Reviews by Mike Russo

(This is a lightly-edited version of a review I posted to the IntFiction forums during 2023's IFComp).

I really enjoyed SV Linwood’s entry in last year’s Comp, A Long Way to the Nearest Star, but dinged it for having a generic title and forgettable blurb. Fortunately, there are no worries on that front this year – I already had a smile on my face when I booted this parser game up, looking forward to the promised mad science, demonological deal-making, and (most exciting of all) legal research. And that smile stayed there for the hour and a half it took me to work through all its puzzles – this is a delight, funny and satisfying in the way of the best comedy puzzlefests.

The setup here is a good one – brainy-yet-hubristic mortal treats with the devil for forbidden knowledge, desperately hoping to keep his soul – and could be played straight for a seasonally-appropriate note of gothic horror. That’s not what we’ve got here, though; Dr Ludwig goes for the laugh every time, and every time nails it – like, it took me five minutes to realize that it wasn’t the case that literally every description in the game started with a sentence with an exclamation point, just most of them. It’s the kind of thing that could wear out its welcome, but the game never comes close to that line, deftly slinging joke after joke. Like, here’s what you get when you examine your trusty mad-scientist’s coat:

"My favorite lab coat! After that accident while experimenting with pocket dimensions, I could carry so much stuff in it. And the bloodstains were very fashionable, too!"

(See, I told you about the exclamation points).

Crucially, the humor is almost all character-driven rather than embracing wackiness for its own sake; between Dr Ludwig’s crazed ambitions, the Devil’s sly insinuations, and the leader of the pitchfork-bearing mob’s punctilious adherence to the legal niceties, everyone’s got a slightly different schtick, and an in-world justification for being funny.

And actually, as with A Long Way to the Nearest Star, character interaction is a highlight. Beyond their comedy potential, the whole cast is winning, making you solicitous of their love lives and unfair work conditions even as you’re digging up their ancestors and plotting to violate all God’s laws. And the process of engaging with them is very smooth: Dr Ludwig is an Inform game, but it uses a TADS-style conversation interface where after greeting a character, you can ask them about a constantly-updating list of topics. This hits a nice sweet spot between the freeform ASK/TELL system and more-prescriptive choice-based menus, and you’re able to ask everyone about a wide variety of subjects. The devil is especially impressive; as the game starts, you’ve just summoned and bound him, meaning you can give him commands via the traditional DEVIL, DO ACTION syntax. I confess that I often struggle with these kinds of puzzles, but here the process was well-cued and impressively well implemented: I tried to catch the game out by attempting DEVIL, ABOUT, but was told “As powerful as the Devil is, even he cannot access meta commands” (I was able to get him to take inventory and maybe learned some stuff I shouldn’t have that way, but I can’t help but think the author left that in on purpose).

In fact implementation is a major strength throughout. I did find a single Inform-standard response that had been left in; everything’s rewritten in Dr Ludwig’s bombastic voice. TOUCH attempts fail, for example, because “I am a man of science! I am above such physical labor as touching things without purpose!” (again, see what I mean about the exclamation points?) And you’d better believe that you can LAUGH or CACKLE whenever you want.

The puzzles are similarly of a high standard. They’re mostly traditional object-manipulation challenges, save for the aforementioned get-the-Devil-to-do-your-bidding bits, but they’re well signposted via a dynamic (and funny) to-do list, and they almost all involve engaging with that entertaining supporting cast. Most of the game is fairly open, too, with multiple puzzles available at any one time, so it’s hard to get too stuck. There are two that gave me some trouble, one that could have used better clueing (Spoiler - click to show)(I hadn’t realized that I’d basically solved the shopkeeper’s puzzle by dropping the flyer, because I didn’t understand that the “someone” she was worried would see her reading it was me), and one that was harder than it should have been due to the single bit of awkward implementation I found (Spoiler - click to show)(you need to examine the unsuccessfully-made monster to find your scalpel, but the game refers to it as a “disappointment”, but it doesn’t accept that – or either BODY or MONSTER – to refer to it, requiring you to guess that it’s implemented as EXPERIMENT).

Those are quite minor complaints, though, and just the sort of thing that would be easy to clean up for a post-Comp release. And even in its current form this is an early highlight of the Comp – if you’re adamantly against comedy parser puzzle games, Dr Ludwig won’t change your mind, I suppose, but just about everyone else will have a great time with this one.

(This is a lightly-edited version of a review I posted to the IntFiction forums during 2023's IFComp).

(Spoilers in this one)

What I like most about The Long Kill is its harshness. Oh, as always, I brought it on myself – there’s a trio of difficulty options at the beginning of this nicely-presented Twine game about a British sniper deployed in the Afghan War (the just-concluded one, that is), including story mode and a conventional “pick whatever choice you want” one. But no, I opted for “Sniper Mode”, where you have to do math and dice are rolled behind the scenes, so you can miss your shots even if you do everything right. And it’s not just the violence: the game has flashbacks and flashforwards to civilian life, and I fucked up my one chance to have a girlfriend because after winning her an elephant at a carnival shooting game, I thought she wanted me to show off and go double or nothing, but actually she was cold and wanted me to go home. Some of this may feel unfair, but who says a game about sudden, explosive death coming before you even have a chance to blink should embrace fairness as an ethos?

(OK, there’s an undo button, and I did use it once or twice, but I felt bad about it).

