Reviews by MathBrush

This is a pdf that gives the rules for a collaborative storytelling game.

The basic idea is that you need an antagonist who ultimately loses and a protagonist who ultimately wins. People can add details at any time to the game but important details like character names have to be nominated and approved.

The game also includes some base ideas you can work with, including a list of character names. I thought "Johnald Pregnant" was the most amusing antagonist game.

This whole game is thoroughly described, but there's not really a lot to it. I'd imagine that someone focused on storytelling wouldn't need all the rules, and someone really into rules would want more meat. The people I see benefitting from this the most are a mid-sized group of people on a vacation trip where there's not much to do and they want to do storytelling but have a couple of obnoxious people in the group so they lay some rules down on how to proceed.

This is a puzzle-centered choice-based game about an operative at a water treatment plant who receives a haunting visit on Halloween.

Your goal is to take care of the plant and to deal with your unwanted (or wanted?) guest. At your disposal is the plant itself, which is modelled in surprising detail: multiple spaces to represent one room, multiple levels, machinery that can connect and disconnect, several short sub-games.

Story-wise, I found the overall concept of ‘the legend about an old employee’ neat and well-done. The antagonist felt a bit one-dimensional, so it could have been fun to find out more lore or learn more about them (although maybe I missed some areas).

This was a neat game overall.

I had a few different revelations while playing this game. First thoughts: interesting mix of hyperlinks and parser. Second: is this vorple? No, Dialog. Third: a joke about Peano arithmetic? This is someone who's really familiar with parser games and math, I have to know this person. But I didn't recognize the itch name until I went to their page and saw it was Draconis!

This game is very polished. I had no idea it was meant for Petite Morte, as it would fit in just fine in IFComp. I'd say I had a 10/10 experience in the beginning, 7/10 in the middle, and 8/10 in the end.

It's a limited-verb game where you, a kind of homonculus or familiar, gain new verbs by absorbing other homunculi or familiars. These can give powers ranging from eyesight to motion to strange alchemical powers.

The game is educational as well as fun, with references to chemistry, tuning, literature, math, etc.

I was proud of not needing hints until I got stuck on a certain puzzle. I eventually realized I wasn't closely reading the results of all my actions, but only after hints. "Nudge" was useful, but for a large chunk of the game my nudge was 'gong', so I kept assuming I had to do something *to* it. That lost period was my 7/10 section.

Two things that could have been clued a bit more were what can be 'cached' and the rules surrounding the security familiar in all its uses.

Overall, very good, exactly the kind of stuff I hope for when I play interactive fiction.

The Little Match Girl series consists of games where a time-travelling assassin girl adopted by Ebenezer Scrooge enters various worlds through the means of looking at flames.

This game is creepier than most the others, in good ways. I enjoyed the thematic unity of this one.

I originally forgot about the flame thing and so I wandered the opening area for a while before finding anything. Then once I examined a flame, things took off.

I enjoyed the diversity of the worlds this time. The main story here is that an evil werewolf is travelling through time, attacking others, and each time period and place you visit has also been visited by the werewolf. Despite the variety of worlds, the after effects of fear and strange sickness are common. I found it especially creepy that in one world the characters slowly became stricken as I left and visited again later.

Overall, the game is very polished. I ran into the same couple of issues others did (hints assumed I had grabbed something from a room when I hadn't, since the thing I needed to examine in that room didn't stick out to me; and 'percipient' was spelled as 'perpicient', unless that was intentional) but I didn't have the vorple-breaking bugs some reported.

I think I liked the atmosphere and single-mindedness of this game over some of the more elaborate other Match Girl games. It reminds me of Marvel's Werewolf By Night, as both are smaller, darker, werewolf-themed entries in a series filled with grand spectacles, and both are uniquely charming in their overall series.

As a math teacher, I had to try this game first.

'Mathphobia?' I said, my nostrils flaring in mingled rage and excitement. 'Is this an ANTI-MATH game????'

Fortunately, it's not. Well, kind of...

You play as a kid who is forced to do 500 math problems on Halloween since you didn't go trick or treating to get candy for your teacher.

But you soon are transported to a magical land like phantom tollbooth where monsters such as the Specter of Subtraction try to attack you.

