Reviews by MathBrush

I'll be upfront and say that, by modern standards, I wasn't impressed with the original Ditch Day Drifter. This sequel, however blows my mind.

The introduction is especially good. Reminding me of the hidden temple sequence in Lydia's Heart, you have to race another tech firm to pitch a product to a southeast asian company. You have to deal with both fidgety technology and a decaying factory.

The game then makes a huge transition to Caltech, scene of the original Ditch Day Drifter. As then, you must explore the campus, solving stacks, reading memos, going in the tunnels, going to the store and kitchen.

But boy, the world has changed! Crowds of independent NPCs, immersive room descriptions, real conversations, etc.

The game has a fairly unique premise: your character must learn (or relearn) about physics and engineering to crack the code on a high-tech box. Puzzles are drawn from real-life techniques, and you learn a lot; however, the game is adapted for those with no real-life experience. You convert IP addresses to hex form and back; you learn about quantum coherence and decoherence; you learn how to use network analyzers and even cherry pickers.

I enjoyed the beginning more than the rest of the game, but that's because open nonlinear games often intimidate me.

I recommend this game for everyone. Even if you're not great at IT, like me, the game treats it like any other 'magic system', telling you how to use things. It's fun.

What an enjoyable game! My heart was racing in chapter 12. This is a quite long game set in a world dominated by clockwork; the religion, the city, the people's mindset, everything is based on clockwork (a funny moment was seeing that pagans worshipped non-mechanical timekeeping devices like water clocks or sundials).

You play an assistant clock keeper who must investigate a future robbery. The game is a very long example of what I call the linear thriller type of game. You encounter a more or less linear sequence of challenges where you are given a good amount of hints on what to do, there is always a sense of urgency, and everything you do is the right thing in just the nick of time.

This game is what I wish the illustrated book Hugo had been from its cover; you jump and leap and fall all through a giant clock early on, you use an early calculating machine like a computer, etc.

The writing is as good as Anchorhead, in my mind, and the implementation is smooth. The story wasn't as compelling to me at first, but the last few chapters really got me into it.

The game has probably not received very much attention because it was a commercial game for a while. But everyone should try it now.

Spy Intrigue is not my type of game. But it is an incredible game, which I have played through twice, and is excellently crafted.

It is a game of layers. It literally has two layers of text, interwoven within each other.

It also has two levels of meaning. The top level is just crazy and silly (you very quickly learn that most spies have died of "spy-mumps"). But there is a much deeper subtext in the game, much like another 2015 IFComp entry TOMBS of Reschette. Both games encourage you to look under the standard shoot-kill-loot structure of normal games and see what existence would really be like for protagonist and enemy.

That's probably the deepest contribution of this game: to show the protagonists humanity. The author has succeeded in a very well-crafted game, which I feel should be nominated for several XYZZY awards. She has done an excellent work here.

As I said, this isn't really my type of game; I'm not into profanity or sex, of which the game has it's fair share. But it's certainly never exploitative, and it all makes sense in the context of the game. I will also always fondly remember (early spoiler)(Spoiler - click to show)"OATMEAL TIME."

Future Boy! was a commercial game from 2004. A large game (it took me about 4 and a half hours, using hints 27 times), it has illustrations with gif-like animations for every room and character, as well as voice-acting for all dialogue.

The game is split into two parts, one with the parser, and one with little windows with graphics, usually one for the room itself, one for each character present, one for the compass rose, and one for effects like rain.

The game starts out fairly linearly, with a succession of challenges that set up the story. I found some of the early puzzles fairly difficult, which is unusual for commercial IF. I resorted to the hints as early as the second scenario.

After the first few scenes, the game opens up considerably. It ends up being reminiscent of Infocom's Hitchhiker's Guide to the Galaxy, with a cast of crazy characters and a variety of random locations that you can visit.

One of the highlights of the game is an unusually well developed (Spoiler - click to show)computer system. It's like a miniature game within a game, and gave me fond memories of the 90's.

My winning game was ~1500 turns long.

The plot is fairly intricate. Overall, I enjoyed this game. If it were an iPad app, I would price it at around $5-$10.

I came into possession of the game by contacting the creators using the email on the Future Boy! website.

This game is a typical Eric Eve game:

Good points of Eve games: several NPC's, large map that doesn't really need mapping, optional side quests, great writing, interesting plot.

This game is a bit like Dante's inferno, but with a more 'modern' take. In particular, there are forces that disbelieve the truth of heaven and hell, and the game doesn't say who's right and who is wrong. As a case in point, one of the first things you see is that hell is closed, due to mythologicalization.

The general gameplay was very enjoyable. It felt like Blue Chairs without the drugs and profanity.

Bad points: trophy-ization of women.

Just like Elysium Enigma with the naked Lena and Blighted Isle with Betty the buxom, All Hope Abandon is chauvinistic. The main woman is referred to frequently as just 'the blonde', and there is a green-skinned demon, who makes you uneasy because they 'use sexuality as a weapon, just like many mortal women'.

It's a shame that these games all pigeonhole women, as otherwise I would strongly recommend them to everyone.

I discovered Once and Future when looking at old XYZZY awards. The author of this game worked on it for 5 years in the 90's, frequently posting on forums about it, building everyone up to a huge excitement. It was released as the first big commercial game in years, and a whole issue of SPAG magazine was dedicated to it.

How does it fare? It is a fun, well-polished Arthurian game. An American soldier dies in Vietnam, and is taken to Avalon, being charged with a mission by Arthur to stop a terrible event in America's history.

