environment. Unfortunately, there is usually little to interact with. These are just my thoughts on each of the locations in case you want to compare your impressions with them. This whole area is one big spoiler so I will just put it all under a spoiler tag. Besides the Android Bazaar there are six other locations.
(Spoiler - click to show)
Survey site: An abandoned archeological site and the first location in the game. Mildly interesting and carries as strong “scavenger vibe.” What ticks me off is that the player must purchase the hatched tape to return to this location. But this is where the game begins how did the protagonist manage to travel to I without having the hatched tape in the first place?

Statue: This was a cool idea but extremely sparse. You wander through a giant statue of a warrior. Sadly, you cannot even examine the city ruins that are visible from the top of the statue or explore any of the details in the abandoned train station under the trap door.

Observatory: This is an abandoned house with an observatory. The rooms tend to have more scenery even if they player is unable to interact with it. The nice thing is that the valuables are easy to find, and at least it shares the same tape (striped) as the Robot Bazaar. All you need is the OBSR chip to get to the surface.

Mine: I do think the game captures the feeling of being deep underground, especially the surprise that the bottom of the shaft is not the true bottom. Here, you look for things that have hardly seen the light of day. This one is also touchy. MAKE SURE YOU SAVE BEFORE YOU EXPLORE THE MINES! There is an absolute trap. The mine shaft platform has a lever for going up and a lever for going down. When you first arrive, it is so easy to pull one of the levers thinking that you are in the platform area that moves. Suddenly the thing will start descending with both levers on it and before you realize it you are in an unwinnable state (you cannot “undo” twice in a row). Same principle goes if you are standing at the bottom of the shaft.

Cube maze: This is one is probably the worst in quality. You arrive outside a giant cubic structure in an alien grassy field, which had cool atmosphere. But when you step into the structure all you find is an endless maze of dark rooms. Without the walkthrough it is impossible to know how many items you need to find. When the player searches the maze, their will likely find a chip and white cube* without much hassle, and then leave (like I did). But there is another precious item, a crystal cat shoe, that is hidden deep in the maze on the third floor. This gets the player worrying if there is anything else that they missed (the walkthrough says no), making the gameplay frustrating. The two redeeming qualities is that one, it is easy to exit the structure (stumbling around usually does it), and two, you only need to visit this location once. *The white cube is interesting but none of the androids seem to know what it is. Perhaps it is a red herring?

Garden world: This was the nicest location with its flowers (smell is implemented for the flowers) and streams. But I have a complaint about the gate. The key to unlock it is found on the planet with the observatory. What is the likelihood that the rusty key happens to unlock the gate in a mystical garden world? The fact that the key was found in an overgrown garden serves as a subtle hint, but it is still hard to believe logistically. You must be careful too. To buy the tower disc you give the black android nearly all your transit chips. If you do this without having found the key in the observatory you end up in an unwinnable state because you can no longer go back to retrieve it. Right when you are almost at the end of the game!

Story
Apparently, the whole point of the game is to find the “fabled lying bear of Deneb.” But the game never mentions it aside from a short sentence (and in the IFDB blurb) if you ask for help. There is no story about the bear or why it is so legendary. It is only after you (Spoiler - click to show) find the bear that the game has anything to say about it. The only indicator of its location is if you ask the blue android about the rainbowed tape. The android will explain that it leads to “Deneb Eta.” But there are no legends or bits of information that fuel the protagonist’s drive to find it. Having some story background would be immensely helpful in focusing the player’s objectives. It makes things less meaningful. There is simply no story tying everything together.

The game ends with (Spoiler - click to show) finding the bear in the tower on the garden planet. But after all that effort put in to find the bear the player is rewarded with a flimsy ending. It reads, "After a moment's consideration, you take the lying bear, which is worth the fortune that you were looking for, and the unfamiliar transporter chip. Will it take you somewhere that you can make the sale??" Game finished. It left me thinking “that’s it?!” We never learn what is so significant about the bear, only that the protagonist is tempted to sell it. The only part I liked was (Spoiler - click to show) that the bear comes with a NEXT chip which hints at a future adventure.

Characters
It was not until after I played the game that I realized that it is almost NPC-less. The only other characters are the androids at the Bazaar. The protagonist has no defining details aside from the fact that they are called “Sir” by the androids and the Atlantis onboard computer.

There is an inkling of a story with the protagonist but the game reveals little. If you examine the (Spoiler - click to show) rusty pipe from the mine the game says, "Something about the pipe tugs at your memory." The description of the cap from the tower in the garden world is "Something about the hat seems very familiar, and you remember wearing it.." A similar thing occurs if you examine the white candy on the statue planet. I actually thought that there was something to be discovered but sadly interacting with the objects did nothing.

Final thoughts
This is a long game. Really long. But I am rating this game with two stars because I did enjoy bits and pieces of it, however small. I think the game would have greatly benefitted from a smaller map with more detail rather than using vast and weakly-implemented locations. On top of that the forgiveness rating is cruel. There are so many ways to make the game unwinnable. This game has all the potential of being an exciting treasure hunt game with a sci-fi setting but instead the gameplay is confusing and leaves the player anxiously wondering if they traded the wrong item or made the game unwinnable.

Was this game ever tested? I found no tester credits. That said, it is not a particularly buggy game. If you enjoy excessively long and technical treasure hunt games this might be an interesting piece to try. I do believe some people might like this game. But if anything, play it with the walkthrough.

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

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

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

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

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

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

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

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

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

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

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

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