What I like second-best about The Long Kill is its obsessive focus on shooting. Again, this goes beyond the scenes set during the war. The protagonist – he’s given the uninspiring nom de guerre “Mister” – bonds with his father only through shooting targets and rabbits; as mentioned above, he tries to impress his not-girlfriend by shooting; when he interviews for a job, he talks about how shooting gave him great math skills; even when he takes on a home improvement project, the scene ends with him leveling a power saw and pulling the trigger. Mister is very, very good at shooting; it’s not so much that he’s bad at everything else as that there isn’t anything else.

What I like third-best about The Long Kill is the prose. There are some typos, but it manages to be evocative while sticking to a terse, militaristic style. This sentence is about 2/3 of what the game shares about Mister’s relationship with his father, but it communicates just about everything the player needs to know:

"Even without looking though you can picture the little non-smile, that happy frown he does when you do or say something he likes."

What I like least about The Long Kill is its fantasy of victimization. After an opening sequence where you support a house-raid that bags an important Taliban leader, Mister’s convoy gets hit by an IED and he’s captured alongside his unit. They’re subject to torture, and he’s given an ultimatum of teaching the enemy soldiers to be better shots, or his companions will be executed. It’s a queasily compelling sequence, even if it ends rather abruptly, and by making Mister weak and frightened, it finally renders him something close to human. But this was still a bad authorial choice. We know that in the flashforward, Mister has PTSD and a discharge, but there’s no need for a period of abjection to connect the precise, effective wartime operator with the haunted shell of a man; that’s just what war does. More damningly, this sequence creates an underdog narrative that inverts the far more common reality of the war – the number of Western POWs and casualties was miniscule compared to the Afghans captured, maimed, and slain (many, of course, were innocent, and many, of course, were not). To elide this reality, and instead opt for a shell game that seems to swap the positions of the players: that’s kid glove stuff. Not at all harsh.

(This is a lightly-edited version of a review I posted to the IntFiction forums during 2023's IFComp).

Oof. Despite being a sucker for libraries, knowledge, and (presumably) libraries of knowledge, I did not get on well with this one. The pitch is compelling: you’ve found a magical shrine that plays host to an all-knowing spirit, a collection of all the world’s wisdom, and a masked library attendant with a secret, and now you can ask to read any book you want. Wow! That is a lovely idea, and if the realities of implementation mean that of course the promise of “any book” can’t come close to being delivered, at least it’s a compelling illusion.

Sadly, after establishing the setup, the game quickly began to lose me. Partially this is because there are only three books on offer – specifically, two short-ish ones that establish the background lore of this fantasy world’s two major nations, delivered in DnD-manual style, and one long one that’s just the story of how your character came to the library, which of course you already would know and wouldn’t bother wasting time on. Partially this is because the prose doesn’t really live up to the fantastical premise:

"Your breath catches sharply in your chest as the last of the incantations die on the biting wind that whips around you. Streams of pale moonlight flicker in past the broken beams overhead, sending a cascade of sprawling patterns through the old, fractured glass. Ancient words scrawled onto a faded scroll bleed off the edges of their crumbling paper, spilling a black mist onto the cold stone floors which slips and slides into the dark corners of this dilapidated temple."

Adjectivitis, unvarying sentence structure, small grammar errors; it’s not awful but it’s not a high point either, and since the game is almost entirely walls of text – there are some engaging choices towards the endgame, but for the most part you’re either picking “turn to next page” or “turn to next section” – I really found myself wishing for better prose.

As for the content, I found the DnD manuals competent but rather uninspired. One nation is fantasy China, with the serial numbers not even filed off – the provinces are literally just real-world Chinese provinces. It’s got a whiff of Orientalism to it (did you know the lands of the East are ruled by “an ancient and magical dynasty”, that the people are “deeply spiritual and honor their ancestors above all else”, that they “practice martial arts as a way of harnessing [chi] energy”, and are ruled from a capital that is “a place of intrigue”?) but I think this is innocent; the country’s multiculturalism and openness to immigration are held up as a strength, and contrasted with the xenophobia of the western nation (which is Europe-flavored but not a direct insert of anyplace in particular; it’s just general fantasy bollocks).

It’s all serviceable enough, but unexciting to slog through, all the more so when the author occasionally loses track of the lore (there’s a bad-guy cult alternately called the “Band of the Dark Sun” and “Band of the Black Sun”) or draws too-direct inspiration from pop culture (there were a bunch of killings at a recent marriage, which has become known as the “Crimson Union”). And none of it actually winds up being all that relevant to the main part of the game, which is your character’s autobiography – the setting details are sufficiently straightforward that they could have easily been explained in the course of the story.

This bit does have some zip to it; it’s maybe paced a little slowly, and sometimes drops to bottom-line narration when writing out a scene would have been more effective. It also isn’t self-aware of how funny the premise sounds (you go on a world-shaking quest to find a cure for the ailing goat that’s your last link to your family); it’s offbeat enough to work well, but I think needed more time establishing the stakes and emotional connection between the main character and the goat. But once it gets moving, it executes YA-style fantasy novel tropes solidly enough; this isn’t my genre of choice, but even I got a kick out of the various double-crosses in the pirate section. Then things kicked up again after the story wraps, as the protagonist does face an actually-challenging set of decisions without a clear moral compass to make their choices easy.

As a result, my view of the game improved as it went on, but it’s still hard to recommend this one. The author’s got enthusiasm and some talent, but the game we’ve got feels too much like a first draft – there’s a lot of unnecessary cruft and an awkward frame that doesn’t cleanly mesh with the main substance of the story, along with prose that needs some polishing. Of course, every great game started out as a terrible first draft, so this is no bad thing by itself – but hopefully for their next game, the author will be able to spend more time figuring out what they need to say and what they don’t need to say, and revising their work to foreground the most compelling parts.

