Ratings and Reviews by MathBrush

This game manages to strike a fine balance between puzzle and story, giving fairly easy puzzles with a lot of 'oh, I know where this goes but I can't use it yet' moments. It reminds me of Ryan Veeder's work in that way.

This game is a mashup of many fairytales, including the 'three brothers' theme, three challenges, and stories like Snow White, Rapunzel, the musicians of Bremen, and many of the lesser-known Grimm's Fairytales.

It decides to show the darker side of many of these, with the darkest presented as exactly in the books. One lean I felt uncomfortable with was (Spoiler - click to show)the option to marry a prepubescent girl, but after reading the notes and remembering the original tales there's a good chance that was in the original stories.

The game has an interesting relationship between the player, narrator and player character, with a lot of dramatic irony (in the original sense of the audience knowing what's going on without the character doing so). This thing has been done before, but rarely in such a polished and enjoyable game.

Overall, the game feels effortlessly fun, but a great deal of work must have happened underneath to make this happen. Puzzles give you increasingly strong hints if you are stuck, a feature found in games like Coloratura and part of my own philosophy.

Large text dumps are fairly common, but read easily and are mostly based on the fairy tales.

I can strongly recommend this game, and enjoyed it quite a bit, perhaps the most I've enjoyed an IF this year.

This is a long Twine game about a young woman who's had a very difficult life finding her younger brother being sucked into a mysterious portal by a dark creature.

Following her brother, she enters a mysterious world filled with destruction and many malevolent entities. Her brother's life is at stake, and there's not much time left.

As the author puts it, this is a narrative-focused game and eschews large-scale branching, but manages to find numerous ways to test the player.

Puzzles come in two varieties: riddles, which are either type-in or choice-based from a huge list of options; and using a color-based system where some colors in the game always signify the same thing (kind of like (Spoiler - click to show)circles in Sorcery 2).

Overall, the writing is earnest and deals with a lot of childhood trauma. Emotions are plainly spelled out, and overall it reminds me a bit of Steven Universe (crying breakfast friends) or She-ra in terms of the emotional notes it reaches for. The emotions didn't land quite as effectively for me as in those two examples, though.

There were some unusual word choices in the game that were jarring, like using the phrase 'he was made into a room' instead of 'he went into a room'. It could be cleaned up a little bit grammar-wise; I would give it 4 stars if that happened.

Overall, I felt like it was a worthwhile investment of time, and I was glad to play it. I've enjoyed the author's other games and hope that they continue the trend of releasing fun and meaningful games.

This is the third game by this duo, the other two in the past having been very long, surreal games, one of which reflected a psychotic break and really felt like what such a thing would be to experience.

This game starts with the first author confessing that he/she (both pronouns are used) made sexual advances to their trans step son whom they've lived with for 9 years, and that it has ruined the partnership of the two authors, after most of this game had been written, and that the author is trying to make up for it.

Much of this game isn't real, so it's hard to know if this is, but it certainly seems so, which is sobering and disturbing.

The rest of the game focuses mostly on a few recurring themes:
-The idea of very large cardinal sets and non-principal ultrafilters on them. This is an area of math that is extremely abstract, especially since (as mentioned by the author) most of these things are non-constructible and cannot be proven to exist in any meaningful way under normal mathematical assumptions.
-The author's life at the Lothlorien coop in Berkeley, which still exists and houses people today.
-The idea of using psychic energy to communicate with Hong Kong singer Deng Ziqi telepathically.
-The author's relationship with Staci (who I believe is also Maev?)

The game is laid out on a six-dimensional hypercube, corresponding to 6 binary digits, corresponding to the 6 cardinal directions N,E,S,W,U, and D. Unlike most games and real life, N and S are not opposites and have no relation to each other. Instead, going North cancels itself out, so going N twice will bring you back to where you started.

Not all 64 options are filled; about 20 or so are empty 'unfinished' rooms. One room had its connections backwards (so that going U and D changed the N and S bits), which may or may not be intentional. The room names are based on the binary numbers.

In the rooms are found items, one at a time or zero. There are lots of scenery objects described in the text but none are implemented.

I received around 432 points (I think) out of 530 or so. There is no overarching goal outside of 'binding' some items together in a chain, which just gives more points. One room contains a complete walkthrough for the bindings.

Overall, as a game it continues the glimpse into a surreal world offered by the previous games, but the confession at the beginning overshadows everything else and renders it all heartbreaking.

I had some trepidation approaching this game, as, based on the last Lady Thalia game, I assumed it would be:
-long,
-complex,
-requiring a great deal of thought,
-engaging,

and thus require some special time set aside. And I was right! If anything, this game exceeds the last one in all those categories.

You play two different women this time: one, the infamous lady thief Lady Thalia; the other, a policewoman named Margaret Williams, somewhat stodgy but dependable. Together, you are teaming up to stop a rival art thief who is obsessed with royal privilege and the trappings of aristocracy.

Play alternates between playing as Margaret, who investigates and prepares, and Lady Thalia, who follows up on Margaret's leads. There's a point system (which is humorously lampshaded in-game), and sub-systems including a relationship tracker between the two leads.

There are a variety of puzzles, with the most consistent one being a conversational system where you can choose between being flattering, direct, and leading someone one; most conversations give you 3 chances to find the 'right one', with a bonus if you get all 3 right.