All challenges are defeated by use of math, starting with extremely easy problems (like 8 plus 4) and moving to harder problems like sequence finding, number factoring, fraction simplification and trick problems.

I proudly conquered each problem by hand except one where I suspected a trick, plugged it into calculator to check, then confirmed the trick (so I failed at doing it all myself!).

This game is much longer than it first appeared, with 5 main antagonists and sections between antagonists with 4 or more puzzles.

Outside of the math puzzles, the game seems completely linear. Going back and entering some answers incorrectly, it looks like it gives you another chance.

This was fun. I sent it to another math teacher to try out.

I thought I had played and reviewed this game long ago, but it turns out that I was thinking of Universal Hologram from 2021 by the same author, with some overlap in concepts (I swear I remember the pyramids).

This game is centered around the concept of living in a simulation. Several people have theorized that a sufficiently advanced civilization would simulate other civilizations, which could simulate more, etc. so that the chance that we are living in a simulation is very high, close to 100%.

There are many variants of this, including Rothko's basilisk, the idea that future AI will simulate post opponents of AI and torment them in hell forever. This game takes the stance that it's likely that future civilizations will simulate those in the past.

You play as someone (or a simulation of someone) living in Mars in a world where all needs can be eliminated. The game deals with themes of whether happiness can exist when decoupled from suffering and whether suffering is necessary for happiness, and the idea of the existence of a thing vs the experience of the existence of a thing.

It uses lampshading and occasional crude language to contrast with the elaborate language of the more philosophical parts, a combination common in a certain subset of early Twine games (especially Spy Intrigue and its immediate predecessors and successors).

Overall, I think it communicates a desperate search for meaning in life and a desire for human connection.

This is a windows executable game in a custom system. It runs in the command line but also has pop-up windows with html-style formatting for things like hints and pictures.

It describes itself as an old-school 80’s type game with minimal story and mostly puzzles, several of them timed.

The idea is that you are on a mission to help rescue a kidnapped girl but your plane crashes near a pyramid and you find out the kidnapper, a shaman, died and the girl has disappeared.

The game is ultra-minimalistic in text. For instance, the description of the first room is:

You are in the desert.
So from here I can go north south or east.

I see the plane.

Wandering around, there are several interesting things, like a foggy area called 'Perdition" and a strange altar.

I had some trouble with the parser. Early on, I was trying to answer the phone, and I had the following exchange:

I see the plane
Incoming video call…
What now Me?
> answer call
Ok.
Incoming video call…
What now Me?
> i
You Own:
a mobile phone
Incoming video call…
What now Me?
> x phone
Let’s see…
Incoming call 0331785692
What now Me?
> push answer
But… the cell phone isn’t ringing
What now Me?

My character’s name was Me because the way the game asked for my name was:

Are you the chosen one?
Who knocks at this door?

and I answered ‘Me’.

Sometimes when I got an error in the game, no matter what my next move was, the error would repeat. For instance:

> x mantle
MANTLE ? It’s not relevant now.
What now Brian?
> go in house
MANTLE ? It’s not relevant now.
What now Brian?
>

There is a help system, that first gives your a kind of riddle hint and then an explicit action. In many places, the only hint is a picture of a mummified hand and the phrase “Do you want a hand? Not now…;-)”. In others it’s more explicit. The hints often refer to things that aren’t in the room description, like walls.

I was able to get into a house with drawings in it, and the hints include a picture with a reversed message, but at that point I got stuck. I’d be happy to try again with a full walkthrough, or if anyone else can get past that point.

The best parts of this game were the cool audio messages and the very nice drawings; very nice additions for a custom command line parser!

While I am giving a 1-star vote at this time, I don't think the game is horrible. It's just that my criteria are:
polish (where the game could use some more commands it understands),
interactivity (where I was lost on what to do a lot),
descriptiveness (the game uses a minimalist style),
emotional impact (which I do think is good and is worth a star with the cool pictures), and
would I play again? (and right now I do not feel that way).

I'd be happy to bump it up one star if the author requests it, but right now those are my feelings.

In this game, Kronos has imprisoned the Gods, and you must rescue them two by two.

This game acknowledges it was written with ChatGPT, so I won't spend much time (if any) discussing that, as it seems the purpose was to make sure descriptions were descriptive, and they generally were. I knew that it would hallucinate, so I ignored most of what the text said except for objects that were easily interactable with (and a command INVESTIGATE let me know what those were, most of the time).

