Reviews by verityvirtue

Note: this review is for the Undum/Vorple version. It does not appear to work on Google Chrome (44.0.2403) or Safari (8.0.8).

You were born on the Magellan, kilometres and kilometres away from Earth. You were born and raised in space, and the ship Magellan has been the only home you've ever known.

You want to get home.

Starborn is a melancholic exploration game. Originally a Z-machine game, it has since been adapted for Undum/Vorple, which is a natural fit for this format. The writing is clean, though unremarkable; the most memorable feature about this game would probably be the close attention paid to the playing experience. Keywords are both hyperlinked and given a special column. Navigation can be done either through the hyperlinked keywords or through the panel on the left.

In terms of story, the author gives hints as to what's going on, but the writing has some emotional depth: a sense of alienation (ahem) and loneliness pervades the descriptions of Earth, and of yourself.

You are a serial killer, with his (his? It’s not entirely clear) next ‘guest’.

The Urge is by turns gory and mundane, but largely linear. It is more a character study than an interactive story. It takes us through what the author imagines to be the everyday life of a serial killer, (Spoiler - click to show)juxtaposing the PC’s uncontrollable bloodlust with mundane activities like cleaning up and going grocery shopping.

What graphics included in the game are well-rendered and attractive, but the formatting of the text had several slips, including missing punctuation marks and inconsistent line breaks.

The story could also have taken some interesting turns - letting the reader decide the PC’s motivation, for example, or the extent to which the PC will go. Instead, the linear storyline reads like lots of other serial-killer TV serials, with little nuance or, indeed, anything to invest the reader in the PC. Maybe this was a reflection of the unstoppable nature of the titular urge to kill. Maybe it was unintentional. But it felt like clicking through a story, and not a very engaging one, at that.

Overall, I felt the graphics looked good and were used thoughtfully, but the story was rather lacking, which is a pity!

This game is a li’l bit similar to Snack Time, wherein you view a typical human environment through an animal’s eyes. This kind of game works when there is charm and puzzles/actions which hinge on understanding the perspective and making use of it.

One big problem is that ‘look’ doesn’t produce a description of the room you’re in. In an exploration game, this is a very strange omission. Also, for an exploration game, a lot of things aren’t really implemented. (Spoiler - click to show)I don’t understand how examining a object lets you know its name.

The limits of your understanding also seem arbitrary: you don’t know what walls and doors are, calling them ‘ows’ and ‘mows’, yet you know what (Spoiler - click to show)‘metal’ is, even ‘bathroom’, even though a moment ago you were calling it a dark room smelling of water.

The inconsistencies make immersion into the game difficult. Even if the premise is very cute, I found it hard to get into the flow of the thing, because a lot of objects were described in rather generic, sterile ways... unlike a kitten.

You're a girl on her first day of high school, but you've got a problem greater than friends or horrible teachers on your hands: your reflection in the mirror is threatening mutiny.

The first thing that strikes me is that it's a very aesthetically pleasing game. Visual elements are used to great effect. The evil mirror-self is shown in the reflected text which changes, not very subtly, to insert negative thoughts about a situation; the text changes when you click through links to reflect what is presumably the PC's insecurity and anxiety about her new situation. There’s a whole lot of clicking through, though, not all of which I thought was strictly necessary.

The content - family life, high-school social minefields - is very much the stuff of many teen fiction novels, and what should have made it impactful would be the presentation of the evil mirror-self, but the goal of the game was probably nothing overtly spooky. Rather, it was more about the internal emotional conflict of the PC.

So far I've found two endings, (Spoiler - click to show)the triumphant and doppelganger one. I found the confrontation well-written and personally it struck a chord with me, though there was little to build up to this. The endgame could have been much stronger if the PC had been less generic. If we understood a bit more about her fears and personality, then it might have made the triumph feel more like one. That said, I enjoyed the sly ending (though really nothing surprising to one who reads horror fiction so often).

In this visually compelling work, you are a psychic detective called to the side of a body. A familiar body. What happened to it?

The strongest point of this game has to be the brilliant use of the visual interface that Twine offers. (Spoiler - click to show)I thought the cutscenes right up near the beginning, as well as the moment when you open your eyes in the body, were great. It suits the style of his economical writing and added to the atmosphere of the game. A pity it was so short, though; the story appears to be rich in unspoken backstory.

