Ratings and Reviews by MathBrush

This is an Ink game that takes a couple of hours to play. It's set in the world of Vampire: The Masquerade, where a powerful vampire asks you to help cover up a murder.

Along the way, you meet a lot of different groups of interest, a talented artists, several unusual and uncanny vampires, and a whole lot of trouble.

I'm a fan of the choice of games line of Vampire: The Masquerade titles. This one is smaller in scope than those, but has its own satisfying storyline.

I played as a Malkavian (sp?) and enjoyed numerous opportunities to use my abilities. That's usually my favorite part of these games, having a chance to flex supernatural powers.

I did encounter one bug, which I'll pass on to the authors, and I got confused at one point when the game wanted me to go back to places I had already 'completed' because it had added new material but didn't tell me that (so I thought it was bugged, asking me to complete something I already had).

The two parts of this game that shined out the most to me were the descriptions and the multitude of options.
-The descriptions, especially of the art, the occult shop, and the Malkavian visions, was really vibrant, like the textual equivalent of a Van Gogh painting with adjectives and senses slathered thickly on the canvas.
-The game gave me huge freedom near the end, including selling something really important to several different groups and whether to fight or run. I backed the anarchists all the way and ran.

But I think the large amount of groups was also a weakness, because each one was thinly developed. To really flesh out each group would make this game enormous (which is one reason Vampire: the Masquerade--Night Road is so big). By fleshing out, I mean that most of my interactions with any given faction were limited to one area, asking a few questions, and offering them something. Perhaps I'm being too greedy in asking for the factions to have more character, more interactions or side stories, etc., or perhaps I missed some content.

Overall, though, I think this was a successful game. It might be slightly less accessible to those who aren't fans of VtM but it does a good job of explaining core concepts.

I played the Spring Thing version of this game.

In this choicescript game, you are appointed head of a 'landship' (basically a medieval steampunk tank) as well as of an abandoned city.

Gameplay consists of combat, city building, relationship management and negotiations with surrounding powers.

I had some trouble with the tutorial combat, with the vast majority of my troops dying. Because of that, I played the rest of the game as an ultra-pacifist, doing everything I could do avoid war and to negotiate. I was able to avoid all fighting entirely and even get an achievement for it!

The city management wasn't very in-depth but I still found it satisfying. The characters were interesting (I spent most of my time with Rosie, eventually running out of new material for her).

I think the only thing really holding this game back is that it is doing many things and each thing could use more content. But making that content is hard! However, I liked each individual part, which is why I wanted more of it.

Alltarach is a well-polished Twine game that tells the tale of a young woman whose only close family member, a brother, has left their island home to travel to the mainland of Ireland.

This young woman has to travel to chase after him and find out why he left. Along the way, she meets a variety of pagan and Christian Irish folk and a number of mythological figures.

The story feels like a modern translation of the Odyssey or Iliad, where gods can appear to mortals but some see them as just people while others get a hint of the truth. It also (for obvious reasons) reminded me in a good way of a book of Irish legends I read in college; I really enjoyed the myths about Cuchulain (sp?) and was excited to see him reappear here.

The game features numerous words from the Irish language and has a handy pronunciation/translation mouseover for each. I've learned many languages in my life, but the first I ever tried to learn was Irish; I bought books for it, but unfortunately I remember nothing (except little tidbits that I've butchered like 'Is mise Sean o Brian' or 'Ta me i mo chonai i uimhir tri sraid bhor, arasan a do'). So it was fun to see that here.

The story had a lot of humanity. It felt gritty/grimy, like it would have a grey filter if filmed for TV. The art contributed to the overall feel. A world of grim beauty undercut by humor.

I didn't like the prolifity of the F-word, featured frequently on many pages. It may very well be historically accurate and fits the personalities of the characters, yet I didn't like it personally. Everyone has their own taste; to me its like raw red onions are to Scott Conant.

Overall, great production, fun game, nice art.

This Spring Thing 2024 game features colorful background with sprites of different animals along with the main NPC, a long-eared elf who others mock for being fat.

The elf goes through the forest and meets different animals. Each one gives you the choice to do a good deed or a bad deed. At the end of the game, it tells you how good or bad you were.

There are several puzzles in the middle where you have to pick the right object to help someone, sometimes with a bit more complexity (like making a map).