The map is several different cities, each of which can be moved between fairly easily. Sometimes the exits list were incorrect (like S vs SW) and one, the Necromanteion, isn't listed (you have to ENTER when you're north of the city that is near it).

Puzzles are generally complex code-type puzzles. I used decompiling to figure out rules for some of them. Players will need to know they can ROTATE something COUNTERCLOCKWISE or the game is impossible to beat. Player's should a know that you might be able to put things on a statue's head when you can't put things on the statue itself or the shelf that is on the head. A certain YES/NO question glitches if you type YES, but you can just type YES then NO and it treats it like a YES.

The HELP command here is useful, because if players don't know they can WAIT 11 HOURS, they might have to type Z dozens of times.

Overall, some of the puzzles were fun. I liked the one with flowers. What this game needs, in my opinion, is more careful puzzle testing and more bug-fixing in general. Having one dedicated gametester or several less dedicated testers who report bugs and an author who has time to fix those bugs could make this game a lot of fun. The puzzles are the main draw here, and the overall story idea, with everything else as set dressing, so I'd love to see them shine even more.

(I do have a better impression of this game because the author was open about using ChatGPT rather than hiding it. It is often clear that an author used ChatGPT, and if they do that and don't disclose it, it gives me a much more negative view of the game).

Alas, upon starting this game and solving the starting puzzle, I saw the following room description:

> A small room with nothing but your Cryotube in it. You see the release mainframe to your right and the Port door to the west. The mainframe's tacky lights and fixtures blink erratically. Captain Kirk would be proud. The Port Door has a red light above it indicating it is locked.
>
> The vastness of space can be seen from this room. Thousands of stars surround you, planets streaming slowly across the sky go in all different directions.
>
> You can see Port door, Cryotube (empty), Hunting Knife and Bloody Note here.

This says a few things to me. One, that this game has Star Trek references and an enthusiastic author who loves space (good); two, that I'm in a class science fiction spaceship game (could be good or bad); and three, that the author is fairly new to Inform and its rules about capitalization and initial appearance rules (not something that I look forward to).

The rest of the game bears these ideas out. You are awoken from cryosleep to find most of your crew slaughtered. Your goal is to search through the ship to find out what happened and to make sure you live.

The game is pretty grim, lots of blood and bodies. Gameplay isn't too bad, with SEARCH and EXAMINE being pretty useful on multiple occassions. Make sure to type ABOUT to get instructions on one key puzzle!

Overall, I think the game had a neat idea that was hampered a bit by inexperience with Inform 7, and the writing could have had a little more description and detail. For instance an early room says: "Nothing of
interest is here. It looks like any old ship hallway that you’ve seen
millions of times." If that's the case, why include the room at all? Why have a room that even you, the author, don't like writing about?

The nice thing is the game had several fun moments and the author will only get better with Inform over time if they continue to learn, so I would definitely play more games by this author in the future.

This is a parser game set entirely in real life. You are an Italian man on a weekend vacation with a beautiful young woman. Your goal is to check into a hotel and eat breakfast. And that's the game!

The game is both polished and unpolished. On one hand, many things are implemented smoothly, and there is quite a large number of background objects in different containers and so on that work right. The screen has some color to it, and special characters are used to show good and bad reactions to things.

On the other hand, I had a runtime error (moving 'nothing' into a bin). Several important objects were not in the descriptions and had to be guessed that they are present. So it's a mixed bag.

The girlfriend is highly interactive. She will constantly comment on what you do, and will suggest what you should do next. If you are not fast enough to please her or do behavior that she dislikes, she will chastise you and you will receive a negative symbol (represented by a spade). If you do what she wishes she will praise you and give you a heart symbol.

Just as in real life relationships, I find myself constantly on the hook for many faults, such as leaving a bathroom door open or not sitting while eating. My day was a series of never-ending criticisms, which only multiplied as I fumbled around trying to satisfy her unending list of demands. Perhaps the genre of the game should be 'social horror'!

In any case, the game is good at several things that many other games are not good at, like providing a realistic and detailed hotel setting. On the other hand, I found myself at odds with both the parser and my girlfriend. So some good, some bad. Overall it wasn't long and not too difficult; I used the walkthrough once in order to find the newsletter.

