Ratings and Reviews by MathBrush

I've been playing Fallen London for at least 5 years now, with a few different characters. I never wanted to review it before because I was worried it would be transitory, and that once the company went under no one would ever be able to play the game I had written about.

But it has been doing better than ever, and has in the last few years added a ton of new content which has significantly improved it.

In form, it is similar to old facebook text games like Mafia, where you have a bunch of numbers for resources and items that change around as you click. The difference is that this has really nice backgrounds, a ton of well-written text (I think a couple million words?) and a card-based system for storylets.

The game is set in a version of London that was sold to dark Masters by queen Victoria. It was taken underground, where the laws of physics no longer apply and death isn't permanent. Hell is a neighbor, and fungus and candles replace plants and sunlight.

It really is two games in one: the first is a time-gated system of customizable stories, with sixty or so actions spread throughout a day (or 80 if you pay a monthly fee). These stories include sweeping epics of revenge or battle against extradimensional beings that changes entire countries or the world, as well as smaller stories like fighting a spider in the sewers.

The other game is a carefully-balanced resources game. Each 'click' has an optimum number of resources available, growing larger until the endgame, and some powerful items take months to save up for. Some hardcore players compete to buy extravagant items like a hellworm or a cask of immortality-inducing cider.

Many storylets are re-used; so, you can bust a 'tomb colonist' (kind of a decayed sentient zombie) out of prison over and over again. Some are only done once, like deciding whether to support a local mob boss or his cop daughter. The re-used ones tend to occur in 'grinds' which are pretty common in this game, although much less than they once were in the early game.

To me, the best stories are:

-Making Your Name, early storylines that help you progress the four stats: Watchful (used for detective work with a Sherlock Holmes substitute, archaeology or university work studying bizarre magical languages), Persuasive (used for romantic and creative work, including writing operas and engaging in courtly romances), Dangerous (used for fighting duels and capturing monsters), and Shadowy (used for pickpocketing and elaborate heists)
-Ambitions. These are stories that span the entire length of the game, starting from something simple (usually tracking down an old friend or lead) and ending up dealing with godlike beings. They include a horror story, a revenge story, an adventure story and a sort of legend or fantasy about wish fulfillment.
-The final stat-capping storylines. These include the railway, an end-game segment where you become a railroad baron, building a railway to hell that gets stranger and stranger the further from London you get; the University Lab, where you discover the dark secrets of the Masters; a series of wars that you lead as a general in a bizarre place; and elaborate thefts that make you a legendary thief.

The game can be 'completed' without paying, but the monthly fee makes grinding a lot easier and provides access to some amazingly good short stories called 'exceptional stories'. Older exceptional stories are available for a fairly hefty sum, but they are generally worth it (especially ones by Chandler Groover and Emily Short).

There's a lot of interesting material up front in the 'making your name' segments, so it's worth checking it out just to see the overall style and feel.

Edit: Looking at the other reviews, I'd say their criticisms are absolutely true (stories can be shallow, clues and hints are items instead of actual stories). I just can't give 4 stars after having played this game for hundreds of hours and honestly investing over $100 or $200 in bits or pieces after years.

The author of this game has made several other very successful twine games, including Birdland and its related works and Known Unknowns. Many of them are smooth and enjoyable LGBTQ YA stories and this is in a similar category.

You play as a young woman whos prom date gets publicly ruined as embarrassingly as possible. Unfortunately, this prom is also on a boat.

There are many characters, and all choices are dialogue options. This author tends to have a ton of little options hidden in the code, but each path you can take in this game feels like the 'intended' one.

There's nothing to see here in the way of puzzles or major decisions; the real draw is the witty dialogue, teen-relatable situations and, for those interested, LGBTQ representation.

For me, what it keeps it from being 5 stars is its lack of the extraordinary. I enjoy this author's games the best when they become bizarre and absurd, like weird dream birds or raccoons speaking in emoji. For me, this was like very good cake without frosting: delicious, but leaving you wishing it had that extra ingredient.

This game was directly inspired by the Hard Puzzle games in its difficulty level and clarity and by Junior Arithmancer in its actual puzzles.

Hard Puzzle was mainly known for being intentionally poorly-clued, with numerous red herrings and puzzles that aren't quite fair. The idea was to have a kind of game you can beat your head against for a long time before finding a solution.

This game is similar. You find yourself in 4 rooms with a helpful fairy. Each room has a number on the floor and some other object of interest in the room (either a door or a clue). There is a recess that is common to all the rooms (essentially in the center of the circle) with a book.

Puzzles involve the book and the numbers and the clues (which makes sense, since that's all there is) and is similar to Junior Arithmancer a bit.

I found the game very unfair and very confusing, but that is the intent. I got a lot of help from the fairy (enough to solve one of the clues) but looked on the adrift forums for the other 2.

I wish I were able to type and execute a list of commands on one line, separated by punctuation. Once you know the answers to the puzzle, it can be pretty tedious to enter.

