Reviews by MathBrush

This game has a lot more in common with roguelikes than standard IF gameplay (unless I've deeply misunderstood roguelikes). There is a fixed map with seven important items randomly generated in it, and an enemy that moves around the map and reacts to you; additionally, there are several difficulty levels that basically give you 'extra lives' or make the enemy a bit slower.

I beta tested an early version of this game.

Here are my overall thoughts:

+Polish: The game claims to be a beta, but I found the version I played (near the end of Spring Thing) to be fairly complete; I didn't find any bugs, and objects had a lot of detail.

+Descriptiveness: The map is both overflowing and sparse. Each room is detailed, but many of them overlap in the items they have (filing cabinets, screens, etc.). Items are utilitarian but hint at a greater cause. It's an interesting mix, and I found it fairly evocative. The map is very helpful.

+Interactivity: The frantic scrambling around to find the seven items isn't something I've seen a lot before, and it was a fun change from the usual staid, considered type of IF game I tend to play. There is a parkour element, but it never came into play for me, playing on the easiest non-tutorial setting. Its main effect seems to be to help with escaping, but I only ran into the Predator once, near the very end. Perhaps in harder difficulties it is more useful.

-Emotional impact: I think the writing overall is strong, but a lot of the pieces just didn't fall into place for me. The story has so many intro declarations and warnings and prefacing and guides that it almost felt bubblewrapped, designed to protect me from the game but simultaneously blunting its experience. The warnings on themselves are useful, as the game has frequent strong profanity, which isn't always in service to some overarching narrative goal. In the game itself, there are a couple of strong threads: (Spoiler - click to show)a capitalist society trying to make brainwashed slaves, (Spoiler - click to show)a fellow clone, or some other experiment, hunting you down, perhaps as a test to make you stronger?, (Spoiler - click to show)a siege wearing you down. They all tie together in game, but they feel disparate. Is your pursuer your comrade or your foe? Both are okay individually, but with both as possibilities there was less tension for me.

+Would I play again? The core gameplay loop isn't bad, and the overall polish makes for solid gameplay. I could see myself revisiting it.

This is the third Lady Thalia game; the series in general focuses around a three-pronged conversation system where you take different attitudes, as well as physical preparation for thefts.

This game focuses on the introduction of a new nemesis detective, as well as a resolution of the overarching plotline of your former nemesis, and heavily involves your husband as well.

I had a rocky start with this one. The intro heavily emphasizes your open marriage/lavender marriage, and it brought into my mind a lot of real-world experiences that were quite a bit less glamorous than those implied in the game. In addition, I found myself constantly at odds with the conversation system, not picking up on the social cues that indicate which line of approach would be best; possibly I just have brain fog after just coming back from a trip.

But the quality of the writing and characters is always, to me, solid, and as the game went on I became invested in the string of characters and situations and actions. The involvement of the husband and his lover made the game more interesting, putting you in a teaching role, which is a natural extension of the overall character arc. And unlike some others who reviewed the game, I found Mel's change of heart (Spoiler - click to show)fairly understandable; if your enemy is consistently more encouraging and relatable than your employer, who wouldn't have second thoughts about their career?

I also preferred the later mechanical segments that focused more on varying your approach rather than having 'one true' approach, as well as the 'slow finesse vs brute force' options in the physical preparation.

Overall, this one isn't my favorite Lady Thalia game, but I'd consider it one of the headliners of Spring Thing, and am glad to have it.

This game revolves around a protagonist who wakes up in what feels like a wrong body, with wrong memories, and everything hurts.

The writing is very elaborate, dense, and elliptical. The game literally begins with an exposition on the universe, stars, Noether's theorem, conservation laws, and thermodynamics, before it really kicks in.

I kind of felt trapped under the weight of all the words. I was able to piece together something of a story; one of alarms and a space station where you have to escape. But the writing is so elliptical that I had difficulty knowing if anything was real or a metaphor. Is there (Spoiler - click to show)actually another person on the ship, or is it all just a form of self-reflection? Is the main computer room (Spoiler - click to show)really made of flesh and bones and eye sockets, or is it just a metaphor for your feelings about it?

I couldn't really tell. Overall, I found a couple of different possible endings, including one really early on and a few later ones. There is a lot of body horror in terms of dealing with progressively worse injuries.

Overall, the writing was carefully planned and chosen, and the interactivity and story structure were well-balanced, but the overall elaborateness was too much for me to handle.

I was involved a bit with the creation of this game; it's part of Seed Comp, where people put game ideas out there and others make full games of it.

So I made the seed for this game, and I'm very glad things worked out the way they did. I had heard of the Red Door, Yellow Door game online before and even jokingly tried it with my son once but he got creeped out so we stopped right away.

My issue was I didn't know what kind of surreal dream imagery to put in; that's not my forte.

So I'm glad Charm Cochran picked this up, because it ended up as exactly the kind of game I had wanted to play when I came up with the idea: disturbing, creepy, and unpredictable.

The basic idea is that you're at a slumber party and your sister is put into a trance and instructed to visualize two doors, and then you and your friends tell her what actions to take in the dream world.

You soon find parallels between the dream world and your own, but also bizarre features like giant buildings or creatures. The part with Claire's different voices I found especially thrilling.