Many reviewers noted that the writing is uneven, with the author having written it over 5 years and improving it in that time. Parts of it, like those with the (Spoiler - click to show)Straw King, are stirring and powerful. Others just seem like the author gave up; for instance, at one point your character openly complains about the endless scavenger hunts, and it is just laughed off.

This is a puzzle-heavy game, with two exceptionally hard puzzles. Fans of Mulldoon Legacy will get a kick out of this.

It is very long; following the walkthrough, I beat it in 1338 turns.

I believe I actually prefer Eric Eve's Arthurian epic, Blighted Isle, to this game. Eric Eve has more and better NPC's, more optional quests, lighter puzzles, and a better (though similar) backstory. My only quibble with Blighted Isle was its treatment of women, but Once and Future suffers from similar issues at times. However, Once and Future is more poetic/trippy than the prosaic Blighted Isle.

This all sounds negative, but I recommend this game to everyone. There is scattered strong profanity (mostly by soldiers in life-or-death situations), as well as a few mild sexual references.

One eye open was an IFComp game much longer than two hours. In it, you play someone being tested for psychics powers.

Without giving away too much, this is a search-the-lab game similar to Babel, but with gruesome gore in the vein of the SCP foundation (like SCP-610, for instance). The horror has also been compared to the Poltergeist.

Somehow Vespers and Varicella disturbed me more than this game. In a way, the horror are not as scary because of the way that they are described, but they provide a coherent atmosphere. There are many endings, many Easter eggs.

There was no profanity, no sexual material. Not recommended for most people, due to the gore. I probably won't play it again because of it.

Note: This review was written months in advance. A week before this review was published, another review came out saying that counterfeit monkey was overwhelming and was very negative about the author and game in general. While I was overwhelmed, I think this is an incredible game, and that the author is extremely talented.

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Counterfeit Monkey is a technical marvel of wordplay and implementation. The game is a large exploration game where you can alter almost any item by adding or removing letters, reversing letters, performing anagrams, etc.

This game has been rated highly by the majority of those who played it, and I must praise its puzzles, writing, implementation, and craftsmanship.

These very qualities led me to feel overwhelmed playing this game. I had a similar experience with Blue Lacuna. In both games, so much is implemented that I had a hard time thinking of what to do next. In both games, you have a certain sense of urgency, so you want to move forward, but both reward experimentation. So I have a feeling of being torn in two directions (much like the protagonist of this game).

I wonder if the reason I feel drawn to interactive fiction in general is its minimalist, constrained atmosphere. Games like Zork or Curses! where you are noone, and exploration is the only goal; games like Glass, where you can only steer a conversation; games like Rogue of The Multiverse that are split into several parts with clear goals. Even games like Ad Verbum, which mirror the puzzle parts of Counterfeit Monkey without the plot.

Most will not feel the same as me, but I love the minimalism and asceticism of classic games, and I don't know if I enjoy those games which have been built up into a rich, huge world.

Spider and Web is one of the most famous interactive fiction games, appearing at or near the top of several lists of Best IF. While I personally have enjoyed some other games more, Spider and Web is still in my top 10. I believe that part of its fame is its ability to draw in every kind of gamer; the story is interesting, the puzzles are hard but get easier with each failure, and those that don't know what to do after the transition mentioned in the game's ABOUT text can still feel great about their accomplishments.

In this science fiction game, you encounter a wide variety of technological devices. You must learn how they work. It' shard to be more specific without giving away plot details.

The game has two brilliant innovations. One is the puzzle it is most famous for, which causes the big transition I mentioned above. Most walkthrough said refuse to give the solution to this puzzle, as a gift to first time players. It took me a day to get over the shock of solving it.

The second innovation is the narrative structure. It frames the game in a way that no one had done as successfully before, and provides an interesting mechanic for hints.

Everyone should play it at least once. I played it the first week I started IF five years ago, and I played it last month, and it was great both times.

This ultra-long game will appeal to three kinds of people: Shakespeare fans, Lovecraft horror fans, and realistic simulation fans. The amount in which the game succeeds will vary depending on the audience.

As a fan of Shakespeare, this game was wonderful. I was skeptical of someone trying to write dialogue for Shakespeare, but this game succeeded fairly well. Shakespeare didn't necessarily talk in as flowered language as he writes, so it works out. The game contains several references to plays William is considering writing (a story about an island in the New World, a story about witches written, etc.). It contains numerous quotations, mainly from Hamlet, and your character (Spoiler - click to show)attends the premier of Hamlet. Other people involved in the game include Christopher Marlowe and John Dee. If you are a fan of Shakespeare or Elizabethean times, you will love this game.

As a Lovecraft game, this game must stand under the fierce gaze of its predecessors, including The Lurking Horror, Theatre, Lydia's Heart, and of course the almost-genre-killer Anchorhead. This game acknowledges its roots; at one point in the game, you can view scenes from many of these previous games, starting with Anchorhead. The King of Shreds and patches offers nothing much new in this area; it has a little bit more gore than some of the other games, but only in one or two scenes (the rest of the game is fairly clean). The main nemesis has more character than most Lovecraftian foes. The obligatory elements (cult, language, mist, visions, etc.) are well-crafted. The game does drag in the middle a bit, but it's huge. I think, overall, it is one of the best of its genre.

Finally, the game contains several simulations of Elizabethean technology. Fans of simulations (such as flying the Ghost Plane in Jigsaw) will really enjoy this game. Others can consult the numerous hints to bypass these segments.

Overall, I resorted to the hints 2 or 3 times, generally finding out that I had missed some text. I highly recommend this game.