Overall:

+Descriptiveness: It's effective for the style it's going for
+Interactivity: I didn't like the tediousness, but the game was trying to be frustrating and hard, and it was
-Emotional impact: I saw this entirely as a puzzler, removed from emotional ties
+Polish: I encountered no bugs.
-Would I play again?: The value's all in the surprise, and there's not much replay value.

Liminal spaces are popular right now; my young son enjoys playing liminal spaces games on Roblox and I've seen bots about them on twitter.

Whatever the original definition of liminal spaces was, they are now dominated by endlessly repetitive/abandoned/mass-produced areas. The Backrooms is a classic example (an endless system of hallways with boring carpeting and yellow walls). Another common kind of liminal space is something designed for entertainment but which is now empty, or uncanny valley areas.

This game involves you travelling between several such regions. Interestingly, just like liminal spaces in popular culture are often worn down, this game is underimplemented, missing several exit lists and lacking custom responses for many things.

Here's my rating:
-Polish: The game is missing exit listings and just feels kind of undercooked.
-Descriptiveness: The areas that are described are evocative, but some are given just a single line that is rather unclear.
-Interactivity: I had to decompile to finish it.
+Emotional impact: It has the kind of liminal feeling that I assume it was designed to create.
+Would I play again?: Sure, why not. It's short and good at creating the feeling of low-key chills.

This game is the second in Choice of Games's deluxe series of Vampire the Masquerade games. It is long (the 12th longest CoG game), has at least a dozen high-quality character portraits, and uses the White Wolf system of attributes.

Inevitably, this game will draw comparisons with its (unrelated, story-wise) predecessor, Vampire: The Masquerade—Night Road. That game featured you as a solo vampire making their way up the ranks of the city's undead through elaborate and high-powered missions. This game, in contrast, focuses on a human protagonist inheriting an old shop in a small Illinois town that has a dark presence lingering. I can't think of a more apt comparison than Jojo's Bizarre Adventures. Night Road is more like seasons 1-3 of that story, big battles and crazy powers, while Out for Blood is more like season 4, a smaller story where we meet locals with different interests and abilities and the main enemy is a sort of lurking, hidden figure.

Mechanically, there are a lot of statistics to sink points into. This is an RPG, so we get a lot of experience points over 12 chapters. I sank most of my points into Intuition and the Occult. I found this satisfying, as I was able to get flashes of insight at different points (although I'm not sure if this was from my ability or built into the story), and I was able to use magic extensively to curse people, place wards, and to scry. Given the different achievements and options I saw, I'm sure I would have had a very different experience with a different stat build.

Mechanically, the game has a few distinct threads.
-You have ownership of your late grandfather's shop, and you can decide who to hire to work there, what to invest in, how to pay for it all, etc. It starts you off seeming like it will have numerous recurring options, like Metahuman Inc., but it never really circles back to it, so you only get one real shot at setting up the shot and then many sub-choices after to affect minor details.
-There are numerous romantic options, including the sultry vampire villain, a goth/punk human friend, a handsome disabled attorney friend, a friendly vampire hunter, etc. I had numerous romantic encounters with my chosen relationship and it seemed fleshed out better than many CoG games. Occasionally there were scenarios with my love that may have seemed out of place given our current history, but they were few and far between and none spring to mind immediately.
-(Early spoilers)(Spoiler - click to show)A wealthy and powerful vampire seems to have set up in town and is manipulating affairs. This thread forms the main plot.
-(Middle spoiler but not giving a lot away)(Spoiler - click to show)A group of weaker vampires is also in town.They form the second-biggest thread.
-A lot of complicated town history is also floating around.

The game definitely was affected by my choices, and I re-evaluated my viewpoint multiple times as I realized a group I trusted was pretty bad, etc. Near the end, I felt like the whole weight of complex machinery the game is built on began to break down, as I double-crossed a lot of people without too much punishment. But while it pushed up against disbelief, it never really crossed the line. I think a lot of things depend on the relationship statistic alone, and I had had a lot of built-up trust before the betrayals.

Overall, the game is very long, but many people have said it feels short. This is likely because the game has so many options and avenues mid-game that it doesn't really get a sense of building to something. The other VtM game, Night Road, had the regular structure of missions and payments and handled increasing tension well, but here it's hard to feel much progress until near the end. I don't think this game is short or small or linear, but I think it could be paced or structured a bit better to indicate its length. Someone in the CoG forums said it has 12 chapters and 12 endings, and that really helped me set appropriate expectations.

Overall, I would rank this as one of the better Choice of Games titles. I think it is worth its purchase price, and that fans of Vampire the Masquerade or White Wolf in general will be pleased, as well as fans of small-town stories. It's a story that I wish I had written, and one that I thoroughly enjoyed.

I received a review copy of this game.

Arthur DiBianca has explored the creative space available for limited parsers for many years now. The sheer number of puzzles he has come up with for things like directional commands (Inside the Facility), wordplay (Sage Sanctum Scramble) and just poking a box (Grandma Bethlinda's Variety Box) is impressive.