Literally the only drawback I see is that there are a couple of things that could be polished up. Most of the game is amazingly responsive, with a lot of dumb things I thought of trying having a custom response with an in-game voice, an effect difficult to achieve. But there were a few things like uncapitalized room names or objects that were difficult to pick out from surrounding scenery (like the (Spoiler - click to show)cabinets in the kitchen). I had a smooth experience because I relied on intfiction hint threads, though.

However, those few unpolished moments actually played up the dreamlike atmosphere to me, so I'm not even certain they need to be resolved. Dreams are often like that, enchanting, full of exploration, but with frustrations and occasional non-sequiturs.

My only regret is I don't have other game ideas I could see Charm Cochran's spin on, because this was great.

This is a fine Gruescript game, similar to Robin Johnson's own. Gruescript is a parser/choice hybrid, where all actions are done by clicking links, but there are items, rooms, etc, and your actions can change depending on what items you have.

In this game, you are a Lovecraftian god who has been summoned. You go to find a party going on at a mansion, but a strange one at that. People have been locked in the basement all day, but you can't check on them until you fix things elsewhere.

There are a lot of classic puzzles: NPCs that want things, avoiding unwanted attention, codes, secrets.

Even though my German is poor, I found it easy to read (except one time I didn't pay attention and missed an important clue!) and the puzzles had good momentum, not so hard I felt frustrated but not too easy. I used the hints a couple of times, and they were very helpful.

Overall, a fun game that is just the right length for a relaxing afternoon.

This was an entertaining story with some good puzzles.

You play as a young German person who has received notice that your uncle, who had lived in England since WWII, had died, leaving you his estate. You must travel to his town and collect your inheritance.

With its small town and early puzzles about breaking into a real estate office, I wondered if this would be an Anchorhead clone, but it goes a completely different, more historical direction.

This is a gruescript game, using Robin Johnson's engine, and it's probably the best-coded gruescript game I've seen outside of Robin Johnson's own.

One thing though is that some of the puzzles didn't make much sense to me. Now, I don't speak German very well and some of the puzzles relied on deciphering handwriting and such, but that wasn't too bad because it had some alt text. No, the hard part was with the (major spoiler) (Spoiler - click to show)statues, since the hints say they can be differentiated one from another because one is Big and one is Small, but they all have the exact same description!

So, I liked this game, overall fun, just had some hangups with a couple of puzzles. I like Michael Baltes's game Mariel, too, so it was fun to play more of his work.

I played this game years ago but somehow never reviewed it.

Luke Jones wrote several games in the mid-2010's that had a unique style of humor to them. The games tended to be implemented in kind of a sparse way but to have lots of characters and lots of dialogue. A typical example of the 'Luke Jones' style is the opening of this game, with words like:

You see an apple, a log, and Your Dog here.

But there's also a pigeon that drops a letter at your feet then flies away saying 'F*** you!!'

The goal of this game is to deliver a letter to a king in a fantasy world, although the actual events end up changing over time.

There's a glulx port of this as well, which I haven't tried. Overall, Luke Jones games are just a brand of their own, like halfway between Robb Sherwinn and Zork. If you like one of these games, you'll like his others.

This game has you go undercover with two different characters in an exciting underwater adventure. First, you have to open an airlock door while floating underwater, and then you have to infiltrate a base using stealth!

There were some problems with implementation. Several actions had no response; I didn't see the control panel in the first room, so I tried stuff like 'turn handle with multitool' (which has a completely blank response) and 'turn handle with me' (which gives a really bizarre error with text from later in the game).

The game does have a couple of cool puzzles and fun descriptions, but overall it really herds you one way and doesn't encourage you to stray off the beaten path. There are a ton of useless rooms, a lot like Planetfall and other Meretzky games.

Overall, I feel like it lacked polish and the interactivity was frustrating, but it was descriptive with fun puzzles. I know this was made for a jam, so the author didn't have much time, but this could be an amazing 4 or 5 star game with enough expansion by the author.

This game was entered in Seedcomp, and is primarily based around the 'seed' of the same name, a text file by Rovarsson containing a vivid description of a game centered around getting stuck in a tomb with a donkey and a bowl of blood and a cat mummy.

This finished game dropped the altar/blood angle but added the rest nicely. You play as a spellcaster struck back in time during a duel. Your spells have scattered to the wind, and after trying to steal some raw materials from a palace you are forced to flee, eventually finding yourself at a tomb.

The pattern of this game is gentle gameplay, generally finding a spell and using it either immediately or in the next room. Some puzzles add in extra twists for more engagement. I got stuck once or twice and I did need a hint in the room with the platforms (I had tried (Spoiler - click to show)LEVITATE ME and received no strong feedback, so I assumed that levitate wasn't the solution.)

Overall, this was enjoyable. I didn't connect on an emotional level, but I found it soothing and sweet.

I always like Marco Innocenti games, they usually guarantee some fun exploration, tricky puzzles and lots of complex backstory.

I also like random games where you wake up on a broken ship with amnesia (like Babel, Trisgaea, etc.).

So overall I was primed to like this. You wake up on a ship as a child and find out that there has been major damage to your underwater base. Huge rocks have broken in parts of the walls and the whole thing is flooded.

Overall, the backstory is slowly revealed in gruesome and disturbing detail. It pulls on a lot of old sci-fi tropes but does so in a relatively smooth way.

The puzzles were fun, but some more coding I think could be useful. Especially I think there should be a more clear response to (major spoiler) (Spoiler - click to show)shoot can and put splinter in rock to show that those two are reasonable actions, and just need a little change to make them better.