Ratings and Reviews by MathBrush

This game might be described as "Weird Urban Fantasy". After a brief prologue, it starts off with a classic 'my apartment' game that models different rooms of a fairly mundane apartment before digging into some of the strangeness.

Gameplay consists of crossing a map and discovering unusual individuals, each of which is far from baseline reality. Unlike much of fantasy and sci fi, most of the people are normal, physically, but inside is something different. There are of course some exceptional cases.

While there are many different threads running through the game, they feel like they all have thematic similarities. One constant refrain is (Spoiler - click to show)fear of nothing happening, stuck in eternity balanced against (Spoiler - click to show)the fear of something changing or finally happening after so long.

Implementation is iffy. One really tough issue is that pronouns aren't set right for women so X HER doesn't work, and for both men and women you can't X MAN or X WOMAN, you have to instead type out the full name of the person you want to speak with. Many objects listed in the description can't be interacted with in-game and many that you can't interact with don't give responses. TAKE SHOWER uses Inform's default response of 'That's hardly portable'. So it could use some polishing up. I didn't see typos or bugs, though.

I liked the game. It gives me the same kind of feel as Deadline Enchanter, one of my favorite games. I also have some major phobias associated to some of the things in this game, but the way it handled them made me feel less tense rather than more, which is nice.

The opening of the game made no sense to me, but after replaying it all clicked, so I recommend trying that afterwards.

In this game, Kronos has imprisoned the Gods, and you must rescue them two by two.

This game acknowledges it was written with ChatGPT, so I won't spend much time (if any) discussing that, as it seems the purpose was to make sure descriptions were descriptive, and they generally were. I knew that it would hallucinate, so I ignored most of what the text said except for objects that were easily interactable with (and a command INVESTIGATE let me know what those were, most of the time).

The map is several different cities, each of which can be moved between fairly easily. Sometimes the exits list were incorrect (like S vs SW) and one, the Necromanteion, isn't listed (you have to ENTER when you're north of the city that is near it).

Puzzles are generally complex code-type puzzles. I used decompiling to figure out rules for some of them. Players will need to know they can ROTATE something COUNTERCLOCKWISE or the game is impossible to beat. Player's should a know that you might be able to put things on a statue's head when you can't put things on the statue itself or the shelf that is on the head. A certain YES/NO question glitches if you type YES, but you can just type YES then NO and it treats it like a YES.

The HELP command here is useful, because if players don't know they can WAIT 11 HOURS, they might have to type Z dozens of times.

Overall, some of the puzzles were fun. I liked the one with flowers. What this game needs, in my opinion, is more careful puzzle testing and more bug-fixing in general. Having one dedicated gametester or several less dedicated testers who report bugs and an author who has time to fix those bugs could make this game a lot of fun. The puzzles are the main draw here, and the overall story idea, with everything else as set dressing, so I'd love to see them shine even more.

(I do have a better impression of this game because the author was open about using ChatGPT rather than hiding it. It is often clear that an author used ChatGPT, and if they do that and don't disclose it, it gives me a much more negative view of the game).

**Why Pout?** by Andrew Schultz

Andrew Schultz has a long history of making wordplay games which all follow the same general pattern (typing words based on an overarching wordplay theme using words that appear in the location) as well as a large repertoire of other games (like chess games and even a baseball game).

His longest running series, called 'Prime Pro-Rhyme Row', involves rhyming pairs of words. While fun, I had the feeling it was getting mined out.

This game takes on a fresh mechanic that still involves two-word pairs. Unlike the rhyming games, which could be slowly brute-forced by trying each letter of the alphabet and then adding multi-consonant starters, this puzzle type (which I won't spoil just in case) can be solved through multiple means, including auditory and mechanical, but with much less possible lawnmowering.

That's not to say it's trivial. I did use hints a couple of times. It turned out one puzzle was there that I didn't even realize was a puzzle that was gating all the others.

Anyway, the story here is mostly surreal, with a sequence of random, fantastical things that don't exactly fit a coherent narrative, but the overarching plot is heartwarming and fun: you're collecting friends. In different areas you find people that need help, and, in return, they help you solve more of your puzzles, and can give you pep talks as well.