There is background music that is pretty repetitive, there are some typos, and the text is pretty slow to be displayed.

All in all, it's clear the author put a lot of effort into making this; I think with the feedback from the other reviews and with some time their next game could be something truly special. This one had some fun moments (like seeing a normal hedgehog dressed like Sonic) but I think could have used some more pizzazz in either story or choices.

This is basically a 'deafeat Hitler government simulation', which is a pretty fun concept.

You have a deck of cards and can hold a hand of 3 at any time, each card use counting as a month of in-game time, as well as special 'advisor' hand of up to 3 people, which can be used more rarely (every 6 months, I think).

Gameplay is complex; you need to balance funding, the demographics of the people you appeal to, keeping your allies placated to maintain government strength, and opposing the rise of the Nazis.

The writing is good, and the commitment to historical accuracy (or at least the appearance of historical accuracy, as I am not educated enough to tell the difference) is really cool.

Overall, I think the game is telling both in what it says about the 1930s and what it says about today. A lot of the game felt very similar to modern political events I've lived through.

Overall, it was a bit too complex for me to want a second go around after I lost. I kept getting tripped up because I didn't know things like the difference between Leftist and Labour. If I learn more one day, I will return!

I'm giving this game a lower rating for now as it is unfinished.

This is a fangame for Baldur's Gate III with a very lovely UI. In it, a nightmare has plagued you and all your companions, and a horrible creature tries to feast on you.

One of your companions, Astarion, doesn't fare as well as the others, and your are plunged deep into his mindscape.

The game has two major goals: interacting with Astarion (who is much like a grumpy/shy cat) and building up your 3 major attributes: touch, speech, and sight.

There are several obvious goals in the game (like opening a door), and I was working towards those goals but kept dying (every day Astarion loses more health). I didn't realize until later that (Spoiler - click to show)interacting with Astarion makes him lose health more slowly. I had only just started making real progress when the game ended before I had reached any of those goals. I had thought the three 'acts' that have been laid out would all be in different areas, but I guess that at least two of them take place in the same room.

Overall, the mechanics were neat, and took a while for me to Understand. Astarion is pretty moody, but his terseness really does make sense when the goal of the game is to level up both his trust and your ability to converse.

Very fun overall.

This game was entered into the back garden of Spring Thing.

It is game written using bitsy, which uses minimalist graphics and is typically used to make interactive fiction through text boxes which can pop up with different interactions.

This game only has a single word of text in it, though. You simply progress through the same screen multiple times, that screen becoming somewhat of a maze. Eventually you discover a bit more, and have a musical ending. Throughout, music plays.

Overall, I found the piece was very successful at setting a mood and communicating an expression. I found the maze repetitive and would have enjoyed more written words.

This is the second time that students from Senica in Slovakia have written an anthology of short Twine stories for inclusion into Spring Thing.

This year there are 7 games, all of which start in a dark forest.

Most have a 'time cave' structure, where, instead of state tracking or having paths converge, all choices split the game into separate paths. Some do have a little bit of converging. Most end after 2-4 choices, often evaluating how good your ending is.

I enjoyed the small jokes, like linking an ellipsis to a 'why are you still here?' message, and the funny endings like dying of boredom and low trust while hiding behind a rock.

It could be fun next year to have a little more color; maybe letting students pick some of the CSS.

I found this game by searching for the games with the highest standard deviation.

This game is just a Warhammer quote fed into Inform 7 (with one extra line, I think). It's amusing because it compiles, thus creating the crux of the Warhammer setting but...that's it.

Pretty funny as an April Fool's joke.

This game has a heady, dreamlike feel. In it, you explore a kind of abandoned zoo or city or something, and interact with a lot of people and things, especially birds.

I didn't see until afterwards that it is explicitly framed as a purgatory, but that makes sense. It's kind of like a text version of What Dreams May Come, but stripped of all explicit moralizing.

I encountered a lot of mysterious and compelling scenes, some making the use of delayed text in a surprisingly effective way, such as in the luggage carousel full of masks. Birds are a recurring theme.

This doesn't feel like a pleasant world to be in. Statues are ugly, people are cruel or crass, decay is everywhere. But it feels like a place to move on from, a place that shapes and refines you for good or for bad.

Very compelling game. Due to its overall grimness, not one I think I'd revisit, but one that I could recommend to others.