Reviews by MathBrush

Spellbreaker must have been the inspiration for games like Mulldoon Legacy, Lydia's Heart, Jigsaw, and other intensely long puzzle fests (I feel like Curses! is slightly easier). This is Infocom's last game of the Enchanter trilogy, which follows the Zork Trilogy.

This game is incredibly long and difficult. I played to about 150 points out of 600 before turning to a walkthrough (eristic's), and most of those points I got because I had played Balances by Graham Nelson, which copied many items from Spellbreaker (to show that Inform could achieve the same results). The game is purposely murderously hard; I suggest that everyone use a walkthrough after reaching a predetermined number of points.

Magic is failing, and you must chase a mysterious figure to learn why. The game is pretty disjointed, but purposely so, much like Jigsaw, where you enter and exit various areas miraculously. It has a very different feel from Sorcerer, and especially from Enchanter, which was very easy to map and simple in its presentation.

Many people have talked about the time travel puzzle in Sorcerer, which I enjoyed, but felt a little down because there was so much hype. Unfortunately, I am now hyping the last big puzzle of Spellbreaker to you. What a puzzle; to me, it was great because it completely ties in with the game's theme of loss and ending. It is a puzzle integrated with the plot.

As a final note, I should really emphasize that this is a LONG game, 2 or 3 times as long as any other Zork or Enchanter game. When using a walkthrough, I finished each of those games in a total recorded time (not counting my numerous restarts) of about 16 minutes; this game, including several restarts to shave off the starting time, took 1 hour and 22 minutes.

I played this game on iOS's Lost Treasures of Infocom.

The first scene(s) in Legion are truly ingenious, one of those "What on earth is going on?" type games. It took me quite a while to figure out what was even possible, but I had fun exploring. There is basically one important verb that you can try on everything, and then reading in-game clues should give you some ideas of what else to do.

Once the game transitions into it's second section (signified by changes in the in-game color), it becomes a bit more standard, similar to Babel and the many games inspired by it. It uses some profane language, which is mostly appropriate for the nature of the person and the situation. The puzzles are still very good, the writing is still good, but the opening is so great that the rest of the game pales in comparison.

Christminster is set in a British University, where you are looking for your lost brother. You encounter a variety of obstacles and discover various ancient secrets.

This game has a host of well-crafted NPC's, timed events, and other difficult-to-implement concepts. The puzzles are logical, and exploring around for long enough is enough to get many of the puzzles. Several of the NPC's are quite funny, and there is a fun cryptographic puzzle.

Even though this game is well-crafted, it didn't really call out to me at first. I have realized that I am prejudiced against upper-class PC's, and against college-related games. I've had similar issues with Savoir-Faire, Violet, and the Lurking Horror. However, when I finally reached the end of the game with a walkthrough, I really enjoyed it.

This game was one of the most popular games in the mid 90's, along with Curses!, Jigsaw, and Theatre.

I first played All Things Devours 5 years ago as one of my first pieces of interactive fiction, and was very confused and felt it was impossible.

All Things Devours is a time travel game, where you must work together with past or future selfs to navigate several puzzles, subject to certain restrictions.

This game can be solved much more easily if you keep a detailed list of where you are and what you are doing at each turn. That way, you'll know where (or when) to be with other incarnations of yourself.

Fortunately, it's not necessary to jump around too much. A similar game called Fifteen minutes involves 8 or more copies of yourself in the same room, and it gets very tedious by that point.

All Things Devours is a classic.

This is one of the best murder mystery games; you interview a variety of very vocal NPC's with different personalities, you pick up clues, look through a house, then deduce a murderer and then arrest them.

The NPC's are vibrant and active, moving about the house, talking about each other and their actions. It must have been an enormous amount of effort to implement these NPC's.

The story itself is necessarily somewhat weak. As the murderer can change every time, everyone's backstory and alibi have to be flexible enough to account for the changes, and there is no sense of urgency in the game.

A must-play for murder mystery fans.

'Balances' is a short game based on Infocom's celebrated Enchanter series. In fact, the opening area is directly based on the sample walkthrough in the manual of the original Enchanter game.

This game demonstrates some of Inform's best abilities: indistinguishable objects, games involving large numbers, magical spells that interact with each other, a balance that weighs different objects, etc.

The game is relatively fun, but short and without a coherent plot. It can be a good introduction to the Enchanter series for those who aren't sure about Infocom games.