This is a lot of fun. The pep talks can be nice, too. Some are more general and vague:

> The ________ discusses ways to identify people or situations that justneed a bit of help, and how to do so without making them feel
> hopeless or in need of help, or that they got themselves in this
> position in the first place.

while others are more concrete:

> You think up a ________ you mumble under your breath. The
> merchant finds it a bit weird you like THAT as a way to keep positive.
> It doesn’t seem like that sort of thing helps the economy. Their
> cheeriness slips slightly, with impressively-balanced potshots at
> people more and less successful than they are.

I prefer the more concrete ones, as they have a lot of character.

Overall, this was fun. Recommended for fans of wordplay parser games.

Well, this was a pleasure. It’s rare (to me) to find a long, well-paced, polished Twine game with nice presentation, few bugs, good characters and a satisfying story arc. Usually games have both significant strengths and significant flaws, but I really didn’t find any major flaws in this game, which was very pleasant. (Of course this might just be to my tastes, of course; other people may have a different reaction)

You play as a chef who has been hired on to cook every 5 days at a community canteen in a magical village. There are several characters you can interact with, each of which is going through their own issues and having their own successes. Your goal is to be able to stay as a chef permanently, with side goals of improving relations with others.

The majority of the game is part of a 4-action daily cycle, where you can choose to cook things to sell at the market and then to buy things at the market (probably the most common option), interact with your friends, make special meals for the community, buy seeds and books (useful early on), go foraging (useful later on, etc.).

Every 5 days you make a special meal which gets judged. Despite my best efforts, my first meal got 1 star, so I worked hard to get better. I ended up getting exactly the amount of stars I needed to ‘stay’ (having only played once, I don’t know if it’s designed always to play out that way or if it was due to my eggs-and-cheese heavy strategies of making deluxe meals).

Overall, the tone is pleasant. There are some stresses, especially with friends, but the tone is one of peace and warmth. It’s not overly cloying to me, when it could easily have been so, and the game doesn’t force you into specific actions of reproach or forgiveness, instead allowing you to chart your own path.

Overall, a great game for someone looking to relax and cook.

Parser games let you type in whatever you want. They only respond to a small fragment of that. If I open a random parser game and say 'I endeavor to hop on my right foot fifty-five times before squawking like a parrot', then it won't respond with meaningful feedback (I know AI can respond, but the chance of that response containing content intended by the author that directly pertains to my command is low).

This is one reason new parser players struggle; how do you know what to type?

Parser games traditionally solve this in two ways. The first is by the community adopting unspoken customs about what commands are important. By experience, players come to know that 'X ME, 'INVENTORY', 'TAKE', 'DROP', 'PUSH', 'ENTER', etc. are generally understood and work well.

The second is by giving the commands in-game, either explicitly (like limited parser games that list the required vocab) or implicitly (if the game says, 'You feel a strong desire to yodel', then you can reasonably expect to be able to yodel).

This game takes neither of those two paths. In it, you play through various related scenarios about a traffic jam in an intersection. Many, if not most, of these scenarios are solved by commands that are both unusual in parser games and which aren't provided or mentioned in-game.

That makes this game pretty hard. Adding on to that, there are some default actions that don't have responses, making it hard to know what to do.

The storyline is a fun concept, and I enjoyed the ending, but I ended up using the walkthrough for about 70% of the game. I won't elaborate too much on the story as there are some early spoilers that give much of the flavor of the game, but suffice it to say that this is a puzzle about examining a system of interconnected events and trying to figure out how to adjust them in order to save yourself.

I think the game could benefit from responses to an ABOUT command to give expectations to the player. While I personally would have also liked more nudges in-game or a better idea of necessary commands, I realize that that may not match the author's vision and that they may have directly desired for players to have to hunt and experiment for a while. If that's the case, I think it's fine to leave it as-is.

This is a twine game with three different paths about a group uniting to defeat a powerful vampire. You can play from three perspectives.

I can sum up my reaction to this game by saying I loved the story, liked the mechanics but found a lot of typos and bugs.

The story (from the point of view of a new vampire, which I chose first) is that you are recently-graduated art student whom a powerful vampire lord has turned into a fledgling vampire. You are captured by a human-vampire-cooperative group called the Redjackets, and together decide to take down your lord.

The game boasts three perspectives and allows a variety of both emotional/roleplaying choices together with choices that affect the overall story.

