Reviews by MathBrush

This is the author's first game. I'm giving it 2 stars right now but it could easily be 3 or 4 stars with just a few small touches, if the author wanted to revisit it.

This is a short branching games with some neat tricks including colored text, briefly timed text, and a countdown timer in at least one part.

You are on a train, contemplating your beloved child named Lila, when a visitor comes and surprises you. The game reveals that (full spoilers) (Spoiler - click to show)you are a vampire, and this stranger is set on killing you.

I like the setup, and there are real choices. On the other hand, the game is really short, and there are a lot of typos that detract from the game. In Twine there's an option at the top to print out a 'proofing copy' of the game that's one text that you can run through a spellchecker; doing that would improve this game quite a bit.

I definitely like the author's storytelling ability and think that they're already doing great at writing, and I'd be happy to play another game by them.

This is an exceptional story, a part of Fallen London that is extra "DLC" type content for subscribers.

I really expected this Exceptional Story to be awful, as its description was pretty generic (woman overused honey) and the beginning of it wasn't very inspired (go to these three locations and examine stuff).

But it turned out to be about red honey, one of the best moral dilemmas in the game. Red Honey lets you see someone else's memories, but only at the cost of causing them extreme agony.

This story also uses interesting mechanics, like a complicated hidden lock and key mechanism. And the ending felt like I had real agency.

This is a short Twine conversation with some nice styling and neat CSS effects (like hover-over color changing).

You are talking to a friend and you have deep conflict in your heart about your interactions with them. They are a knight, the Hound of Ricsige, and they also don't really consider your feelings all the time (that's the impression I got).

The story makes use of tastefully timed text that doesn't take up much time (and the game itself is short enough that time text isn't a big deal).

I feel like I'm being vague with this review, but the way the game was written, I felt like either:

a) the author was writing in a purposely vague way to make the game more relatable, with its tropes of angst and difficulty communicating, or
b) the author was writing about pre-existing OCs and didn't feel a need to provide more context as the context already exists in their mind.

I'm guessing it's more a), and as a relatable conversation, it works pretty well.

This is a ren’py game with an anthropomorphic animal character. It features pretty strong language, so I wasn’t going to play it, but I found the script file and searched and replaced it and it was just fine.

This game has you play as a cat-like human who wakes up a little later than they’d like and has to make some cookies for an event later.

The character is self deprecating and funny, and their life is filled with both good things and challenges like an annoyingly broken phone.

As others have mentioned, it does cut off suddenly, which is why I marked it with less stars. It’s a pretty good story already; just adding a short conclusion to it would make the whole package pretty satisfying.

I should preface this by saying that this game (and the game it’s a sequel to, set in Germany) are fantastic educational tools. My school’s IB history teacher plans on using them for assignments next year.

This game is a card-based simulation game where you take control of one faction of the new Russian government directly after the overthrow of the aristocracy.

You track stats like party support for all the parties, resources and budget, and so on. You can place ministers in different positions. You can affect food supply, propaganda, the war effort and more. You also react to frequent new events.

I think this is a fantastic game. My only reason for four stars instead of five is that even on easy setting the game is pretty overwhelming; with the German game I had some idea of the background and events but coming into this cold I felt confronted by a mass of new people and parties and policies, and it was hard to know what to do. My people starved and revolted and the Bolsheviks won.

I feel like the game is fair, and that repeated play would make what’s going on apparent, but I did like the emotional impact of seeing my empire crumble and it made me imagine the stress and fear early Russian officials must have felt.

In this game, you play as an explorer searching in the ruins of a dystopian civilization. In this world, a cruel Caretaker manipulated both humans and animals, inserting cybernetic implants and controlling society.

The online play version has sound and AI-generated images. I originally played just the downloadable gblorb without the image features. While I typically don't find AI images enlightening, playing the version with graphics was useful as it gave me a quick reference point to know where I was and what the author thought was most important in a given room. It did break down at times, producing images that didn't really make sense in context.

Gameplay mostly revolves around exploration and conversation, with a few puzzles here and there. There are a ton of random deaths. I ragequit at one point because there is a timer on the surface that kills you if it's night and some kind of timer underground that kills you if you stay too long, even while wearing a disguise, so I ended up in an unwinnable state after a couple hours of play. I came here to review and saw other people mention graphics, so I tried the online version and completed it. I don't feel like the random deaths add much storywise. I also found a bug: (Spoiler - click to show)covering the solar panel doesn't give you the beetle until night has fallen I also felt that puzzle in particular was not enjoyable, as it relies purely on random coincidence; I prefer puzzles where you can see a goal and make a plan to achieve it yourself.

