Ratings and Reviews by MathBrush

This is an ectocomps game, so it comes equipped with spare room descriptions and under implemented items.

The overall storyline idea isn't bad, but there wasn't enough time to implement everything fully. There are some well-done secrets, and for me, the highlight of the game was the dog.

Took me about 15 minutes to finish.

This game is a gunfight and/or conversation with someone who chased you down for shooting a relative.

You can select between a few preset verbs like attack, ready, explain, placate, etc.

There are multiple difficulty levels, some randomization, and an interesting story. Howver, the combat system didn't really work for me, and I wasn't drawn in by the writing.

This game is a short, linear time travel story about a person working for a time traveling antique company. A system of technology is developed, and a complex and intriguing backstory.

The writing is adequate and doesn't get in the way of the action. Navigation takes a bit of getting used to, and I didn't like a few sequences where you are told to wait but 'wait' doesn't work (you have to complete tasks in your area first).

There was a bit of gender stereotyping and some hamminess, but I would recommend this story to fans of time travel stories.

I really enjoyed the story of this game, which makes sense, because it was adapted from a famous Conan the Barbarian story. The author has done a good job adapting it.

The game could use more synonyms; you often climb by going east instead of going up, and up doesn't work.

The action sort of slows down in the main conversation part of the game.

This game is fairly short.

The Endling Archive manipulates Inform 7 in a truly interesting way.

The game treats the player as someone using a database written in the traditional Inform menu system (using N, P, Enter, and Q to navigate). As you read more of the database, more and more becomes unlocked.

The game uses interesting pictures. The story is based on the idea of survivors, the last of their kind. The database starts out with different real-life examples of endlings, and then transitions to different material.

I really enjoyed it, although the ending fell a bit flat. It took 10 or 15 minutes to play.

In this game, you have to torture an Arabic-speaking individual. Quite a few body parts are implemented, and you have to torture the individual 30 times, using each technique no more than 3 times, and affecting each body part some limited number of times.

I feel like it was attempting to be deep, but not very successfully.In the end, it just seems like it's trying to shock.

This game is just trying to bother you. It sends you through 350 rooms in a row to win the game.

Like many games that set out to be bad, it is not as bad as sincere games that fail. It attracted a lot of attention when it came out, mostly negative, and references to it are sprinkled about old IF discussions.

This is a short, highly branching Twine game published by Sub-Q magazine.

In this game, you play as an individual who investigates a mysterious, magical tower in your town whose owner has been missing.

All sorts of things can happen through the various brwnches, including various toucan encounters.

The game was charming, but the branching and writing didn't really pull me in.

In this relatively short parser game, you play as a rat helping to make a stew.

This game has a small map with several interesting NPCs. The goals are pretty easy tonaccpmplish, although some parts got me stuck for a bit.

This is a good, light game when you're in the mood for something quick and not too frustrating.

This game is classic Ryan Veeder: smooth implementation and rich settings, a linear story with some tension balanced with down-to-earth humor.

You play as someone who is, in fact, mildly obsessed with climbing to the top of a tower. The tower is described in rich detail.

The game contains a sub-game that is also quite enjoyable, and which uses changes in text over time in a brilliant way.

If you like Ryan Veeder's other games, you'll like this one, and vice versa.