Reviews by MathBrush

This game was entered into the 2017 IFComp. It is plagued by bugs and translation errors, and it uses a home-brew parser that is missing some of the capability of a standard parser.

The story has you searching the house to make sure your friends and family are all right after a ghost haunts the house. It has several graphic depictions of sexual violence in a crude sort of way.

This game has you open up the source in the infirm compiler, so that you can see the source and the compiled game simultaneously. The source becomes a short story, with comments, and is a companion piece to the game.

It’s a clever idea, and I enjoyed the melodramatic story the game had. But the constraints needed to make th source code readable made the game overly simplistic and under implemented.

This is a lengthy essay in 4 or 5 parts about what it means to be Christian and LGBTQ.

The author describes their coming to grips with being a non binary person.

I found it interesting, and it was polished and descriptive. But I felt like it didn't benefit from its interactivity.

I beta tested this game.

In this game, you play as an orc monk who has sworn off violence. However, your monastery has been attacked, and you are the sole survivor.

The game tracks several stats, including rage and health, and you have the chance to visit three different locations on your way to the grand finale. There are several endings.

I enjoyed this game, but I wished it were longer. I felt like there wasn't enough material to grab into a story with as much background information as this one. What was there, was good though.

It's hard to conceive of a game that is more Ryan Veeder-y than this one. This is most likely due to the support from his Patreon, which was started (according to its home page) because he wanted more reasons to include complex irrelevant subsystems in this game.

And this game has them. There's not that much you have to do in this game, but a lot you can do. Random mini quests and red herrings abound. I spent around 2 hours on this game, but the main pathway can be finished in 20 minutes or less.

There are two characters to pick from, but the choice is inconsequential...sort of. And sort of not. I felt rewarded for playing through with both.

I read a paper on humor theory once that talked about the 'incongruity-resolution' theory, which is that we laugh when we experience something out of the ordinary, that doesn't make sense, and then have it resolved suddenly. This game is built on nothing but incongruity-resolution. Everything in the game is a mix of useless and semi-useful.

I liked this a lot more than the Roscovian Palladium, or any other of the short random games that he makes every few months. A nice game to play if you just want to burn time and fiddle around with stuff.

This game engine is creative; it's like Detectiveland, in that you click on nouns and then verbs. It's multiplayer, and even allows different players to simultaneously play in different languages, with chat.

I wasn't as impressed with the game. It has a certain sort of forward crassness, reminiscent of Trump's 'locker room talk'. The story revolves around your deceased wife and your new girlfriend.

Due to the 3 hour time constraint, this game has some problems with grammar and typos.

Overall, I like the engine, but would prefer to see a different sort of game to show off the engine.

This is the second Schultz game I played this Ectocomp, and I like it quite a bit!

There are four rooms, and you have to do something special in each one. The language is constrained, in a way reminiscent of Ad Verbum.

This was implemented impressively well for an Ectocomp game. There were a few verbs I thought should work, like (Spoiler - click to show)attack, amass, and insist, but this could be fixed later. A nice little snack.

This game is ingenious, as creative as Lime Ergot was, with a touch reminiscent of Midnight. Swordfight.

You play as a washed-up seaman who has escaped a wreck and ended up on a plantation.

The navigation system is deeply unusual.

I had one big of trouble, with the game's only locked door. I had tried the correct action in different rooms, and discovered it didn't work, so I didn't try it in the right room. I ended up decompiling to find the answer (as the game has some speed-IF bits, like no hint system, so I didn't trust it completely), but I could have figured it out with more experimentation. I felt like it drew me out of the story, though. Otherwise, this is a wonderful game.

This game is actually quite extensive for an ectocomp game.

Written with Ink (I think), it has you travelling up a river that is completely infested with monsters of various kinds, mostly zombie-like creatures and ghosts. You are in a sort of alternate Victorian era, with enormous factories and electrical equipment and such.

The game heavily advertises its stats-based nature, with money, fuel, tea, and health being tracked. It took me around 30 minutes, and I played to a non-satisfactory ending. Recommended if you're looking for a more stats-based approach to Ectocomp.

Grozny has some of the best writing in this ectocomp so far, with 'dripping with the waters of SHEOL' standing as a good description of the text itself.

This is an intrinsically transgender story; every detail of the game is about being transgender, living with a transgender partner, and reassuring each other about being transgender.

It's also a strong tale about disability, both mental and physical. Your character has left their alt-history 1800's house in shambles, with clothes and dishes all over, most likely due to depression. You have to take numerous pills, you have intrusive thoughts, your joints ache (I somehow imagine a combination of arthritis and fibromyalgia), and you are walking a narrow tightrope with regards to your faith.

The entire game (which does have a ghost story, but only in service to the overall themes) feels like a house of cards which has been delicately set up but is constantly on the verge of collapse.