Storywise, it's clear a lot here was written by AI with some parts seemingly handwritten and then restructured by AI as well. Fortunately, the author seems to have a strong vision in some parts and managed to write genuinely interesting stuff, but overall this has the same problems a lot of AI-written things do:
*overly-complex descriptions of boring and mundane things (if you are so bored by an object you have AI write the description completely, why have a description at all? The player won't want to read it either)
*misunderstanding of plot arcs and appropriate emotional responses (we find the main villain just chilling in the middle of the lair with no build-up. You can just wave hi as you walk by. Wild events are described mildly: "As the cyborg drags you away, you are filled with fear and defeat." and mild events are described wildly: "Your heart pounds as the projector accepts the sleek metal device, and the display fills with text."
*the story follows mostly generic plot beats. Is there any surprise that (Spoiler - click to show)the robot overlord is evil? Or that society (Spoiler - click to show)collapsed due to a rebellion?
*The logic is often off; at the end, we discover the (Spoiler - click to show)a spaceship is seemingly prepared for us to an uncomfortable extent: air, gravity, etc. It's clear we're being welcomed here and it's uncanny. But there's randomly a door that won't let us through unless we put on a tarp to block it? It completely spoils the whole 'walk into my lair' bit.
*The walkthrough contains a lot of weird self-analysis too, explaining in a list the various forms of irony the game presents. What is the purpose of this? To tell people how to feel about the game? Would my reviews be more enjoyable if I told people "This review is well thought-out. It uses critical analysis to highlight several failures of AI writing in a thoughtful and cheerful manner, inviting the reader to ponder on the benefits of original thought and action."?

It's clear a lot of work went into the coding, which is enjoyably smooth in most parts.

I genuinely don't like most RPG maker games, as I enjoy reading text more than seeing game cutscenes or walking around mostly non-interactive worlds. Fortunately, this game keeps most of the annoying parts of RPG-Maker to a minimum, with well-controlled text, relatively fast walking speed, and plenty of options.

You play as a scammer coming to an island to steal sea eggs. You can pick what to explore on the island. As you do so, you can change your character's sprite, and you find out more about what is happening on the island.

The game has multiple paths, with at least 3 endings and a few buildings I never had a chance to explore.

The story is short and a bit quick, but I prefer that in RPG maker over something drawn out agonizingly long.

This game features the same story in three languages (Italian, English, and Slovak).

The story has a strong environmental message. It seems to branch at several spots, so I may have only seen part of the story, but in my version, I received a message warning me about devastating environmental impacts of current human activity, and was able to visit Atlantis to see what happened to them in the past.

The game is primarily focused on a sense of wonder and on hammering in the importance of keeping the environment safe.

The game uses a variety of colors and background images as decorations. I found these to be a little distracting, as sometimes they were so detailed or bright that it was a little hard to read.

I think this might be the author's first effort, in which case it is impressively polished.

This game is written in Toki Pona, a minimalistic conlang (artificial language) designed to have only around 100 words. The whole dictionary can fit on one page, so it's possible to (slowly) play this game without any prior knowledge.

I first got an idea of how to play by reading a Let's Play on the intfiction forums. After I tried playing a bit, I found that you can TRANSLATE any bolded word you see, which translates the object, its description, and context. With that as a base, I found myself slowly able to translate lines one at a time.

However, there are some big text dumps where TRANSLATE doesn't work. For those, I searched online for a Toki Pona translator and only found LLMs that do it. I decided to use Copilot to translate big chunks. I vary in my feelings on AI usage, focusing mainly on whether the AI produces good work, is depriving others of work, and on resource usage. AI is pretty good at translation, there were no other ways to translate Toki Pona except by hand, so I was only concerned about resource usage, so tried to limit my use to very large pages where I was stuck. I also assumed the author would oppose AI usage and want people to pick up the language, so I did my best. It was fun to realize that some words were just english or romance languages adapted to the alphabet (like 'group' becoming 'kulupu').

Once I was done, I realized that while the translation was done in a cool way and the game by itself is fun (and has cool CSS), they don't mesh well. I play a ton of foreign language IF, and I've found that such games are easiest for foreigners when:
-Vocab is kept simple and most commands are given on the postcard or given in the text (I found it hard to figure out how to TAKE things in the game, as it's missing from the IF command postcard and only found in text. You have to KAMA JO something or JO something. Furthermore, you MUST put an E before the object of any verb. So you have to both somehow figure out you need to type JO and to put E before something. Also, the vocab is quite complex given the simple language, as we have mechanical devices and bizarre creatures).
-All connections and points of interest in the world model are clearly labelled (In this game, there is an important action and an important exit not mentioned in the text. The exit is hinted at in a very long text dump, but the action of (Spoiler - click to show)looking under the bed is one I only tried because it was a verb on the postcard).
-Talking is handled by menu, choices, or simple TALK TO (in this game, you can ask about different topics).
-Actions like unlocking and taking and dropping are handled implicitly.) (In this game, you have a two (!) item inventory limit!)