This game’s main gimmick is its extremely sparse prose, as if it had a strict word limit (300 words, anyone?). This extends to the parser responses (to things such as unrecognised verbs and so on), helping to set the mood.

However, the scarcity of prose also means there’s barely any feedback on the player’s actions (i.e. was I doing the right thing? Can I examine this thing?) grew frustrating after a while. I wouldn’t call it getting *stuck*, per se, since there’s so little to do that it’s pretty obvious how to get to the end of the story. But again it’s like those simple origami foxes or cats or whatever: it’s so stylised that it gives the *idea* of the thing,though it lacks many of the features that make the fox or cat or whatever it is.

Is it horror? Because of the prose, a lot of the content which would be considered horror is implicit, and depends on how you respond to certain situations.

As another reviewer has mentioned, the ‘epilogue’ feels rather rushed. The attempt to smoosh in some semblance of ‘story’ was a letdown, precisely because it felt so out of place. Still, it’s interesting for a one-time playthrough, as a writing experiment or a little piece of art.

The first thing in the blurb, and indeed the first thing the game mentions, is that it's set in the 14th centry. Why, then, does the author use such modern language? I mean, (Spoiler - click to show)was preserving evidence really a thing then?

There are some language issues which, again, take away from the mood of the game, especially what feels like an excessive use of ellipses.

This dovetails with a general lack of immersion. A 14th century setting should probably feel foreign to a 21st century reader, but this... this would come straight out of a rural police procedural. (Spoiler - click to show)There’s even mention of an autopsy (once generally frowned upon, would you know)! This game would do well with more investment into the 14th century setting, that being one of the features of the game.

(Spoiler - click to show)The interviews with the various characters felt very generic, and it was difficult to remember which character was which. Navigation in the room could also do with a bit of work to make it more intuitive. One main problem - main, because it makes up the bulk of the game - is that to leave the crime scene, you have to speak to Borin first.

Dead Deeds is exceedingly straightforward, with nary a red herring. On its own, this would not have been a problem, but coupled with the lack of thought to the language - not even faux-medieval language - that makes it a tiny bit disappointing.

You are a component of the revolutionary new spellchecking programme, SpelRite. All you need to do is to suggest a correct spelling for the wrongly spelled word in the given sentence.

The direction where the game goes reminds me of (Spoiler - click to show)Inward Narrow Crooked Lanes - it has the same surreal, nonsense-language feel. Sadly, as with INCL, I also didn’t quite catch the finer points and didn’t really get where it was going.

That given, I liked how Hello Wordd created a little verisimilitude with the Bitbux and the 'store'; the attention given to make the endings make sense, in-universe, was also appreciated.

You and the general are the last ones left on the island of St Stellio, and she wants adrink. You’re the lower-ranking officer, so it’s up to you to get the drink done.

The game consists of find-the-object puzzles through descriptions which act like nested dolls (‘telescopic’ descriptions?). Examining one object reveals another, which reveals another, which reveals another… While the puzzle itself wasn't much, the joy of playing Lime Ergot was in the devices and scenery. The mechanic was ingenious, keeping the game’s scope small without feeling contrived. The writing is lush and evocative, and suited the mildly hallucinatory state of the PC. Lime Ergot is a well-thought-out, tidy piece for one written in three hours.

Similar to Castle of the Red Prince.

Approx playing time: 30 mins

I loved the blurb. Spy hands! Spy keys! It pretty much encapsulates what the game is about.

This Twine-style game is a silly, entertaining romp through the tropes of noir fiction and espionage stories. While it superficially channeled John le Carré, it grew tiresome after a while, precisely because the 'parody' aspect was laid on too thick. Any semblance of humanity in the NPCs or, indeed, in the PC, was quickly quashed by the lack of a sensible storyline. A lesson, perhaps, to us that genre-breaking and lampshading are nice to have, but without a good story, they are merely gimmicks.

Maybe this is just my inner curmudgeonly old man speaking, but while this short game is good for a quick laugh, it is, in the end, rather unmemorable.