Graham Nelson wrote a longer game with similar elements: The meteor, the stone, and a long glass of sherbet. Those who like this game should definitely try the longer Meteor game.

Kerkerkruip is a randomized dungeon RPG game. You fight through a crowd of enemies using different tactics and absorbing the powers of the defeated. You pick up treasure and magic spells along the way.

The randomization allows for immense replay value. Also, the game has an adaptive difficulty setting, so the better you do, the harder each replay is.

You have many options, like attacking, 'focusing', dodging, etc. This is the only IF game with such a well-developed system as of now (2015), as far as I can tell.

The game is relatively squick-less (no gross blood or other similar things). You face a variety of human and monster enemies. Each session can be completed relatively quickly (less than an hour).

Lydia's Heart is a game in the class of Anchorhead, Mulldoon Legacy, Curses!, and Worlds Apart in terms of size and story. To see the size of the game, check out the provided map, and realize that 90% of the rooms have their own detailed puzzle.

First, the story. You play a young girl at a southern motel who is entrapped in the mysterious plottings of a cult. You must find a way to escape their clutches. There are twelve or more NPC's, each of which can be asked numerous questions. The twelve NPCS's are mostly static, but later they move about a bit. The workings of the cult are explored in great detail, both at the motel and other locations.

As for puzzles, they are very, very difficult. This is the same author as Not Just an Ordinary Ballerina, which had very difficult puzzles as well. As an example, there are several locks in the game, which are opened in three or four different ways, two of which are almost never done in IF games. Items must be gathered from far away and assembled into one whole. Characters must be encouraged to move. And some just completely improbable actions must be taken.

However, I took a simple approach; I would just go as far as I could without getting frustrated, then start consulting the hints. The hint system is AMAZING. Just get as many hints as you need. Don't feel bad about it! The author intended this game as more of a story than just a puzzle fest; by consulting the first few hints for each puzzle, you're just making the level of difficulty low enough that the puzzles are still fun, but the story can still progress.

Several reviewers complained about mazes, but they don't realize that sometimes mazes are fun. The author allows you to bypass them with magic words, but then people feel mad about missing 100% completion. I subscribe to a different view; I love stories and settings, and I would rather skip all puzzles in a game to get a good story. Puzzles are fun, but they aren't the reason I play IF (except for Ad Verbum and Praser 5).

This Infocom game is directed towards younger players but is appropriate for adults; in fact, the game is still very challenging. The fantasy elements are charming and fun (and sometimes pretty creepy): an army of boots, a witch who steals cats, ghosts who murder you...

All the puzzles can be solved with sufficient exploration and minor logic; I missed a few areas and items in my exploring, though, because the world is rich and beautiful.

As far as I can tell, the game is for beginners because there are only the n,e,s,w directions (no ne, se, nw, or sw); most puzzles have multiple solutions; most items are easily visible (except for the most important one); and death won't come unless you have been repeatedly warned.

The game is split into two sections; one where the player explores a quaint village with minor annoyances (such as locked gates and a poodle); and a second section where the village has turned dark and evil (with murderous ghosts and a hellhound).

As many have stated, this is a memorable game, more so than most of the Infocom games I have played, or interactive fiction in general. As usual, I played this game on the Lost Treasures of Infocom app on the iPad.

In this Infocom game, you play PRISM, a sentient computer who has been designed to simulate the future for planning purposes.

This game has no real puzzles until the end. You simply explore. First, you explore your interface, which is very large (having 30+ distinct files you can open). Then you explore the actual simulation, which is a large downtown city, with what felt like 30-50 locations. Once you explore it long enough, the simulation accumulates enough data to simulate another decade into the future.

You must record interesting events and places in the future to bring back for planning purposes. I somehow missed out on a simple mechanic, and got very stalled in the game. (This is not a spoiler, because it is not a puzzle or a surprise, more of a guess-the-verb): To present your recordings, you must tell people "look at recording".

The developer has stated that the game was intended as a criticism of Reagan's policy.

The game is fun. You need to explore; don't just rush through, trying to do what they say. You need to record a lot of each decade to win, so try and get a mental map of the game.

I played this game on the iPad's Lost Treasures of Infocom app, which provides most of Infocom's games (except Nord and Bert, and the already-free Hitchhiker's Guide to the Galaxy).