Reviews by MathBrush

I played the first GUTS game, which I remember liking, but I didn’t play the second.

I’m not sure what this third one is really all about. It does remind me of my favorite opera, the Hungarian opera Duke Bluebeard’s Castle, which is a surreal two-person one-act opera about 7 colored doors in Bluebeard’s castle. As each one is opened, some emblem of power is shown (strength, cruelty, wealth, lands, etc.) and more light comes to the castle, but each is also tinged with blood. The last two doors only bring darkness to the castle and the end is one of eternal suffering.

This is really four games in one. I started on the 3rd first and I don’t recommend that, as I thought the game was just being very silly (tons of links that do nothing but repeat the same text). It made way more sense starting from the first.

The fourth link doesn’t seem thematically or structurally related to the other three at all, or even really with the same vibes. It’s a cyclical story of inescapable enmity with amusing undertones.

The first three are all the kind of nightmare you have where something is hunting you but you never really see it, so you’re just nervous all the time and can’t explain why and your chest is pounding and everything feels helpless and hopeless.

While I can certainly identify with many emotions in this piece, the interactivity left me frustrated at times, wondering if I was getting the point or getting stuck. That fits thematically, yet I still felt frustration at times.

This was a fun little game that involved writing a text that varies depending on your inputs. Given that the game was written in 4 hours or less, I doubt it uses full procedural generation, but there is at least some visible variation in text and it gives the feel of procedural generation in a good way.

You play as Edgar Allan Poe (or equivalent) and you're trying to compose what is essentially *The Raven*. You get distracted, so you you have to battle to be either gloomy or happy. Whatever you pick, it affects your writing.

I love the idea, although there's not enough time to really expand on it, so we only get a couple of stanzas. I had difficulty making and executing plans, as I couldn't figure out how to maximize gloominess or cheerfulness. I did get 2 endings, and had a good time.

This is an Adventuron game that is a nice small nugget of a game, with classic adventure gameplay (TAKE and DROP feature prominently).

You play as someone who often walks by an abandoned house at night but who finally decides to break in and see what’s going on inside.

The game was written in 4 hours, so many things aren’t perfectly polished. The author does foresee this issue and says ‘You won’t have to ____ in this game’ a lot, which helped reduce frustration by reducing verbs. It would take substantially more work to implement every reasonable action, but this approach isn’t bad even in a polished game.

The font and color combo was hard to read for me; I’ve seen some Adventuron games that have a font selection option, and that would have been nice here.

Fun overall!

paravaariar, the author of this game, is (in my mind) well-known for literary, high-quality spanish Parser games.

This game uses fi.js, an interactive fiction parser platform for web. It uses a small number of verbs (provided in the ‘manual’) which makes gameplay easier than most parser games.

The background image of the game is a beautiful field of stars. The story of the game is that we have woken unexpectedly early from cryogenic storage on a kind of space station. We need to explore to understand what’s going on, but, more importantly, to understand ourselves.

The game is compact, both in design and in story. In the game, a repeated idea is that there is no room for wasted space, and nothing is wasted in this game.

I think the main idea could have supported a longer gameplay, but I think the game as it exists is well-done and very poetic and literary.

This is a German Grand Guignol game that is about Ghostbuster’s in everyway except the name.

It’s a simple, lovely tribute game. You’re in a Ghostbuster’s museum with wax statues, but every exhibit is missing an important object. Your goal is to find all the objects and return them to whence they came.

Size-wise it feels like a game that started as Speed-IF but which the author turned into Grand Guignol (I can’t confirm this). The detailed descriptions of the Ghostbuster’s equipment and objects were fun; you can tell the person who wrote this really likes ghostbusters.

There is some sparseness, which is what made me think it might be upgraded speed-IF. At point point it is said we see a distant Universe, but this cannot be examined (as far as I can tell).

The game does have an independent NPC in addition to the mannequins.

Overall, this game gave me fond memories of Ghostbuster’s and was easy to play as a non-native speaker (needing just NIMM, X, GIB, SCHIEBE ___ [direction], and WIRF, as well as directions).