(This is a lightly-edited version of a review I posted to the IntFiction forums during 2023's IFComp).

I’ve noted elsewhere that the Manichean parser/choice split has been breaking down in recent years, and Hand Me Down is a leading example of the trend: what we have here is a big old Twine-TADS-Twine sandwich, and despite the slight wonkiness that description might suggest, the narrative handles the transitions with aplomb. In the framing choice-based bits, you play a young woman who’s visiting her ailing father in a hospital oncology ward, while in the middle you play the text adventure he (and your partner) has written up as a gift for you, so the shift in platforms makes diegetic sense.

To its credit, the novelty of the game’s design never felt like a distraction. It helps that the various pieces are playing to their platform’s strengths, and even their stereotypes: the parser game is a lightly comic puzzle-‘em-up in the mansion of a whimsical relation, while the Twine bits deal with emotional family drama. On the technical level, I found the process a tiny bit convoluted, but largely because the author provided a lot of choices about how to play each bit; while I could have simply gone from one bit to the next via the game’s webpage, in my experience TADS games tend to be way better when played via the QTADS interpreter, so I the slight fussiness that came from deciding to download the game file instead is on me. And while there’s no state carried between the different pieces, given the setup, that’s not a feature I missed.

This isn’t exactly a game of halves, though – the two Twine pieces are much shorter than the meaty middle. That’s not to slight them by any means: I thought the opener efficiently sketched out the loves, annoyances, and fears between the various character, while providing scope for a few low-stakes decisions that nonetheless helped characterize the protagonist. And the finale sequence is an impressively open-ended conversation where you can choose to chat about what you liked (or disliked) about the text adventure, press your dad on his health and prognosis, or a combination of the two; while the game cues you towards positivity and escapism, at least it does acknowledge that your dad’s constant wisecracking and avoidance of hard topics is at least a bit problematic, so there’s some tension in how to navigate the discussion. But still, combined these two parts made up perhaps half an hour of my two with the game.

(I also can’t help but note that the Twine sections feature AI-generated character portraits; adding insult to injury, I didn’t think they were very good).

As for the text adventure, it’s an impressively realized artifact that does a great job communicating the fictional details of its construction: it’s a wacky puzzlefest set in the house where your dad grew up (very in line with the first parser game many folks write), and since it was originally intended as a gift for your 16th birthday, the main goal is for you to get an invitation, costume, and shareable gift to bring to your party. So if there are sometimes dumb jokes, overcomplicated puzzles, or implementation niggles, well, those are all to be expected!

Irony can only take you so far, but at least as to the first two potential issues, I think Hand Me Down succeeds. On the writing front, the joke-a-minute style lands more often than not, helped along by appealing, entertaining prose; there’s the inevitable puzzle where you need to search an unpleasant pile of compost, and of course you know there’s something in there, but the game’s going to drag things out:

"The only way to make this dark curiosity go away is meet it at the end. You thought you were used to the smell, a cross between vegetable corpses and bug barf, but nope, urk! there it is again, with a fresh layer of horribleness now that you’re getting closer."

There’s also an extended sequence where you have to follow a snail as he races to show you something that left me giggling.

As for puzzles, thought has clearly gone into how to balance the old-school feel with player accessibility. In particular, while there are five different invitations, costumes, and gifts in the game, you only need to get one of each to get to the ending, which takes a substantial edge off the difficulty. There are definitely some design approaches that are too hardcore for me – if you want to get a full score, this is the kind of game where you’d better LOOK UNDER the kitchen table without any prompting. I also signally failed to figure out how to interact with any of the computers I found, with USE COMPUTER or TURN ON COMPUTER being no help at all; turns out MOVE MOUSE is the way to go, which is a pretty granular requirement for something that shouldn’t be at all hard for the protagonist to accomplish. But since those puzzles were largely optional, I can’t complain too much about a design that allows more hardcore puzzle-solvers than I to have extra fun.

That third category, implementation niggles, did sometimes get more than niggle-y, though. There’s some minor stuff, like unimplemented objects (the narration calls great attention to a clock on a mantelpiece in one room, so I was surprised no such thing actually existed) and a takeable beam of sunlight. But the major issues I ran into were about disambiguation. I had to go to incredible lengths to manage such mundane tasks as unlocking a drawer with the key that clearly unlocked it, or reading the most recent of the dozen notes I’d picked up. Judicious inventory juggling got me through most of these challenges, but there were a few I simply had to write off because I couldn’t figure out how to communicate exactly which object I was referring to. I haven’t experienced anything this rough since playing Cragne Manor – and that had 84 different authors, none of whom coordinated with each other!

Those nearly-interchangeable notes bring me to what I think is Hand Me Down’s other missed opportunity. See, over the course of years, your dad has added what amount to diary entries into the game, musing on his relationship with you, his divorce from your mom, how he felt about his own dad… these are well written, and form the clearest connection point between the text adventure and the frame story, rewarding the diligent player with backstory and deeper emotional engagement to inform the eventual climax. But it’s pretty hard to find them – I only discovered about half – and because they’re embedded in a big, riotous puzzlefest, I found they didn’t have as much heft as they merited, because as soon as I read one it was on to the next complex challenge. I would have enjoyed the game more, I think, if the author had leaned harder into creating resonance between the frame story and the text adventure, so that it felt like progress through the parser game was more directly shedding light on the central character relationships.