Parser games let you type in whatever you want. They only respond to a small fragment of that. If I open a random parser game and say 'I endeavor to hop on my right foot fifty-five times before squawking like a parrot', then it won't respond with meaningful feedback (I know AI can respond, but the chance of that response containing content intended by the author that directly pertains to my command is low).

This is one reason new parser players struggle; how do you know what to type?

Parser games traditionally solve this in two ways. The first is by the community adopting unspoken customs about what commands are important. By experience, players come to know that 'X ME, 'INVENTORY', 'TAKE', 'DROP', 'PUSH', 'ENTER', etc. are generally understood and work well.

The second is by giving the commands in-game, either explicitly (like limited parser games that list the required vocab) or implicitly (if the game says, 'You feel a strong desire to yodel', then you can reasonably expect to be able to yodel).

This game takes neither of those two paths. In it, you play through various related scenarios about a traffic jam in an intersection. Many, if not most, of these scenarios are solved by commands that are both unusual in parser games and which aren't provided or mentioned in-game.

That makes this game pretty hard. Adding on to that, there are some default actions that don't have responses, making it hard to know what to do.

The storyline is a fun concept, and I enjoyed the ending, but I ended up using the walkthrough for about 70% of the game. I won't elaborate too much on the story as there are some early spoilers that give much of the flavor of the game, but suffice it to say that this is a puzzle about examining a system of interconnected events and trying to figure out how to adjust them in order to save yourself.

I think the game could benefit from responses to an ABOUT command to give expectations to the player. While I personally would have also liked more nudges in-game or a better idea of necessary commands, I realize that that may not match the author's vision and that they may have directly desired for players to have to hunt and experiment for a while. If that's the case, I think it's fine to leave it as-is.

This game was quite different from most IF games I've played.

It's a slice of life game about a man and his girlfriend/wife who live in a cheap flat. He works nights, she works days, and today, on the eve of a new millenium, he is sick.

I was surprised when at the end of the day, (Spoiler - click to show)I found my wife dead at work. I was even more surprised when (Spoiler - click to show)there was a bright flash and I woke up at what I thought was the next day, only to see my wife still alive. That's when I realized this game was (Spoiler - click to show)a time loop. (all these spoilers are for things that happen in the first day only).

Gameplay consists primarily of interacting with others through menu-based conversation, collecting items (all of which (Spoiler - click to show)persist through the time loop) and trying to think of ways to help your wife.

There are a couple of small bugs and typos, which I've notified the author about and which should be easy to fix, although I had an issue where after I restarted the game I couldn't load any saves, which might have been an HTML TADS issue. Fortunately, the game is the kind where if you know what you're doing you can get from the beginning to end in very few moves.

I loved some of the characters in this, like Vincent, and enjoyed the multiple endings. A few times I really couldn't figure out what to do; I used hints once, I think. But overall this game was a good time and really a clever idea that was executed well.

(Warning: This review might contain spoilers. Click to show the full review.)This Twine game was much more substantial than I expected and much less.

You play as a spirit summoned by a woman called Baba, a fortuneteller, as you are ripped from nonexistence into existence.

You have the power to hop from vessel to vessel, both non-living and living, and it gives you the opportunity to learn gossip.

And such gossip you learn! A cold princess loves a dashing, straightforward man who may hold a dark secret. A monk does not believe all she says she believes. And so on. You gather secrets like scores in games.

Eventually, you also gain the ability to make dialogue choices, allowing you to wreak havoc in others' lives.

In the end, before plot threads resolve, [spoiler]you become one with everything, and then nothing[/spoiler].

I would like to see the rest of the threads. I did recently teach a class on Hinduism for a few weeks as part of a World Religions course; I didn't know too much about Hinduism before (besides reading the Bhagavad Gita), but why don't I try to apply a superficial understanding of Hinduism to this game that may not actually be influenced by it at all?

We can see this game as a representation of the karmic cycle. Existence is suffering, and the endless cycle of new vessels and their attachments, both the good and the evil, and the happy and the bad, are not good. Only true detachment from everything allows us to exit the karmic cycle and escape the cycle of rebirth.

(My apologies for the limited understanding of Hinduism and the game).

