Reviews by verityvirtue

This is a short, cosy Twine set on the back of a wagon, in which the PC and their partner discuss their future. It's been a while since the apocalypse happened, but you're alive, and the town up ahead is a new opportunity...

The setting borrows elements from Westerns, though it is not unique to them: travellers on the road, never knowing what lies ahead, being separated from human company for prolonged periods at a time.

There is something comforting about discussing what seems so trivial, so individual despite the world crumbling all around you. There is something comforting in planning for the future at the end of the world, and even more so in the NPC, Sam, who responds to even the most cynical of conversational options with good grace. Emphasising that is a gentle soundtrack, partly guitar, partly sounds of nature.

Design-wise, this game features the thoughtful use of colour schemes - with different colours for each speaker - and cycling links to present conversational options.

A peaceful, intimate diversion, not unlike laika's Heretic Pride.

[Time to completion: 20-30 minutes]

The PC is grieving for the loss of their husband, a professor, and they now have to clear his office. This is a short, one-room parser game in which the things you uncover reveal something new in the room.

The tone is weary and cynical: much of the trappings associated with academia elicit remarks on its futility, and the lack of lasting meaning - fitting, considering that the PC is rifling through the trappings of a life in academia.

Implementation is a bit spotty. It's not immediately obvious what triggers the appearance of new items, and some changes are triggered after a seemingly arbitrary number of turns, so it was hard for me to figure out how to finish the game. Some seemingly obvious nouns/actions were unimplemented (Spoiler - click to show)such as >OPEN CARDBOARD giving me "That's not something you can open.".

Boxes is a short meditation on futility and disillusionment, but is unfortunately marred by its less-than-comprehensive implementation.

[Time to completion: ~5 minutes]

This short poem, presented in Twine, is about the experience of walking home as a person of colour, and the fear of being seen as a monster and being attacked.

Links, here, act as punctuation, giving it the rhythm of song. So yes, it's better if it's read aloud, but it needs the player's interaction - of clicking on the link - to drive in the rhythm.

walking home uses the symbology of religion to represent the power of weapons, of always staying more dangerous than other people out there - there are lines such as "pray to the brand on its edge for protection" - but it is, ultimately, born of fear. And despite this, fatalism is everywhere - a fatalism born of weariness, born of helplessness.

It may be "just" dynamic fiction. It may not be technically spectacular. But it's powerful stuff.

[This game describes violence and suicide.]

[Time to completion: 30-45 minutes]

In this noir-esque parser game, you are a private eye trying to find out what happened to Brian Timmons, and it's a case that will bring you through a mental institution to a creepy cabin.

The good: the game is clearly heavily invested in building atmosphere - flavour messages abound at every turn. Story-wise, the game is based on the Call of Cthulhu RPG and has a nice bit of Lovecraftian mystery at its heart, even if it's a bit predictable.

This game also features an efficient way of transporting the PC to various locations, splitting the story into regions a la Pilgrimage.

I'm playing what I assume is the comp version, and, surprisingly enough, it seems to lack in polish. Dialogue was delivered awkwardly; the cogs and gears of the dialogue system sometimes shows. The messages that ASK [character] ABOUT [topic] produces conflicts with dialogue delivered through cutscenes. There were some typos and punctuation errors; exit listings not always listed. State (i.e. changes in variables) was not remembered elegantly. (Spoiler - click to show)I tried to get past the guard without a pass, eliciting a “Hey, sizzle-chest, no one goes up to the patients’ rooms without a doctor’s pass.”, yet could get into the wards without a problem.

Design-wise, the in-universe stakes presented never seem high enough to deliver a sense of true tension, but I realise that this is a tricky design problem, balancing players' ease of use and creating tension.

One last point: the Lovecraftian legacy and noir atmosphere do not help, but this game pretty much demonises mental illness and sketches the flattest of stereotypes. The femme fatale character feels like she was shoved in without context, making the PC's remarks about her figure and appearance all the more jarring.

The Surprising Case of Brian Timmons treads a familiar path, in both the horror and the mystery-solving aspect - sometimes too familiar - so if you like a straightforward mystery story, and you don't mind cutscenes, you might like this.