Here, we play as an adventurer in a small town where you can buy equipment, hang out at the tavern, or head down to the dungeon where you have a limited amount of time to battle and find loot. Dungeon verbs are limited to skipping the current battle, fighting, and searching, with extra fighting commands added later. It's really interesting contrasting this with the games of Paul Panks, exemplified by Westfront PC and lampooned in Endless, Nameless, where he always had a cookie-cutter village with a 3 or 4-room tavern, church, etc. and forest full of monsters. Those games were filled with a lot of cruft, while this game cuts all of that out to its bare minimum functionality.

This game is more or less an RPG or roguelike, and it has a 'grind' and RNG that sets it apart from his other games. Is this successful?

Here's my 5-point rating scale:

+Polish: The game is very smooth. Arthur's limited vocabulary allows for intense polishing on what remains, and the game feels completely smooth and operational.
+Descriptiveness: There's a clever mechanic where monsters came in 2 (and later, three) variants that differ from each other by just a small word or two. Only by careful experimentation can you distinguish which monsters are 'safe'. I feel like these constraints led to vivid descriptions since there had to be a lot of detail for the differences to be lost in.
+Interactivity: So this could go either way for most people. I grew up playing games like FFV (on an emulator with a fan translation) with my head down on a desk reading a book while I moved the arrow keys left and right, grinding encounters. To me, that was the quintessential RPG experience. This game also has a lot of grinds that can become tedious. For me, I was interested enough in seeing a little number on the screen go up; others may not be. More seriously, I had to battle the RNG on several occasions, especially the final boss, where I ended up manipulating UNDO to try and get a favorable combination. In the end, it turned out I had a misconception about the boss, and so my UNDO was unnecessary, but I did use UNDO for some of the final achievements which, unlike past DiBianca games, were less about showing extra skill and more about extreme patience with RNG.
+Emotional impact: For me, this game hit a spot of nostalgia. Otherwise, I probably would have felt distanced a bit by the 'where's Waldo' system, treating words as puzzles themselves rather than
descriptors.
-Would I play again? For me, the big draw in replaying an RPG is trying it with a different character class or setup or seeing what different random drops you can get. You can't really get that here, because you can only get to the final boss after thoroughly plumbing everything the game contains; there's no remaining mystery and only 1 'anointed path'.

Overall, though, I feel confident recommending this to others and consider it one of the best games in a year that's already had some great competitions.

This is one of Fallen London's Exceptional Stories that gets recommended a lot.

Exceptional Stories are IAP's for the main Fallen London game. Each is its own self-contained story and usually comes with a reward worth 62.50 in in-game money, which is a lot for new players and a moderate amount for endgame players.

In this setting, Hell is next to Fallen London (although it's not quite the Hell of classic Christianity and the devils are not more evil than others in this setting). The Church of England still exists but has adapted to deal with these changes.

This story concerns a new Saint which is appearing in different texts. You have to help an eager deacon to hunt down where this info on the saint is appearing from and deal with his leaning between the Church and Hell.

The highlight of this is probably taking a train down to the Marigold station (the last stop before Hell, and something you can reach on your own very late in the game by becoming a railroad baron) to see about this Saint for yourself.

The very good exceptional stories coming out recently mean that this one doesn't quite live up to their standard, but it was still very polished descriptive, and with some great payoff moments. I would consider it to be one of the better exceptional stories.

This was a truly pleasant game to play. The art was very lovely, reminding me of a more advanced version of the art in Laura Knauth's Winter Wonderland.

This is written in Adventuron, and has a few 'modes', including a cozy one and a sad one. I played both of those.

The game has its own internal logic that doesn't correspond 100% to standard interactive fiction tropes. For instance, a few puzzles require that you type the desired result without detailing the physical actions that prompt that result (an example, not in the game, would be like saying 'go golfing' instead of 'hit ball').

Because of that, I got stuck a bit, but I noticed that the many other people who played seemed to get by without asking for hints online, so I persevered. Overall, I enjoyed the atmosphere of this game the most out of this comp, and think this is an outstanding use of Adventuron.

I beta tested this game.

This game is written using the author's own Versificator system, an excellent system built up over many years.

In it, you play as a Grue in a classic adventure. However, you have no interest in murdering adventurers. But you do want to get them out!

The game reverses several parts of classic adventures. Instead of mazes, you move through orderly access tunnels. Instead of finding light sources, you find ways to dim light.

This is a clever reversal and a fun way to play.

The only thing I had trouble with was the overall main mechanic of rescuing adventurers. The puzzle structure is organized in a way where it's hard to know you're making progress until you've figured the whole thing out. But that's mostly a personal reaction and may not apply to others.

I also played this as part of the Seattle IF Meetup and think it's appropriate for group play. We all had a lot of fun!

This game opens with a spooky pixel art world and story, then transitions to a generally pleasant, somewhat magical real life world with photographs.

It has 3-5 puzzles. All are simple, and most are well-clued. One involving a fish felt a little arbitrary to me, but overall it was nice.

The game felt smooth and polished. The writing gives hints of interesting worldbuilding. Overall, like others have noted, the game feels a bit disconnected between its two sides, but both sides are individually well put-together.