The points above are not 'good game vs bad game', just 'games that are personally easier for me to play as a non-native speaker' vs 'harder for me'.

The story is pretty neat. To help any future players, here's a long explanation of what I encountered as I played (essentially complete spoilers):

(Spoiler - click to show)I woke up in a house and found a letter describing my affection for a dark-haired person named Penelopi. Penelopi went to the underworld. I wanted to follow. I looked under the bed and found a coin. I went outside and went to a forest. I saw plants and a bug that I remember Penelope liking. On a later playthrough, I saw a tree and had a memory of her being kind to a lizard while I flirted with her, and she suggested climbing the tree. Up in the tree I found a mechanical egg.

Later, I went (Spoiler - click to show)to a town where I went to a shop. On my first playthrough, I had no money, so I went out and talked to a guard at the mouth of a cave to the underworld. The guard wouldn't let me in and also had a copy of Counterfeit Monkey in a bag. They wanted to learn english to play it. I went and found the coin under the bed and spent it to buy an english dictionary. I gave it to the guard. He then let me into the underworld after warning that it was dangerous.

Once inside, (Spoiler - click to show)I fell down a broken floor and saw some cool CSS. I took a yellow flower. I then fell more and found Penelopi turned into a lizard monster. She saw the flower and like it so she ate me. I then replayed, looking at the game textdump uses glulx-strings and saw that there was a mechanical egg (that apparently has a neat distraction tool inside). I sold the egg and bought the ring and took the letter. This time I showed Penelope the letter and the ring, and she decided she liked me and that I could stay.

Overall, the frustrations with the difficult content in a conlang game made me want to rate 3/5, but making a game in a conlang feels like a 5/5 thing, so I'm giving 4/5.

Compared to the Gostak, this game has hard basic structure (remembering stuff like li and la and e was hard) but easy vocab ('jan wawa' isn't too hard to understand after a while), while the Gostak has easy basic structure (just English) with almost impossible vocab. Since the basic grammar structure is most of reading, I found the Gostak easier to read in a 'flow state' but this game easier to understand the overall narrative.

This is a compact puzzle game. You are a young keeper of time, and the time crystals have been stolen, opening up portals to famous disasters.

Disasters include a lot of conflagarations, like Krakatoa, Hindenburg, and the London Fire, balanced by the icy Titanic sinking and mediated by the San Francisco earthquake.

Some subareas are small, with most being 3-4 rooms and a couple being significantly larger.

Puzzle solution generally revolves around finding an item in one area that allows progress another, so basically like a key-door structure (with three of the items being actual keys, although none get used for doors).

The game is decidedly puzzle-oriented. Time travel is ripe for philosophical quandaries, questions of ethics, unrequited hopes, resignation, ontological paradoxes, butterfly effect, etc. Here, the author has neatly sidestepped all of this, avoiding any deep contemplation about time travel. Time resets every time you leave and enter an area, but only the watch time; all things you did remain in effect and all NPCs remember what you told them. Trying to warn individuals about disasters has no effect or reaction.

The lack of implicit actions in PunyInform is frustrating. A lot of gameplay was like:
>GO [location in water]

You can't do that while holding things.

(oh right, I'm holding a key).

>PUT KEY IN [container]

I splash around a bit and get somewhere. Now I need the key.

>UNLOCK DOOR WITH KEY.

You're not holding the Key.

>GET KEY. UNLOCK DOOR.

The door is unlocked.

> ENTER DOOR.

The door is not open.

>OPEN DOOR. ENTER DOOR.

I do what I need to. Time to leave into the water.

'You can't do that while holding items'.

That's a vague excerpt, but some implicit actions for going through closed doors and using items that are in a carried container would be nice. Similarly, X SIGN and READ SIGN are different, which could be interesting, but almost all the descriptions for X-ing things with writing just say 'This is a readable thing. It would be neat to read it', so I wonder if it would be easier to just assume the player wants to READ it whenever they X it. It would be very difficult to examine a sign in real life without reading it, since most of a sign is words.

I did softlock myself once by getting really far into an area and not being able to return to the portal in time, so I recommend saving.