This is fos1's third game, I think, and it's been nice seeing them progress over time. This is his most complex game yet, I think. It still is rough in some areas but I enjoyed playing.

The idea is that you are in charge of a fireboat on the Hudson river in NYC, and you are visited by a strange ghost who begins to leave you messages.

The game is both hard and easy. It's a little hard because some things aren't coded in, like some synonyms, and you have to use nautical navigation (although that wasn't too bad). It's easy, though, because the game tells you exactly what to do.

I enjoyed zooming about the river and having memories of my family. Places that I think could use improvement in the future are improving conversation and replacing Inform's default 'you can see a ____ here'. The best way to do that (for an author who wants to) is to type the name of the object in the room description with brackets around it, like: 'Lined up in a row are some [map charts], a [dial], and [a compass]' (if you had those three things).

Anyway, I look forward to future games!

This is by the same group that has done the Seneca Thing for the last two Spring Things.

This is a collection of students that write mini-twine games under the direction of their teacher.

This year, the theme is a horror hotel. Like many young beginners, the games are primarily branching with little state tracking or merging of branches (although there are some fancier games that do this, like the soda bottle game!). There are some typos here and there, which makes sense as each one was written in a 2 hr time limit.

Where the games excel is in the imagination. One game has really funny messages when the player dies; another manages to be genuinely creepy (with the dolls); one with a maze is pretty complex; and so on. They all have creative things that happen, which made it enjoyable to play through them all. I hope the students continue to write engaging and entertaining games.

I liked the way the ending of this game was handled.

You play as someone in the basement of an old house who must do everything they can to escape. This is a twine game written with an inventory-based system, and so puzzles revolve around taking and using objects.

I found it challenging a bit, probably due to my non-native speakerness of Spanish, but also partially due to the fact that you have to be pretty creative for some of the puzzles.

The atmosphere is described at a distance, objectively, dispassionately, but the objects seen show that a lot of destruction and wild events have occured.

The story that gradually evolves worked well for me, especially contrasted with the more austere opening. I loved the very last actions you have to perform, which felt very fitting.

I enjoyed this game; it reminds me of the games that first got me into Twine (like You Are Standing At A Crossroads).

This game is set in the world of Castle Balderstone, but is a standalone entry as opposed to the large anthologies usually found with Castle Balderstone.

It's a western, a genre of IF I enjoy as it traditionally wasn't very common (although more have popped up recently!) (although now that I think of it it's set on a military base, so it doesn't have to be a western, but it has western themes kind of, like a solo hero with a gun, musical elements, a jail with a single cell, etc.)

The idea is that literal hell on earth has appeared at a military base, and monsters roam around. You have a pistol and can acquire more weapons.

Most of the gameplay for me was finding demons and then shooting them a lot. There's a little bit more (like puzzles) but I found that the main appeal of this game was the overall aesthetic, with the mechanics mostly serving as a way to flavor your experience of the aesthetic. In that way, it resembles Winter Storm Draco and The Ascent of the Gothic Tower out of Ryan Veeder's other works.

I enjoyed the writing and its demons, and the excruciating moral quandary that our hero encounters in the final verse.

For a few years I've maintained an IFDB list for surreal games set on trains, which has turned out to be a surprisingly common genre:

https://ifdb.org/viewlist?id=y1jy1stmutkbdk5y

I was glad to add this game to that list.

This is an Italian game. Unfortunately, my Italian is not good enough to understand everything (especially given the spooky vocabulary employed) so I enjoyed this game through the medium of Google translate, which I'm sure botched much of the feeling.

Yet I enjoyed several parts of this game. It's a Twine game about a ride on a frightening train. The train itself is organized linearly, where you can either go forward or backward, and each train car has its own surreal or horrifying elements.

While you play, background actions occur, at least one of which referenced another IF horror game.

I found some parts pretty creepy, like some of the sleeper cars.

Overall, there didn't feel like there was much direction, just ambient atmosphere, so a focus on characterization of the train more than plot. That characterization was pleasant, and there was some choices that made a difference here and there. Overall, I think I would have liked more chances to influence the world around me (although part of horror is being unable to do so!)