Overall, I'm reminded of the game Riverside, which similarly starts out as a normal, promising game and then is abruptly derailed in a shocking, out of world fashion. You can peek at the walkthrough or reviews to see.

This TADS game had many delightful elements to it. You are in a library filled with, well, Forbidden Lore. It belongs to a powerful wizard, a family member, and is essentially a one-room game with enormous amounts of detail, including several NPCs.

Many things are richly implemented, including a large number of bookshelves, a desk, and special gadgets, as well as magic and conversation.

However, much of the game is not spelled out, almost to an extreme. You aren't told what to do. You aren't told how many of certain objects are present. You aren't told how to phrase certain important commands. You aren't told what certain devices are capable of. You aren't guided on what conversation topics work with which NPCs.

This non-spelling out can in some games increase the fun as you delve, but in this game it's so extreme that I think it goes too far. It'd be like introducing a player to chess but not explaining how the pieces move or that the goal is to threaten the king.

I liked the lore, the characters seemed fun, and the whole thing reminded me in a positive way of Andrew Plotkin's room in Cragne Manor.

Even with the lack of information, I still found a lot to do. I managed to find a goal and complete it, and once that was done I really had no clue what to do next. To complete that first goal, I had to look at the walkthrough twice and both times I found that I had the right idea but gotten a misleading response from the game. For instance, before achieving one major goal, I [spoiler]tried PUSH STATUE, but it was fixed in place. The real command was PUSH STATUE INTO CHASM.[/spoiler]

So this game is a hit and a miss for me. Great worldbuilding, fun ideas, but spotty implementation and player motivation. Would definitely play more by this author.

Seeing this game gave me trepidation. Marked 'an hour and a half', parser game, 'Old School', 'Excellent for new players and veterans of the genre', a classic-looking castle on the cover; it had all the markings of some custom-parser windows executable game that is huge and buggy and the author keeps insisting 'The game is easy' or 'You're playing wrong', as has happened in countless past IFComps.

Imagine my relief when:

* The first sentence made me laugh, and
* the game turned out to be fair, well-programmed, and have an adjustable play length.

In this game, you are a reporter assigned to cover a royal wedding. You arrive late (intentionally) to find everyone gone and the castle unusually hot.

This game lets you access the end from the beginning! At any point you can enter the final battle, with a random chance to win based on your overall score. So the game only really lasts as long as you want it.

Gameplay is pretty simple, mostly 'pick up item and use it here'. There are some more complex puzzles; there was one maze I solved halfway but gave up on just because I don't really like mazes. Once I saw the spoilery map, I realized that it wasn't even hard, but such is the fate of weak walkthrough users like myself. The only other hard puzzle was one that I had seen others talking about on here so I knew how to solve.

There were several unimplemented interactions and synonyms.

Overall, the interactions were satisfying and the writing funny. Something felt a bit 'light' about the game, both in puzzles and writing, but what is here seemed good. I do think I ran into a bug or unusual luck, because I was able to beat a luck-based game without rigging it the way the game suggested.

This game might be described as "Weird Urban Fantasy". After a brief prologue, it starts off with a classic 'my apartment' game that models different rooms of a fairly mundane apartment before digging into some of the strangeness.

Gameplay consists of crossing a map and discovering unusual individuals, each of which is far from baseline reality. Unlike much of fantasy and sci fi, most of the people are normal, physically, but inside is something different. There are of course some exceptional cases.

While there are many different threads running through the game, they feel like they all have thematic similarities. One constant refrain is (Spoiler - click to show)fear of nothing happening, stuck in eternity balanced against (Spoiler - click to show)the fear of something changing or finally happening after so long.

Implementation is iffy. One really tough issue is that pronouns aren't set right for women so X HER doesn't work, and for both men and women you can't X MAN or X WOMAN, you have to instead type out the full name of the person you want to speak with. Many objects listed in the description can't be interacted with in-game and many that you can't interact with don't give responses. TAKE SHOWER uses Inform's default response of 'That's hardly portable'. So it could use some polishing up. I didn't see typos or bugs, though.

I liked the game. It gives me the same kind of feel as Deadline Enchanter, one of my favorite games. I also have some major phobias associated to some of the things in this game, but the way it handled them made me feel less tense rather than more, which is nice.

