Reviews by MathBrush

This hypertext work uses Undum and Raconteur to create a relatively rare system for IF (I can’t really think of any parallels to it). The premise of the game is technology allowing you to interact with memories of the past. (Bizarre corporate emotio-tech is a theme in a few Morayati games, like Laid Off at the Synesthesia Factory and Take). The mechanics of the game are selecting from a frequently-refreshed menu of questions followed by curating everyone’s responses (asking for clarification or rejecting the comment).

These mechanics are opaque, and intentionally so. You are meant to get a feel for the game through experimentation. I’m still not sure quite how it works after several playthroughs, but rejecting everything vs rejecting nothing certainly has an impact. Certain characters take on strong personalities once you begin picking them out.

The story is a sort of decadent ironic self-gazing thing, something you could imagine bored aristocrats writing about their hobbies a few weeks before a brutal revolution toppled them. Wealthy New Yorkers (here meaning ‘people who actually have somewhere to live in NYC due to their job) have a party where they trash a historical(ish?) building, are cruel and vapid to each other, and basically act like upper class jerks.

It gives a glimpse into another world. But I vaguely bounced off the interaction and setting, as I always felt like an outsider. Although that may be the whole point.

This game has all the hallmarks of a D&D or Vampire: the Masquerade boxed adventure. A short backstory about why you’re seeking revenge, a quest giver, a maze-like dungeon, NPCs for battling and talking with, a vampire boss, traps, treasure and magical items.

This isn’t typical of most IFComp games, but it’s what I played around with a lot growing up, so I had a nostalgia factor while playing this.

Going back to the same parts over and over again was a bit frustrating, and it can be difficult to strategize. Death and failure are easy, while success is not.

Overall, I see this as a successful game.

This game is a response to the 2017 game The Dragon Will Tell Your Future Now, a sort of troll game that promised an ending that never came, despite it's clever writing.

This current game, Re: Dragon, an unauthorized sequel, purports to tell the true story behind the earlier game. Like the first game, it dabbles with a blend of modern-day language and esoteric magical and astrological terms.

It is presented in a novel format using Vorple to create a false e-mail inbox. Other games have used other methods to do this, both before and after Re: Dragon (including Alethicorp and Human Errors). This is a particularly complex version, with several inboxes, timed messages, and mutating formats, as well as some pictures and sounds.

Overall, the one area I found a bit lacking in the game was emotional investment. It was presented with such irony, absurdity, and complex language that I felt more like an outside observer than an earnest participant.

I beta-tested the French version of this game, and played the English version during IFComp and now.

This is a funny game in a very particular genre: the 'gain powers by eating' genre. Other games in this genre include portions of Spore and the Adrift game Mangiasaur.

Using Vorple, En Garde replaces the parser command line with colored buttons. These buttons are, at first, unlabeled. This represents your mental state. You begin this game as a weak, unintelligent creature, but quickly become more intelligent and powerful, and your options change accordingly.

This game is short and not too complex, puzzle- and story-wise. However, it's value is boosted by its amusing dialog between various species and people., which elevates it from a 4 star game to a 5 star game for me.

This story is an interesting mix. So many of the concepts it has are great: how do men and women with power like Gods of different elements find a way to defeat someone who is almost impossible to reach in their domain?

Betrayal, love, power, it's all here. A mysterious library, a maze to navigate.

But there are a few key flaws that I believe the author could improve on for the next game. If they fix these kinds of things, I think they could make truly awesome stories.

First, the pacing is off. The things that break up a story are compelling plot twists and choices. The most boring part of the game is first, and it's marked by a single choice in a sea of 'continue' style links. Incredibly momentous events are marked and gone in a moment, but a long march with stats and a maze search take up a large chunk of the game.

Second, cohesion. Are you a tender romantic or a ruthless conqueror? Both. Do you seek the favor of your partner or destroy their world? Both. Is your brother a power-hungry madman or a gentle friend willing to step aside for you? Both.

I feel like these problems could be solved simultaneously by adding significantly more choices. These choices wouldn't have to branch the game; the author has already showed the capability of writing such choices (like flavoring your brother's personality, affecting stats, or navigating). You could even have meaningless choices that have a small paragraph in response but don't affect anything else. Then you could react to crazy stuff and make those moments longer.

I'm giving this 4.5 stars, rounding up to 5 on IFDB.

Ostrich is a multi-day Twine game set in a country similar to modern-day America.

In this story, you play the role of government censor, deciding what does and doesn't pass into the news (and later, branching out into further works).

The interactivity has a nice pattern to it: an ongoing saga in your daily commute, with choices remembered over time; your actual job which is graded and performance mentioned; and your evening rituals, which gain importance as the game progresses.

The first few times I played this game, I had the impression that it was fairly linear, but after multiple replays, I've realized that it has quite a bit of freedom. I felt like it did a good job of balancing hard choices in some bits.

There was something just a bit missing from this, though, that would would have made it a classic. I can't identify what it is.

I recommend this author's other games, as well.

This game by Victor Gijsbers contains many of the best elements from his former games, including an examination of player agency and strong NPCs.

You play as the commander of a mech, complete with manual and custom parser messages. Unfortunately, your visual components are damaged, so the on-scene pilot Lemmy has to do the talking for you. But Lemmy's quite the character, making life pretty difficult.

The parser is constrained to those verbs recognized by the mech, and even by the nouns which Lemmy 'tags'.

This game is shorter than I would like, but it's pretty good when my main critique is that I want more of it.

Contains some strong profanity in some paths.

This game is similar to David Welbourn's classic 69105 keys. You search through piles of keys divided by adjectives, trying to find a unique key. It includes some innovations over the previous game, including multiple game modes, a different kind of randomization, and an anti-game for finding the 'worst' key.

There seems to be a bug with the second half of the game that lets you instantly win, but otherwise this is a nice to game that goes from 'banging your head' to 'oh I see'.

This game was designed as part of a class in game history. It's one of the most successful games I've seen done as part of a course, since most such games are very timid in their scope. This one is decently-sized.

The author decided to feature game history and critique heavily. Something happens in the game, and then you get a quote relevant to what you just experienced.

I found that an enjoyable premise. It did suffer from implementation issues, which are the bugbear of parser games in general. For instance, there is a telephone which cannot be referred to at at all.

Overall, it's a valuable addition to the niche of 'games about games'.

I can't tell if this game is genius or just confusing. But I like it.

It's a pretty hefty Twine game at around 30K words, with much of this tied up in different relationship tracks.

You play a worker in a futuristic San Francisco that seems to be on the edge of apocalypse. You've suffered intense losses, including the recent passing of your mother, and most of the game deals with reflection on your relationship with her.

The game has excellent media usage, including a skyscraper that scrolls up and down as the player moves, and heavy usage of a beeping watch alarm.

The writing style makes heavy use of inference and allusion, making for a confusing read. It also employs non-linear narrative, so this is a pretty complex game.