That would have been a different game, though; and to be honest I have a hard time believing that the protagonist’s dad would have made a more modern, post-Photopia game instead of going back to the 80s text adventures of his youth. Similarly, if Hand Me Down doesn’t fully integrate and unify its disparate pieces, it’s still quite successful at the ambitious task its set itself. The game has heart, comedy, and clever puzzles out the wazoo; if the pieces don’t fully cohere, at least each of them is enjoyable on its own.

(This is a lightly-edited version of a review I posted to the IntFiction forums during 2023's IFComp).

Per a Who song from 50 years ago, no one knows what it’s like to be the bad man, but a cavalcade of anti-hero based movies, TV shows, and podcasts sure are hopeful of filling the gap. Virtue, a UK-set Ink game by a debut author (and/or pseudonym), is the latest to step up to the plate, and it has novelty on its side: here our bad man is a bad woman, and per the blurb, one destined to be a Tory MP. Gloria, our protagonist, is a real piece of work – a status-conscious, property-value obsessed avatar of the bourgeoisie with opinions about Poles, Roma, you name it – and as she confronts, or rather fails to confront, a peeping-Tom incident in the tony neighborhood to which she just moved, her odiousness moves from the personal to the political.

She’s an unpleasant, anxious person, in other words and the game’s great strength is that it keeps just the right distance from her. The player is privy to all Gloria’s fears and hopes (there’s rather a lot more of the former than the latter), which are all sketched with psychological plausibility, but her subjectivity is kept at a remove; the narration weaves in snatches of thoughts and bits of dialogue, but there’s more telling than showing, which might not be the most literary choice but in this case provides the player with some much-needed psychic defenses. Like, here’s a bit where she’s contemplating the horribleness of anything threatening her cozy suburban dream:

"So much seems perfect—the proximity to the kids’ school, the quality of the location, the size of the house, the decoration, the conservatory, the new extension you’re planning, the new carpets, all the many book shelves, the TV that when you stop watching it dims and looks like a painting—the new kitchen fittings, the cooker, the plans to fell the tree in the back garden to give the garden more light—how can you face tainting and undermining any of that?"

The details are all well-observed, but the language is vapid enough to let the player off the hook (similarly, the author’s careful not to have anyone say anything too awful about the various minorities being demonized, though of course they’re thinking it). This isn’t due to a lack of writerly skill, I don’t think, but reflects a deliberate choice, because when the stakes are lower, the prose is more engaging. Here’s a bit of landscape description that I liked:

"Beyond two multi-million pound houses—and beyond the strip of garden belonging to the first house, which was lined prettily with pink bougainvilleas—the estuary turns and opens up in one large, swerving gleam."

At any rate, intentional or not I was glad of the distance because Gloria is a truly odious creature. After learning that a mysterious person has been lurking in the hedgerows and abusing himself while peeping on local women (which fact she discovers through an incredibly awkward conversation with her Polish neighbor), she launches a crusade to push the filth to finger a perpetrator, ideally by trawling the local Roma caravan for some suspects to fit up for the crime.

When that doesn’t work, she forms a busybody committee and catches the attention of the local MP. Her interactions with her family form a counterpoint to this more political strand of the plot, and these are likewise quite dour: she fights with her henpecked husband, infantilizes her much more self-aware daughter, and ignores her furtively absent son. This stuff by no means engenders sympathy, but does provide some context for the aggression she displaces onto those she finds insufficiently British (there’s an intimation that she was a victim of clergy sexual abuse while younger, which serves a similar purpose by giving her what seems to be an anxiety disorder and a persistent fear of impurity and inadequacy).

It’s an unpleasant but neatly-told story with its politics in the right place, I think. It doesn’t lean especially hard into interactivity; most passages end with a single choice leading to the next bit of plot, and those choices that do exist largely seem illusory. But the format does help establish the modicum of complicity that’s needed for the piece to work, so I think it justifies the author’s decision to write IF. I’d rate Virtue a well-done game that’s worth playing – but as always, I do have two caveats.

The first is that the game seemed to end quite abruptly, perhaps due to a bug? I reached the final section of the game, which is the meeting with the local MP, but after greeting him in the pub and deciding to have some white wine, the game simply stopped before getting to the substance of the meeting. This might have been a consequence for some poor decision-making, since the game seemed to be implying that I was insufficiently sloshed (I mean fair, I’d have to be three sheets to the wind to survive a conversation with a Tory backbencher) – there’d been an earlier option to have either a cuppa or some wine before heading out to the meeting, and I’d opted for the tea, and the horrible Tory was having a G+T because of course he was and I could have joined him in that rather than sticking to wine. But since the rest of the game’s choices felt fairly low-stakes, and the ending didn’t indicate he sent me packing for being too much of a lightweight or anything, it felt less like an anticlimax and more like a technical issue. Still, by that point it was clear where the story was headed so I don’t think this negatively impacted my enjoyment too much.

As for the other issue, it’s a broader one but also more nebulous, and it involves a spoiler – though one that the game’s own blurb comes pretty close to revealing, so I’ll omit the blurry-text this time. Turns out in addition to Gloria’s crusade being motivated by her self-esteem issues and general xenophobia, the game is pretty clear that the roving Onanist who’s kicked this whole thing off is her son Andrew, which a part of Gloria recognizes but refuses to confront, leading to her sublimating her denial into political action. I suppose it’s reasonable to consider that many reactionaries are the way they are because of deep-seated insecurities and a guilty conscience – and in some ways it’s even attractive to think that they’re just broken people dealing with trauma in deeply antisocial ways. So it’s all plausible enough.