The opening of the game made no sense to me, but after replaying it all clicked, so I recommend trying that afterwards.

This is a Twine game with inventory and world model that has a pretty compact map set in a mine. The idea is that you are a mage who teleports into a collapsed mine with the goal of evacuating everyone inside.

It's a classic low-level dungeon crawl, with spells, treasure, obstacles, commerce, and even the eponymous 'dragon'. All of these ingredients are added in small amounts; most of the game only uses one spell, for instance.

The game doesn't last too long. Much of the plot is about 'just in time' happenings; no matter what thing you need, you just happen to counter exactly that thing.

The game has charming and funny moments, and the text is descriptive. I think I would have liked to have an extra space between paragraphs to more easily distinguish them.

The inventory system was simple to use. I made some mistakes early on, but once I understood how it worked it was great.

It's odd; when I started this review I had in my mind that the game was lacking in some significant way, but I can't really point out anything. It has custom CSS, it had good pacing and interface, it had dangerous and safe moments, it has some Chekhov's guns that go off in satisfying ways. So I'd say it's a pretty good game!

This is a twine game with three different paths about a group uniting to defeat a powerful vampire. You can play from three perspectives.

I can sum up my reaction to this game by saying I loved the story, liked the mechanics but found a lot of typos and bugs.

The story (from the point of view of a new vampire, which I chose first) is that you are recently-graduated art student whom a powerful vampire lord has turned into a fledgling vampire. You are captured by a human-vampire-cooperative group called the Redjackets, and together decide to take down your lord.

The game boasts three perspectives and allows a variety of both emotional/roleplaying choices together with choices that affect the overall story.

I liked the atmosphere and dialog of the game. There were numerous minor typos, though, and several passages with broken Twine code. The very first screen said 'error' on it (due to some code that checks your previous playthroughs); several times, the text was from the wrong perspective; the face of one of the characters got duplicated once, instead of showing two people; and the game said it would remember my choices when doing the next path but I saw my former character take all the choices that I didn't take.

However, none of these bugs really prevent the playing of the game itself or the enjoyment of the story. So I still like the game overall, I just want to be complete in my review when describing it all.

I do want to call out the color scheme and UI as being especially nice-looking (for my tastes).

Being alone or in a small group in space is a classic story setup. Even before space people did it with ships, like Robinson Crusoe or Swiss Family Robinson. Movies like The Martian or Gravity, podcasts like Vast Horizon or Wolf 359 or Girl in Space, and IF games like Protocol or Seedship all deal with isolation in space.

To me, that says that there's something about the experience that satisfies some primal human urge for self-evaluation and discovery, like a spiritual quest to understand yourself. In this game, **Metallic Red**, you float through space, tend a garden, communicate on the internet, order packages, and get into Tarot; a very 2020 kind of life.

The gameplay is split into days, with a typically day consisting of browsing the web, checking your plants, and sleeping with strange dreams. It changes quite a bit by the end of the game.

The tone of the game is melancholic and isolated, with themes of change, loss, and growth. It is well-put together; the only thing that looked like a bug was a possibly repeated conversation.

I'm not sure whether the game was structured around a certain set of themes or if it was built around this character and just imagining what life would be like for a person. I wonder if it's the latter because (Spoiler - click to show)someone being raised religiously then becoming depressed as an adult, leaving the religion, and getting into gardening and tarot is such a universal experience that I know 2 or 3 people personally who have done it and dozens more online. So this could just be a way to take a universal experience and put it into space.

In any case, I liked this story. State isn't really tracked; you can use a chapter select to hop from part to part. I forgot one of the instructions during a cooking segment and couldn't figure out how to get out of it for a while, but I found that part satisfying.

**Verses** by Kit Riemer

This was a hard game to play, but not for the usual reasons. It wasn't difficult in a puzzly way and it didn't make me feel bad inside.

This game was hard to play because the text really made me have to think to understand it, to try to piece together everything, to absorb the different layers of meaning going on.

Here's an example. The links in this game are colored differently, with one mostly representing 'forward motion' and the others side details which are placed below the main text. These side details take the form of definitions and can vary from mundane to metaphorical, often one right after the other. Here's a snippet I clipped:

(Spoiler - click to show)
air: the chill makes you shiver.
smoke: something becoming something else.
meat: how would it feel to be cooked?


