Reviews by MathBrush

This is a meaningful game written about a Jewish person escaping persecution from the Eastern Europe/Russian part of the world (in the early 1900s, I think, maybe late 1800s).

Most of the game is very bare-bones. I'm not sure what system it is; it might just be custom javascript. You select a number and then push SUBMIT to move on.

Gameplay is almost entirely buying items at a low price, going to a nearby city, and selling them at a high price. Each city only has a few its next to, so you can either map it out as a graph, or (what I did) just memorize the cities with the worst prices and don't pick them. Near the end I got comfortable enough to travel 3 or 4 cities at a time to get a good price.

Behind its dour aesthetic, the game hides emotional moments written in terse text. Accidentally going beyond the 'pale' was terrifying, and my companion Ephraim didn't make it in the end.

The starkness of the game contributes to its overall feeling, emphasizing the numbness you could feel in that scenario. On the other hand, it feels at times like it fights against the player. Having just a map connecting the stations might be nice, or more indication of the story to come. I guess it all depends on what effects the author is most interested in having on the audience.

This is a surreal game set in the desert where you examine eight different objects and make various choices concerning them, which are then sealed in. At times the game mentions connections between two items; for me they were the last two I had chosen each time, but I don't know if that changes on different playthroughs.

It has lovely looking sand art that looked really hard to make but visually appealing.

When I say surreal I mean very surreal, like between The Wasteland and Finnegan's Wake surreal. Here's an excerpt:

What horizons can we reach with twining? The process is strict but has an end. She comes up with a new weave for her tale. It goes like this: sand. The weaving proceeds from absence to absence. This happens every Thursday. A kiosk is so very far from her. Oh, didn’t you know, she says? It is a strange affair.

It's writing that willfully impedes understanding for effect, with just enough connections between sentences to trick your brain into thinking it knows what's going on but an overall effect of something unfamiliar. It's like the text equivalent of a Dali painting.

This beautiful and hard-wrought story that defies categories and quantification is, unfortunately, entered in to the 'categorization and hard quantification of games by group vote' competition, and so is subjected to numerical evaluation. But I think that the ranking of this particular game won't really matter; what matters more imo is what people feel or experience while playing it.

I enjoyed this game. Its intentionally minimalistic, with simple styling, short sentences, and brief paragraphs. I thought for a bit there that might be some consistent poetic meter or a syllable thing like haiku, but I don’t think there was.

You explore an afterlife with melancholic and strange characters. They have desires ranging from finding release from the pain of the loss of their loved ones to a desire for orange fanta (relatable).

The game progresses in different stages, each unlocked by crossing some barrier, like a guard who must be bribed or a river that must be crossed. While barriers are the bread and butter of location-based interactive fiction, I felt like they were good symbolism for stages of the afterlife (like ‘crossing over’); not that I identified any clearly distinct and symbolic stages, just that crossing over repeatedly felt symbolic.

There are multiple endings, some shorter than others. I got one named ‘true ending’ but was able to get into the lighthouse after that, but I couldn’t find any ending after that ending.

Gameplay revolves around picking up items (with a limited inventory) and then using them in different spots. One location has numeric codes.

This game has good styling and coding. I think the author will do well in the future. I believe this game was written with a specific objective, and that the author did well on that objective.

That said, I think the objective is a misstep.

This game is about break-ups, and it coaches you through overcoming it. It may be helpful to someone currently going through a breakup, but I found it very poor at talking with me about a breakup that I had long ago and had worked through.

There is a real tonal mismatch. When I got my third achievement pop-up for, I think, being sad, I just paused and stared at the screen for a while. It feels so odd to me to have positive, upbeat, awarding achievements while coaching someone through a breakup. I just can't see, say, my mom, putting gold stars on my shirt as I cry to her about a breakup.