But I can’t help but wonder whether this is a bit too pat. The blurb also says that this is an “origin story of a shameful MP” – it’s unsurprising that the complete ending appears to involve Gloria running for office as a knock-off Liz Truss – but really, do these kinds of people typically have origin stories? I think they don’t, or if they do, they’re less psychological and more tawdry: people born with unjust privilege realize they can maintain it by scapegoating others; people born without it realize they can curry favor by comforting the comfortable and afflicting the afflicted. We’re primarily dealing with material conditions, in other words, and in the post-Trump, post-Boris Johnson age, the idea that the enemies of democracy could work through their issues if they just got some therapy feels, I have to say, a bit naïve. And here, Virtue’s otherwise-praiseworthy decision to hold Gloria at a remove winds up being a negative, because a more literary take going deep into her subjectivity perhaps could have avoided this objection; since the didactic writing style invites us to view the game not as a character study, but as an object lesson, though, I think it’s harder to argue that Gloria isn’t meant as a type.

Let me emphasize once again this is a pretty rarefied complaint: “Virtue is insufficiently Marxist” isn’t a criticism that should prevent one from playing a smart, well-implemented game that made me think. Recommended!

In one review or other I know I mentioned a game I used to play with my college friends, where we’d try to determine the smallest possible unit of goodness in a particular field – like, we determined that when it came to music, Jimmy Eat World’s song The Middle was the example to pick, because while it was good, it was good in a minor, sort of boring way, and if it were any less good, it would be bad (I could not now reconstruct the rationale for this determination if I tried, but I remember we were very confident about it). The reason this memory came back to me while I was playing Jesse Stavro’s Compass is that I uncharitably wondered whether it might be the mirror image of the thing we spent so much time looking for: a piece of IF that’s somehow only an inch away from being good, but nevertheless winds up slightly, boringly bad.

You wouldn’t necessarily think that based on the setup: the game opens with the protagonist reaching an empty motel in the desert in search of his friend Jesse. All is not as it seems, though; Jesse and the protagonist are both part of an occult underground who can travel through space using what are basically magic portals, which are locked and inert unless you happen to know the key, and this motel happens to be a nexus of many different gates. Jesse’s been able to travel through time, too – last you heard, he was following the Dead – but he also might have run afoul of one of the various larger factions with their own agendas for the network of portals. It’s not a bad pitch – some of the specifics feel a little derivative of the DnD Planescape setting, but hey, I like Planescape – but it’s conveyed in a very dry, expository fashion via a series of short journal entries that communicate what’s going on but aren’t especially engaging.

This slightly-downer vibe of solid ideas with low-energy execution stuck with me through the rest of the game. There are fair number of different locations to visit, for example, including a nice apartment building and a riverboat, but the maps are too big, with multiple empty locations and redundant, copy-and-pasted descriptions that make exploration feel enervating rather than exciting. There are cutscenes that progress the story, but they assume deeper investment in the game’s lore than I was able to muster, and often go on too long (there’s an extended tarot reading where you need to sit through a maundering explanation of ten different cards, with the only interactive element an occasional “Do you understand? Y/N” prompt). There are a bunch of characters, but none of them have voices that stand especially out from the baseline, often-profane authorial style – like, there’s one rich guy who owns the penthouse apartment and we’re told his every gesture “conveys an aura of refined sophistication”, and after you take a shower he tells you that he’s glad that you “no longer look like ass”.

The puzzles and challenges are the same way, too, reasonable in theory but underwhelming in practice. There’s one where you need to lure a cat in from a ledge using some cat food, but if you drop the can right next to the cat or right next to the window rather than the intended spot in the middle of the ledge, there’s no feedback that you’re on the right track or rationale for why nothing’s happening. Midway through, one of the factions mentioned in the backstory mount a surprise attack, and you need to shoot your way through a bunch of near-identical goons; the combat is governed by chance, so all there is to do is blast away and undo-scum if things don’t go your way, which doesn’t lead to much in the way of pulse-pounding excitement (this sequence did elicit an emotional response, though, since I felt awkward when I realized that the only Asian characters in the game were a legion of interchangeable goons whose only purpose was to show up and take a bullet).

I should emphasize that there’s clearly been a lot of effort put into the game; it’s technically clean, the world is big, and there’s even an achievement system. Plus I suspect it suffers from being the middle part what appears to be a trilogy – the bottom-lined recap that opens the game presumably would land better if I’d actually played the prior installment, and the low-context infodump at the ending would presumably be more compelling if I could immediately see where it leads. Middle segments are hard!

Still, they’re not impossible – The Two Towers and Empire Strikes Back are the best parts of their respective trilogies, after all. For example, that dull summary that opens the game could have been turned into a more engaging flashback that actually gave the player a reason to invest in their relationship to Jesse, and did some showing rather than mere telling to establish the supernatural elements of the setting (honestly, this would probably have been a good idea even for folks who’d played the first installment, given that it was released almost a decade ago and under a different authorial nom de plume, at that).

Circling back to my extended and not-that-illuminating Jimmy Eat World metaphor from the top of the review, despite all these cavils I didn’t have an awful time with this one. But unlike how I would listen to The Middle, think to myself “this is fine”, but notice my foot tapping along nonetheless, I played the game, thought to myself “this is fine”, and then my foot resolutely refused to move. Jesse Stavro’s Compass could rock, at least a little, and it might not take big changes to get there – just a lot of little changes to flip all those moments of slight irritation, slight awkwardness, or slight boredom to their opposites.