The other puzzles for the most part involve retaining information from earlier and using contextual clues. There is a complex save system which allows for easy restoration (I did this quite a bit), but some choices have significant delays, so a perfect playthrough is quite difficult.

The characters are bold and well-written, and I'd consider this among the best crime/heist Twine games.

This game is a lot of things all at once.

Perhaps the majority of it is wish-fulfillment, of a sorts. Your character is a nervous, self-doubting trans woman with major executive processing issues, and the biggest storyline is about a girl you've had a crush on for years turning out to have a crush on you too and the two of you flirting, with her being deeply accepting of everything about you including your transness and disability. This is contrasted with your family and society (represented by an institution) who accepts neither of these things.

Overlayed on this is another storyline, that of the world having already ended and a messenger of light from Hell (I think?) having become entangled in your dreams.

Overall, the game does a good job of sketching distinct characters and their personalities. There were enough small typos here and there to be noticeable (wish I had written them down, but forgot). There are some bursts of strong profanity, mostly used to express anxiety (including the first screen). The game has a lot of references to attraction and making out but is generally non-explicit except for a segment describing the character's own body, from the lens of their satisfaction (or lack of) with her appearance.

Overall, I think this game appeals most to one's sense of longing for acceptance and belonging, which is fairly universal. And in that sense, I would say it's a successful story.

This is an Adventuron game set in the plains of Manitoba. It involves research about local plants and wildlife and about Ukrainians who emigrated to Canada.

It also contains a jumpscare, so fair warning! Scared me quite a bit. Just the one scare, though.

Overall, it's a well-done horror story that is elevated by the obvious research and care into the background details. It has 10 different achievements, of which I found 8.

Overall:
*Polish: I didn't run into any parser problems, the art is well-done and the prose is smooth.
*Descriptiveness: A lot of vivid imagery and attention to detail.
*Interactivity: I liked the open-endedness of the achievements but also always had something to do.
*Emotional impact: Pretty scary, although 80% of it was the jumpscare.
*Would I play again? Yeah, I think I could.

This game uses the Strand engine, which is the same engine (or a related one) used to put the Magnetic Scrolls games on the web. It features a parser but most interactions are through choices. The majority of non-choice interactions are typing the name of an object to give or WAITing. It features numerous images as well. For me, the images were larger than the screen size, requiring some scrolling that obscured some of the text.

This game reminds me of Steve Meretzky games, like Leather Goddesses of Phobos or his later graphical games. You play as a nerdy programmer who runs into tons of women, all of whom look like 'sexy' Halloween costumes (sexy pirate, sexy robot, etc.). There are references to sexbots and wanting to kiss the nerdy programmer, so it has a lot of that 'nerd gets the girls' vibe from 80's and 90's films and games. It has a shop called '9/11'instead of '7/11', which, I thought, 'Is that a September 11 reference?', but I thought probably not. But then the clerk there is named Abdul, which could be a pretty weird Sep. 11 reference, a stereotype about shop owners, or just a coincidence.

Gameplay consists of warping to different time periods and solving puzzles that are mostly about puzzling out patterns through trial and error. There are a lot of combinations and the puzzles seem designed to take some time, and I ended up using the walkthrough fairly soon.

The themes and messages didn't really gel with me, and I would have preferred a little smaller pictures to give the text more room. I appreciate the technical design that went into the game and can imagine several people who I think would enjoy it significantly.

I always enjoy a good story about a strange house that changes over time; I haven't read House of Leaves, but I've seen many games and stories cite it as an inspiration. Others I've seen include Map by Ade McTavish, Aaron Reed's novel Subcutaneous and the Backrooms urban legend.

This novel focuses on the 'house grows larger' largely as a metaphor for relationships, shown in individual vignettes (I'm sorry for making constant comparisons, but the vignette system reminds me of Spoon River Anthology, a story told entirely through gravestones).

People come into the house and find themselves changed, some losing friends, some losing each other, some arguing, some finding friendship, but the house always grows.

Overall, I found it polished and satisfying. The only thing I had trouble with was occasionally not really knowing what to do next (especially around the orange juice), and not knowing when the game would end. The narrative arc kind of meanders around, like the house itself. Otherwise, I found this to be a solid and thoughtful story.

This is a thoughtful game, a mostly-linear ghost story about a roommate that haunts the place and about relationships and our dealings with the others.

I liked the writing in this, it's really about turning an inner eye on ourselves and seeing the bad habits and unhealthy relationships that we have let become so natural that we can't even see them anymore.

It also has an interesting take on ghosts, similar to but slightly different from most representations I've seen in media.

This a a very well-written but overall unstrusctured short, linear twine story about a funeral home late at night, and a cat.

It cites influences like House of Leaves, and has a bilingual protagonist, with the game including vivid details of a Hispanic family's life and culture. The protagonist is relatable and there's some great scene-by-scene writing.

This setup gave me huge expectations, but the story ends with a very quick infodump and sudden ending with nothing but a 'start over' link. It felt like it was missing a third of it; the ending could have worked with more middle exposition, or it could have worked with a longer denouement, but I was left feeling unsatisfied. But I would love to read more by this author, as I love the style.