[Time to completion: 5 minutes]

This was written for the Tiny Utopias jam (https://catacalypto.wordpress.com/2016/04/13/possibilities-in-the-tinyutopias-if-jam), organised by Cat Manning (and is still ongoing!).

Skulls are not usual fare for utopias. Skulls mean death. Death means filth. But here, skulls are just another part of the PC's family trade, and what skull-scraper promises is plenty, abundance, enough for generations to come. Each skull holds a little vignette of experience, a ritual of transformation. Your role as a skull-scraper is not certain; what is certain is that there will be enough (see also Hannah Powell-Smith's take on the tiny utopia, Enough.)

[Time to completion: 5-10 minutes]

Here, you are a husband to a grieving wife, and you have the curious power to rewind time. Each time you do this, it comes with a physical toll. Ever since the accident shattered your small family, you've been making more and more use of this skill.

This game is not always polished - in some places, the prose would have benefited from a rigorous editing. What this game does well, though, is give a sense of weariness as the narrator deals with what is now nothing more than routine - emotionally taxing and unusual it may be, but routine.

The in-game action of rewinding essentially gives a reason for undoing, but makes the reader think hard about the act. Do you want to risk hurting an already-unwell wife, or do you want to spare yourself an act you have been performing thousands of times? There are no happy endings in this game. It is not lighthearted playing.

The stage is prepared. The house is open. Now, you wait.

The author captures the inner landscapes of performance well here. There's the restlessness before the curtain rises. Reflecting this, there's a small number of things you can do in this game, which is randomised in parts. There aren't any obvious goals. You can do things for NPCs - tiny quests, if you will. Regardless of what you do, the curtains will eventually rise, and you will assume your role.

Another aspect of performance: the bleeding over of on-stage roles into how you see the actors themselves. NPCs are referred to by their roles - Chatillon, 1st Executioner - even before they get on stage.

I was attracted to this because I've had my share of performances, with very similar feelings. If you've ever been part of any kind of performance, you'll probably enjoy it.

[Time to completion: 5-10 minutes]

In this game, you are at the beach with your boyfriend, medicinal weed brownies and a lump in your breast. This game is not about the lump, not mainly. This game is about confronting your own mortality and anxieties.

The Ocean is surprisingly similar to Tapes: both have a female protagonist who has some kind of physical ailment; both are in a relationship with a man, but most of all both share the same introspective, melancholic mood.

The Ocean uses a stream-of-consciousness style, coloured with metaphors, to explore the protagonist's emotions. The tone is distant, as if recalling a long-ago event, but unexpectedly snarky in places. The reader, here, is the narrator's confidante and companion. The reader's role, here, is not to perform or do or solve problems: it is to listen. And in the act of listening - of clicking through the words and reading it - the narrator comes to a kind of peace.

[This game features graphic descriptions of violence. Please exercise discretion.]

A short horror IF about something you found in the woods. There is a body. There is blood.

This game uses a branch-and-bottleneck structure, lending it some of the dread-inducing momentum as False Mavis had. The descriptions are visceral; the pace, inexorable. Instead of focusing on verbs - how you interact with your environment - the game instead focuses on nouns - what you interact with, as alluded to in the title. This gave me a sense of the PC focusing on the trivial, filling their senses with the minutiae of one thing, to block out the horror of the whole. Perhaps making the protagonist a child enhanced this: for how can a child make sense of all this?

The ending is ambiguous and addresses the story indirectly, so one might fill the blanks with one's own imagination. wood leaves stream body blood is a bleak and desolate short story, well worth the 10 minutes it took to play.

Time to completion: 15-20 minutes

This game is based on the English murder ballad Long Lankin and Burning Rope by Genesis. You are a servant in the Wearie household, and you need to secure the house, or Long Lankin will get in.

This game was based on and inspired by murder ballads, not just in the plot, but in the tone. It's probably worth listening to it after playing False Mavis. The author paints a decrepit mansion, filled with relics from a better time, filled with subtle dread. The reveal of the PC's true intentions was brilliantly done; the first time I read it, I did a double take. It's not immediately clear what you're supposed to do, but there's a lot in the setting to absorb the reader. This game apparently has multiple endings, but I haven't managed to reach a second.

False Mavis is a grim and brutal horror story about removing the traces of your past misdeeds. It has a great setting with lots of moving parts, and what the player has to do to progress in the story is thematically consistent.