The past couple of years have seen a mini-trend of multiplayer IF, kicked off I think by Milo van Mesdag’s 2021 IFComp entry Last Night of Alexisgrad. That was a narrative-driven, choice-based game where the players assumed oppositional roles – one protagonist was an invading general, the other was the leader of the city’s defenders – and the half-dozen or so choices each selected over the course of the game had a direct impact on the course of the story. Subsequent games have riffed on this same basic framework: van Mesdag’s 2022 follow-up, A Chinese Room, separated its player characters and obfuscated the effect each’s decision had on the other, while Travis Moy’s Ma Tiger’s Terrible Trip collapsed the distance between decision-points, unlike its more sedately-paced predecessors, which required it to be played in real time. The Purple Pearl is the latest extrapolation of this multiplayer Nouvelle Vague, and perhaps the greatest departure yet, because here it’s a puzzle game rather than one that’s heavily story-driven, and parser-based rather than a choice game.

The plot here is intentionally disposable: two fantasy kingdoms are at war over a MacGuffin, and your home’s been getting the short end of the stick, so the king comes up with a test to find the best, cleverest team of two to send on the mission to recover the thingy. The game is the test – maybe there’ll eventually be a sequel to cover the actual quest for the eponymous purple pearl? – so there’s a built in rationale for the various puzzles and built-in contrivances that require the players to work together, which is a canny choice allowing author and player alike to concentrate on the mechanics rather than a fictional layer that could easily feel quite strained and secondary.

In fact, the setup resembles nothing so much as an escape room or old Cube Escape style Flash games; each player wakes up alone in an empty chamber with a series of odd devices and clues on each wall, and needs to work through them all in turn. The rub is the need for collaboration – the specific devices and clues are different for each player, because each is playing a separate game file, and at regular intervals, one player’s progress will be stymied, at which point the other player needs to send them an object to get them unstuck (this is accomplished via a keyword system – when the donating player manages to hand off an object, they’re given a three letter code, which when entered in by the other player creates the object in their version of the game). Clues and hints can also apply to the other player, requiring a near-constant thread of conversation to make sure everybody knows what’s happening.

None of the puzzles are especially novel, but they’re well-designed, largely hitting that sweet spot of difficulty between too hard and too easy; it doesn’t take too long to solve them, but you’ll feel satisfied when you do. They’re also relatively straightforward, which makes the burden of keeping the other player in the loop feel quite manageable (imagine having to narrate to another player how you solved a puzzle in Hadean Lands!) Its hour-long playtime is also just right, giving the game enough time to show off a few variations of its mechanics without overstaying its welcome, while the writing is as engaging and polished as you’d expect from an Amanda Walker game (which is to say, very much so on both fronts).

So this is a good proof-of-concept for this new kind of game – it works, it’s fun! I did have a few small niggles, but nothing really worth bringing up except in a parenthetical (here goes: I found one place where an object’s description didn’t update after the game’s state changes, and I found the introductory note saying of my partner that my “job is to figure out how to communicate with them to escape” confusing, since I thought it meant that I had to find some in-game way to talk to my partner before I was allowed to do so, which isn’t the case).

There was an interesting feature of how I experienced the game that I think is worth sharing, since it could point to some fundamental tensions in this kind of design that might need to be addressed by other games that follow this path without as much benefit of novelty. And that is that often as I was playing, I wound up being more engaged by what my partner was up to than what was going on in my version of the game. Partially as a result, several times I thought I was stuck and had to wait for them to solve a puzzle to make more progress, when actually if I’d just spent two more minutes considering the clues on my side, I would have figured out a solution to something I’d assumed required assistance from my partner.

This isn’t too surprising, I suppose – since one’s partner is an actual person, engaging with them is fun and interactive in a way that just playing a parser game can’t really compete with (it also typically feels way easier to solve other people’s problems than one’s own, of course). Plus, while I could poke around in my version of the game at my leisure, without access to my partner’s version, I was hanging on their every word to try to get a sense of what they could see and how to solve their puzzles, which of course required more active engagement and imagining on my part. And I think I had some FOMO, too – for a puzzle game, the puzzles are the game, so not being able to see or participate in half the puzzles would have felt like missing a big chunk of the game. As a result, I couldn’t help but wonder whether I would have enjoyed the game as much if it’d been a single-player game I was playing along with a friend – wouldn’t that have all the same advantages of collaboration and social engagement, while avoiding some of the challenges that two-player model requires?

I don’t think that’s exactly right, and even if it were, I haven’t actually played any IF with a friend in this way, so “two players required” tag does accomplish something. Still, I do think that future games in this vein – and I hope there are more – might benefit from thinking about ways to introduce asymmetries, or incomplete information, or other mechanics that might keep the player primarily engaged in their half of the game, rather than seeing themselves as part of a collaborative Voltron working on everything simultaneously (escape rooms of course do this through the imposition of draconian time limits, but that’s probably not the way to go here!) But again, this is pretty advanced speculation that’s not responding to any weakness in the Purple Pearl; it’s a pioneering work and has proved its concept so thoroughly that I can’t help thinking about what comes next.

Starting the last of Larry Horsfield’s trifecta of ParserComp entries, I was energized by my success in Bug Hunt on Menelaus – could I keep the streak alive? I was energized by the winning premise, too. Finn’s Big Adventure is a spin-off from the mainline Duke Alaric Blackmoon series – Finn is the Duke’s six year old son, and after his lessons with the local wizard, decides to sneak out of his room one night to investigate rumors of secret passages in the catacombs below the castle. Alas, much like X-X R I didn’t get too far in this one, but this time the game has to take its fair share of the blame, as I ran into two progress-stopping glitches in the opening section that sapped my will to continue.