The game assumes that you are right now in the depths of despair. Sometimes it gave way too many options to express myself (and allowed me to go back and add more before giving generic advice that revealed it didn't really care about what I chose), and sometimes it gave ones that don't at all reflect my thought process (like 'That's beautiful' and 'that's sad' as the only two reactions).

I think Chatgpt memes have ruined me. While I don't particularly suspect AI use here (it's possible but unimportant to me if it was used), there are a lot of memes about how AI has inordinately upbeat, generic and positive reactions to inappropriate things, like it's own mistakes. "You deleted the codebase!" "Oopsy! Hee hee. You're right. But we won't give up, because you, you are special, and we will get through this together!" While the branches of this game were selected by a human, they felt to me also to have some inappropriateness in tone at times, like asking for specific details and then completely ignoring them while giving us an achievement for being a true warrior.

I do not feel like this game is awful or should be mocked. There is a great difference between someone doing a poor job at creating a game and someone doing a great job at making a game I simply didn't like. This game has evidence of good craftmanship, but my personal, subjective reaction is that it didn't work well as a mirror of my own feelings or as a coach through hard times.

This is a Twine game designed to be played in a relatively short time (I think someone mentioned that it will end after a certain number of moves).

You play as a group of crows, one of whose members, Noodle, has been injured recently. You can undertake various activities like taking revenge against humans, visiting a friendly human, and investigating a dog.

The crows are simple-minded and can be rude but seem like softies at heart. The language the game uses is simple and charming.

It was often difficult to know what actions I could do and where I could go next, or what plans to make. I suppose, like other reviewers have said, maybe that is indicative of life for a murder of crows, swarming around and trying different things over and over.

Olaf Nowacki is a popular figure in both English and German IF, with games like Schief/Wry and Fischstäbchen/Eat the Eldritch having made a splash in past years.

This game is fairly small and compact but has a strong voice and characterization. I'd describe it as anti-capitalist and just anti-work in general.

You play as a worker being fired from their crummy job and bent on revenge. But the evidence you meticulously collected has been stolen by your boss!

You have to recover it, in the process overcoming a ludicrously anti-worker building and boss's lair (parts of which definitely reminded me of past jobs! I had a desk in a closet once) to defeat him.

There are multiple endings (with worse endings usually giving hints for better endings) and lots of funny commentary.

There are a couple of rough edges carried over from German; Forklift in German is Gabelstapler, which I thought was just a stapler when I first played, so I picked it up and tried to staple things with it (which makes for a very amusing picture in my mind, now). This version still lets you pick up the forklift, but I don't think I found any other errors.

I played and reviewed the Spanish version of this game before. When I play a game in another language, it has an air of mystique around it to me. Everything seems cooler when it's in another language. But it's harder.

Playing this game in English was an interesting change. It uses a lot of technobabble which was mostly incomprehensible when I played the Spanish version. Here I can understand it more, and turn a more critical eye on it. But the technobabble still holds up pretty well; the ideas used are at least plausible.

This game is about mind uploads. You don't know that at first; the game simulates a file system like DOS or command line Linux. Navigating the file structure, you discover that a war is wiping out humanity. You are going to die. A brain upload might be what saves you.

The majority of the game is piecing together what is going on through navigating the file system and finding older documents.

Along the way, the game uses interesting mechanics, including a simulated Inform parser (written entirely in Twine) and a cheeky towers of Hanoi (cheeky because it's a famously bad puzzle to put into an IF game, so much that several games mock the concept, like Wizard Sniffer that has a dumpster with towers of hanoi in it at the start. I don't mind it too much here).

This game is visually rich and has subtle details that can really throw you for a loop and more explicit text that will help you connect the dots (I'm thinking here of (Spoiler - click to show)checking the date before and after the upload. It gave me a realization that was later explicitly confirmed.

I liked it in Spanish, and I like it in English.

This was a solidly coded and enjoyable game that I found just slightly under-clued.