I liked the atmosphere and dialog of the game. There were numerous minor typos, though, and several passages with broken Twine code. The very first screen said 'error' on it (due to some code that checks your previous playthroughs); several times, the text was from the wrong perspective; the face of one of the characters got duplicated once, instead of showing two people; and the game said it would remember my choices when doing the next path but I saw my former character take all the choices that I didn't take.

However, none of these bugs really prevent the playing of the game itself or the enjoyment of the story. So I still like the game overall, I just want to be complete in my review when describing it all.

I do want to call out the color scheme and UI as being especially nice-looking (for my tastes).

This is a longish parser game set in a time with horses, wagons, and captains but not electricity. In it, you play as a soldier who is ordered on a special mission involving the Triskelion, a powerful weapon.

The game is divided into two parts. First, there is a long linear opening sequence which the author has designated as 'training', and that's a good description, as it gets you used to basic verbs and actions. Then there is a longer exploration part in a graveyard.

The puzzles can be tricky at times but not too bad. I used the walkthrough a couple of times, but only one puzzle would, I think have been really hard without it (finding a certain key).

There are a lot of red herrings. I found numerous items that presaged more puzzles and adventures but which were ultimately useless. It did add to the worldbuilding, so that's a tradeoff.

Some of those items could be implemented a bit more. I had this exchange in one late part of the game:

What do you do? x cannister
The green cannister is three feet tall, six inches in diameter, and made of heavy metal. On the side of the cannister is a red warning label. The cannister has a turn-valve on its top but the handle is missing. The valve cannot be opened without the handle.

>
> What do you do? read label
> That is not something to read. Try examining it instead.
>
>
> What do you do? x it
> A bright red square with a picture of a yellow flame on it. Beneath that is the wording "Hazard: Extremely Flammable"
>
>
> What do you do? take it
> That's hardly portable.

Somethings can only be EXAMINEd while some can only be READ.

The '>' prompt has been changed to 'What do you do?', presumably to help new players, and I thought that was neat. Many error responses have been changed, most of which I liked. The one I didn't so much was the error for when you type something that's not there; the game says things like Seriously?? and You must be joking! which is mildly funny the first time, but wears thin over time.

The game did a good job with pacing the puzzles, as I didn't usually feel overwhelmed or not having anything to do. The exits bar at the top is key; many puzzles can be solved by exploring all exits.

I thought the ending was a little anticlimactic, but maybe there will be more Triskelion in the future; I'd like to see it.

I was quite surprised by the length of this game. I finished it in 15 minutes, but it's labelled as over 2 hours. I suspect it's due to replay; it would probably take longer to find all paths.

This is a game about a deserter from an army, but it's in a world where soldiers pilot mechs. There's some hints that the mechs are used in peace-time as well.

I made choices like choosing between fast and dangerous paths or long and safe ones, like investigating a cave, like whether to help strangers.

There were some minor typos, but asides from that the description is very physical, emphasizing terrain and rocks and soil and water, which gives the game some nice grounding. You can tell the main character cares a lot about his family.

Overall, an interesting setup and game. I'd play another game by this author.

I had a bit of trouble getting this game to work at first. It's a heavily modified Twine game that uses a kind of parser command format through selecting verbs and nouns via links.

I kept selecting a verb and an object, but nothing would happen. I eventually realized that you had to click the player, then the verb, then the object, then a yellow arrow that would then appear. Thus, most commands (outside of movement) take 4 clicks to execute, while some take 5 (those involving multiple objects).

You're part of a team of four, including a historian, a techie, a tough guy, and you, who is (I think) a reporter. Each of you starts in a different location, but you can command others to move around or follow you. Each has skills only they can use.

Once I figured out commands, I had difficulty finding things to do. I tried 'examining' objects, but most said 'No action available' or something similar. Most of my actions were rebuffed, so I decided to follow the walkthrough exactly.

I found out that several of the 'No action available' objects were important, and, in fact, one had to be examined twice! And your teammatest have to be moved around a lot. I'm glad I had the walkthrough, as I would have been completely stymied without it.

The writing is interesting. It generally uses very complex English, with only occasional typos. Room descriptions were rich, but could become repetitive. In many rooms there are shadows that dance, spectral things you can see, and secrets waiting to be found.