The trouble first arose in the pedagogical sequence that begins the game. You’re given the opportunity to check out the wizard’s study and find the book that tells you about the secret passages, as well as some notes that seem to provide clues about how to open them. The game prompts you to write the clues down so you can refer to them later, which was a nice detail, so I jotted down a copy on the scrap of parchment I’d been using for my class notes. Feeling like I was ready for my expedition, I confidently typed OUT, only to be told that there was something I needed to do before I left. After twenty minutes of wracking my brains, I finally figured out what the issue was – rather than copying the notes onto the parchment, I was supposed to write them down onto a scrap of paper that had been left, forgotten, under the wizard’s desk. Sadly, once I’d copied the clues once, the game wouldn’t let me copy them again, so I had to restart in order to progress.

This was frustrating – why go to the trouble of coding an alternate solution to a puzzle if it’s going to make the game unwinnable? – and especially annoying because there was no in-game reason I couldn’t progress, just an out-of-game warning that was meant to be helpful. Still, I pushed on through the next sequence, as Finn faked going to sleep and snuck out of his room after his bedtime (as the parent of a toddler, I could relate to this part). I made it down the catacombs and found a series of manacles and chains that I think lined up with the clues I’d copied down, but I couldn’t figure out the right syntax to interact with them – TAKING and PULLING them occasionally gave hints that I was on the right track, but while the notes suggested I should be able to attach them to each other or ring-bolts in the dungeon walls, nothing I tried seemed to work, and the built-in hints didn’t have anything to offer.

Thinking that I might have missed something back in Finn’s bedroom, I sneaked back upstairs, and found that sure enough, there was a “war belt” hanging on a clothes hook on my door, complete with my trusty dagger. This find was soured by two flies in the ointment: 1) despite Finn clearly knowing that the war belt was there, and it being described in such a way that it should have been clearly visible from the interior of the room, it wasn’t mentioned in the top-level room description – X DOOR was required to disclose its existence, which feels like it’s taking unfair advantage of a gap in knowledge between the player and the protagonist. More galling, though, was 2) the discovery that now when I tried to get back down to the catacombs, I was told “There’s something in your room that you have forgotten!”

This sure seemed like a bug, since I couldn’t find anything else in the room, and the fact that it hadn’t fired when I’d left the war belt behind, but did fire after I’d found it, sure suggested that something had gone wrong somewhere. Not feeling up to restarting once more and seeing which hoops I had to jump through to avoid this second progress-stopping issue, I abandoned the game there, which was a shame – Finn was an engaging protagonist, and it’s hard to go wrong with a hunt for secret passages in a maybe-haunted castle. But Finn’s Big Adventure needed a bit more testing (and a more robust hint system!) to live up to its promise.

(This review was written for the initially-released version of the game; per the author these bugs have now been fixed, so I'm hoping to give it another play and update this review accordingly)

I am a sucker for a good Wodehouse pastiche. So when Murder Most Foul introduced its English country house murder plot with prose that was more focused on cracking wise than anything so vulgar as establishing a mood of suspense – seriously, you start the game across from a lordling wearing “moustache which looks like a big, fat slug curled up on his top lip and died some time ago” – I was excited to dig in to what was sure to be a jape-filled caper. Some four hours later, I finally came up for air and took stock: the game wound up trying my patience, my wits, my sense of direction, and my sense of the absurd, all quite sorely. I was quite frequently giggling, I had to admit, but I still wish the author had imitated Wodehouse a bit more closely, especially in terms of pacing and (especially especially) tonal consistency – this is a big, impressive game, but it makes some big, impressive missteps.

From the off, the setup is a bit more cynical than your classic Blandings or Jeeves romp, but not irredeemably so: the player character is a woman on the make, rocking a stolen dress to sneak into an upper-crust party and find a prospective husband with pockets as deep as his mind is shallow. Sadly, these mercenary plans are disrupted by the quite inconvenient bumping off of the host, Lord Montrose – and since death has a way of ruining the romantic mood, you take it upon yourself to solve the crime (the fact that the coppers are likely to finger you for the killing once they realize you’re an imposter provides a further motivation).

You do this by – well, solving adventure-game puzzles. Murder Most Foul isn’t set up like a conventional Infocom mystery, where there’s a timer and suspects are flitting around up to various bits of suspicious business and you need to play multiple times to work out a timeline. Instead everybody sticks around, but has a fetch quest of some flavor or other you need to work through in order to get their aid, or get rid of them, or hook them up with the love of their life in order to get rid of them… They’re generally amusing, but the game does suffer from ADRIFT’s weak parser; I ran into more than a few guess the verb issues, some of which felt like issues where the author hadn’t sufficiently clued the needed action (FOLDing up a painting to sneak it past some guards didn’t seem physically possible, for example), but others of which were just weaknesses of implementation (there’s a bit where you need to steal a suit, and while GET SUIT will succeed, TAKE SUIT ends in failure).

The game’s size and length wind up magnifying these foibles; while few individual puzzles are especially unintuitive, the large number of rooms and NPCs made it harder to narrow down the areas where it’s possible to make progress. It’d be one thing if the plot needed a cast this size, but despite most of the characters making a strong first impression, in the event most of them play only incidental roles in the narrative, with a fair bit of redundancy (there are two different pairs of characters who got in two different fistfights right before the game opens, which feels less like a comment on the pugnaciousness of the aristocracy and more like padding). Indeed, it quickly becomes apparent that the core characters are just the victim’s wife, the manor’s Jeeves-analogue Joves, his son Satan, the omnicompetent handyman Micawber, and the feckless policeman investigating the crime, with the all the others fading into a uniform sort of background wash.