In it, you play as someone who gets drawn into an interview to become the assistant to a word wizard, or semantagician. The interview is a locked room puzzle. You're locked in the room, and need to get out. But there's not even a door!

Your tools consist of a few objects you can find laying around in addition to a half-dozen or so implements that can alter words. Some of these are easy to figure out (like a 'sawing in half' table, although that one had a catch I didn't quite get at first), while others are pretty obtuse (like the chimera box).

Helping you along the way is a cute rabbit named Weldon who can answer your questions.

The puzzles here are fun and funny. I liked how there were a lot of animals in the game but, instead of implementing lots of details about animal sound and behavior, etc., there was a lot of discussion about how these aren't real but simulacra, and the strange implications that has philosophically.

I had a great time with the puzzles, but I did get lost pretty often. In a way, that became the puzzle. I did consult the walkthrough because I never thought of how to handle the robe. Opening it, I saw the solution to a couple of later things ahead of time.

I wonder if it could have used a little more guidance here and there. On the other hand, it's a small, constrained environment and not too long a game, so there's some wiggle room on how clear it needs to be. I guess it comes down to player preference. If you want a puzzle game and not have your hand held (but still have some hints in-game), this is great for you.

I like Penthesileia by the same author, so I was looking forward to this.

This is an intense love triangle (actually more like a incomplete love tetrahedron) in a fantasy story. You, a man, have heard about the return of your childhood crush who was called to be 'the hero'. But he and your sister also had a relationship, and it's hard to have your crush so close and see what's going on and not be part of it.

Later on, someone else is thrown into the mix, a fourth option that provides intense love but comes with immense, pretty awful baggage.

The fantasy story provides the framing and is essential to the nature of the fourth character, but all other aspects of this story could work in almost any setting. It's about essential aspects of human nature: love, obsession, hope, despair, jealousy.

There are some options that felt significant, but I only played once so I don't know if they have an effect on the overall story (it's okay if not, they were good for roleplaying).

The game had some strong profanity, which I muted with a filter. It is a queer love story and has drama but does not (I think?) contain homophobia. Someone else who has played can feel free to correct me, but I had the impression that the relationships were dangerous and felt illicit but not because of homophobia, but because someone else had loved them first. Still, all gay relationships are treated as secret so it's hard to say (I'm only including this part because I know some people have a preference in how the world setting treats gay relationships).

I like this author's writing style in general and look forward to future games.

While I was playing this game, I thought, “This almost feels like if someone went out of their way to antagonize as many people as possible by doing everything people on the forum hate.” Later on, I started to wonder if that might actually be true, since the game is ‘meta’.

First, this is a windows downloadable executable, which, outside of uncompiled python code, is typically the least-played out of all IF formats. Unlike Steam, where windows executables are king. many IF players and authors use Linux or Macs and can’t run windows exe’s easily. A big attraction of IF is the ability to have it running in the background during other tasks, able to start and stop it at will, but executables are full screen. Also, unlike Steam, there aren’t really any safety guarantees that exe’s won’t give you viruses.

Second, this game uses timed text in perhaps its most devious form: text in a typewriter font that is slightly slower than average reading speed, but very quickly moves on to the next passage once done, with no back button and no history option. There is a pause button. If you look away from the game for a conversation or to check the stove and forget to pause, you’ll have to start over.

Third, the game picks your choices for you. The controls for much of the game do nothing, with the cursor moving itself and picking what it wants. There is no agency in these portions.

But, the game does address these things! Kind of. You see, the game is a scene, like in a play or movie, and you are the ‘player’ in the audience. Eventually, you get the option to protest what is going on and to deride the lack of agency. I eventually consented to an option to ‘erase’ the game, and got one ending.

So, it’s a clear commentary on the nature of agency in games. While I dislike all of the choices listed above, I’m glad the game is self aware and that everything is done intentionally. Sometimes it’s okay to do unpopular things to make a personal statement you care about. Also I liked the art style, it reminded me of the witches in Madoka Magica.