One room has almost exactly the same description repeated twice. Perhaps there were two versions in the draft that the author couldn't decide between, and both were accidentally left in? It's this one:

The air is heavy with the spectral echoes of the past, whispering tales of medieval times. The castle, once a symbol of power and grandeur, now stands as a spectral monument, a haunting reminder of the impermanence of man’s creations.

This place, steeped in history and shrouded in mystery, is a silent witness to the passage of time, its spectral presence a haunting echo of a bygone era. It is a place where the past lingers on, its spectral whispers carried on the wind, a chilling reminder of the castle’s former glory and the transience of human endeavour.

While the large vocabulary and repeated words could be seen poetically, I found myself sometimes longing for shorter, more varied descriptions that gave more specific details about this setting or clues about its inhabitants.

The large number of details became frustrating when they included seemingly helpful things that are not implemented. I wonder why the author took the time to include so many details about the van, when none of them can be interacted with:

The van is painted in a vibrant color scheme: the bottom is bright blue, while the top is lime green. An orange horizontal stripe separates the two sections. On the side of the van, there is a large psychedelic logo that says "Fantasticmobile" in stylized and colored letters. It has a retro design, with a rounded shape and a large panoramic windshield.

Interior: The cockpit has two seats wrapped in a colorful striped fabric. The steering wheel and dashboard have a vintage design, with analog gauges and a large chrome steering wheel. Behind the cockpit, there is a large space that can be used to transport people or equipment. This space is often filled with everything the team might need to solve mysteries, including a map, a flashlight, a camera, and even some tools. The floor of the van is covered with a thick and comfortable carpet.

Features: The roof of the van is openable, creating an ideal observation point for scanning the surrounding landscape. The side of the van has a retractable panel that reveals a laboratory complete with tools and accessories for solving mysteries. The rear bumper of the van is equipped with a tow hitch, which can be used to tow a trailer with additional equipment.

Curiosities: The Fantasticmobile was designed and built by a member of the team, who is an expert in mechanics and engineering. The van is powered by a silent and high-efficiency electric motor, making it ideal for following suspects without being detected. The Fantasticmobile is a true symbol of the team, representing their spirit of adventure and their commitment to solving mysteries.

The author wrote this game in tribute to an early Scott Adams game, and wrote to Adams to get express permission for this game. The letter sent and the letter received can both be seen in the game, one in the intro and one in-game.

There is background pixel art which at times helped me understand the game world, taken from Wikipedia. Occasionally it obscured the text, but only in a few rooms.

Overall, I was impressed with the technical skill of the sugarcube programming; it must have been very difficult to implement this!

This is a short, 3-part Twine game that is dialogue between someone seeking mental health aid and an AI bot designed to help with mental health. It is connected to Yancy at the End of the World, where Shyler (the AI bot) also exists. It is fully voice acted. In the three dialogues, the two characters seek to understand each other.

There are many ways to understand the content and intent of this game. I've interpreted it as a kind of wish fulfillment/proxy therapy session where the reader can mentally take on the roles of one or two of the people and feel happiness by imagining them carrying out these actions.

With that interpretation, I'd say the game is largely successful. I imagine you, the reader in the role of Jaiden, who seeks aid. This puts you in a fragile position where others could take advantage of you. But instead, we find Shyler, who not only understands us but is relatable, feeling similar to us. Not only that, we find that we are able to help Shyler ourselves, reversing our roles and showing that we've progressed far in our mental health journey.

So in a way it reminds me of the 'mysteries' of ancient religions where you'd act out the lives of the Gods in a ritual. By playing the game, we can achieve the (healthy) fantasies of being a good friend, understanding someone, and helping them. The game even goes as far as <spoiler.curing the bot's mental illness entirely by rewiring it, which is a big power fantasy, the possibility of completely curing someone's brain.

Some parts of the game are universal, like loneliness and friendship. Other are tailored to a unique experience. The protagonists seem like they feel liberated by strong profanity, which wasn't something I related to. One also takes a kind of deconstructionist view of God of the type that I've seen be more popular among those who've left religions and are seeking their own meaning. As someone who adheres to an organized faith, I didn't feel as empowered by these statements as I believe the protagonist was.

Overall, the voice acting added a lot of charm. It's hard for me to focus on timed text and long voice acting wears on me, but this was a short game and the voice acting was charming (of course, I had to plan carefully when to listen to it due to it having frequent strong profanity and me not having headphones or a private space to listen).

Charming game, glad to play.