The perspicacious reader will have noticed a certain thematic drift in the naming conventions here; isn’t Micawber Dickens, and Satan (er) Milton? There’s something jarring about these details, and repeatedly as I played I got the sense that the game was growing unmoored from its notional inspiration and introducing plot elements that didn’t cleanly fit with what came before.

I’ll just mention one in detail, but it’s a doozy: midway through the game, you find out that the horde of servants staffing the manor were not always servants, but in fact were originally held as slaves by Lord Montrose. This is elaborated on in one conversation – apparently he was running out of money so this was a way of running the place on the cheap, but then he started sleeping with one of them and he was worried about the secret getting out, so he ultimately freed them and started paying them wages.

I have questions:

1) This is set in the modern day, not the Antebellum South or anything, so where exactly did he get these slaves?

2) Seriously, all the servants have typical English names (well, except Satan) and aren’t described as being identifiably from any particular country or ethnicity of origin, so are we meant to assume there are just roving slave gangs in this world rounding up stray people and selling them to the local grandees?

3) If that’s the case, what was keeping them from escaping to freedom? There are a few guards in the mansion, but as servants presumably they’d have been enslaved too and anyway there are too few of them to credibly act as overseers.

4) Isn’t it kind of creepy that Montrose was sleeping with a “slave girl”, with the game even saying he “fell in love with her”, without any character or the narration even hinting at acknowledging that that’s rape?

5) Why is none of this ever mentioned again after the conversation where it’s initially brought up, like ho hum, guess the dead guy was a massive enslaver and half the NPCs are dealing with the trauma of having been reduced to chattels, we’ll just file that fun factoid away?

6) What the absolute fucking fuck am I doing asking these questions about a Wodehouse pastiche?

I am harping on this, but really, it deserves to be harped on – this is probably the single most ill-advised subplot I have ever experienced in a work of IF. I don’t get the sense that it’s meant to be taken seriously, but that’s a problem, because it’s slavery; if you include slavery in your game, it isn’t a game that happens to have some slavery in it, you’ve now made it a game about slavery.

The thing is, I don’t think that was at all the author’s intention; this seems like a passing idea that was incorporated into the game’s structure without significantly impacting anything that came before (there’s no buildup) or after (again, there’s no follow up either). And there are several elements like this – none as morally jarring, thankfully – but similarly out of place, feeling like they were grafted onto the core without much thinking about how well they meshed with the pre-existing narrative or themes. The game indicates it was written over the course of five years, and I think this is one that got away from the author, growing organically in ways that undermined its cohesion and its pacing. And rather than pruning this unruly profusion back under control, the author just ran with these tendencies.

That’s a real shame, because while Murder Most Foul is a bit of a mess at four hours, there’s probably a tight, two-hour version of the game that chucks much of the padding, winnows the cast down to the narratively-significant characters, sharpens the puzzles so they don’t feel like busywork, and maintains a consistent and amusing writing style, while saying good riddance to the moral enormity that’s currently squashing the plot. It’s possible to get glimpses of that other, quite good game sometimes when playing the current incarnation, but sadly that’s not what’s available to us here.

Late-Imperial Sky Witches (I guess the short title is more properly “Meet Cute”, but come on, between that and “Late-Imperial Sky Witches” you know which I’m going to pick) is another jam game, but unlike Dream Fears, it doesn’t have a statement as succinct as “this was made in a day” to help orient the player to the ways in which the game does or does not represent the author’s completed vision. This means I’m finding it hard to evaluate on its own terms, because while there’s a lot here that’s intriguing, there’s also a lot here that feels missing, and I’m underconfident that I can sort the intentional obfuscation from the blank canvas.

That’s the job, though, so I guess I’ll try. The game drops you into an interrogation scenario without much by way of introduction: “You’re in the cellblock. A panel of red light separates you from the prisoner.” You’re carrying “your truename” (this turns out to be an identification card) and an empty pyramidal box that belonged to the prisoner. Beginning the investigation is easier than you might think because this is a Gruescript game – that is, it’s a choice-based game that uses buttons for nouns and verbs to mimic a parser interface. So just flailing around with the limited options you’ve got available suffices to move the story forward; you start some light verbal sparring with the prisoner (the interface calls her Rahel, but the parser commands generated by the interface call her irae, “of wrath”), eventually you press her on what was in the box, she gives you a flip answer and you gain a new inventory object: “poetic bullshit” (the game quickly adds a “(literal)” tag at the end there in case you think it’s being metaphorical. And yes, this means you can drop the poetic bullshit).

Which is to stay, the conversation progresses, in ways that are interesting but not especially linear; clearing up the box mystery, to the extent it’s cleared up, leads to one or two other topics that are similarly beguiling, but nothing resembling a narrative or even a moment of relationship catharsis (I thought this was a meet cute?) had cohered by the time another character abruptly barged in and put an end to the interrogation, and the game.

I checked the source code and it doesn’t appear that I missed anything; this is what’s on offer. And I liked it, I have to say – the progression of literalized inventory objects corresponding to ideas or conversation topics was a novel way to make the mechanics clear and the world strange, and the setting implied by the few details I turned up was one I wanted to learn more about. The only trouble is I couldn’t, since it ended just as it was getting started. So again, I’m stymied: is this an intentionally obscure experience, the “meet cute” a romance-genre feint to lure the player into a playable shaggy dog story and impute emotional engagement that’s at best only hinted at? Or is this a placeholder or statement of intent, crystallizing one moment in what was meant to be, or may someday be, a longer piece? Without any extrinsic prompting, it’s hard to decide which scenario is right. Either way, this is a promising vignette with some evocative elements, but in its current version it’s a bit too evanescent to make a lasting impression.