So I felt like I was wrestling with a hydra, trying to take on this game on multiple narrative levels at once.

I failed, I think. I can only identify the surface themes in this story, alas.

Which is why I've delayed describing the story so far, because I'm not sure I can.

As far as I can tell, it's set in a different timeline than ours where biological modification is common and words usually reserved for religion are applied to other mysterious phenomena.

You are an analyst, which seems to be a job involving organic, technological and spiritual components. You are assigned into the middle of nowhere with little company in a rotting building. Every day you're asked to analyse, partly using the computer and partly using your own intuition. The whole process actually just now reminded me of accounts of Joseph Smith's translation of the Book of Mormon, first using a tool designed by God for the purpose before later relying on it less.

Analysis seems to be all about interpreting the words that come to you, but those words are unclear at first. Simultaneously, the game includes many translations of poems, going into great detail of the difficulties in preserving metaphor, beauty, rhyme scheme and tone between Hungarian, Romanian, and English. It was fun learning a bit of Romanian (I saw a word for claw or hoof that looked like 'ungulate'). The protagonist takes special pride in translating poems with good meter.

The translation and the analysis seem to go hand in hand, but of the rest of the story, what does it mean? I visit a farm which I've already heard rumours about, and find (Spoiler - click to show)masses of bioflesh with human organs waiting to be harvested. As I translate more, I (Spoiler - click to show)lose my humanity, my eye, my leg, my ability to speak. I consume the flesh of the unholy and the dead. What does it mean? It feels almost like Kafka's "In der Strafkolonie", with its vivid and violent semi-religious imagery with no explicit moral or meaning.

I don't think this is a game meant to be enjoyed in a brief time to serve as entertainment; it feels like something designed to provoke thought, like someone deliberately crafted something to cause as much pondering as possible.

As a final note, what I think is going on with analysis is that (Spoiler - click to show)the biscuits you consume are pieces of waste extruded by long-dead aliens that preserve some of their consciousness, which you slowly become attuned to at the price of your own body and mind. They appreciate this as it grants them some freedom, but you yourself lose everything.

In any case, definitely a game worth checking out. I found a small bug where I had to click on some links repeatedly before they worked, but it's been passed on to the author and a workaround may be available. I wouldn't let that stop you from playing, though, it worked well for me even with that.

This Twine game feels very independent from other Twine traditions, with a gameplay style, styling and structure that seems derived from TTRPGS and gamebooks more than other past IFComp twine games, for instance.

It's a class police procedural murder mystery. Three bodies have been found, and you have to find the suspects! As an FBI agent, it is your job to investigate, interrogate, and accuse.

The game makes use of skills, which are set for you based on archetypes like 'Negotiator' or 'athlete'. This skills boost d20 rolls, which determine whether yo you fail or succeed.

This gives a random element to the game, and, according to the walkthrough I read after my playthrough, there are other, hidden random elements as well. This makes the game amenable to replay, but makes it difficult to win on the first try, especially without outside knowledge about the game.

The characters were generally interesting. I liked the family members most, then the suspects. The cops seemed fairly generic. The town and college had a vibrancy to them.

Overall, the game seemed very polished. I didn't agree with every gameplay decision, but I felt like I was playing a quality product while I was in the midst of the game.

I've played three games now by Fred Snyder over the years, all written in his custom parser engine and all involving compact maps with suspenseful plots. I like this game the most out of them so far.

You play in a Cyberpunk-type world where you have an implant in your brain to let you identify and hack objects. Your mission is to retrieve information from the vault of a corporation.

The world model and implementation is completely lean, only implementing exactly what the world requires and nothing else. Every company in the building, every room, every person, is something designed to serve a purpose in the game (outside of one specific room). This has pros and cons; it lets the author do deep implementation and keeps the player from getting lost in a sea of red herrings. On the other hand, it makes suspension of disbelief harder when a corporate office has only 3 rooms. In my book though, I'd rather have a thin, lean, well-implemented game than an overstuffed poorly implemented game.

Besides a variety of NPCs (which I thought were pretty well done), the game includes two kinds of puzzles. I thought the first one was Wordle, but is wasn't, and the second one had me really confused for a second or two before I got it. For me, they hit a sweet spot of 'non-trivial' but 'not punishingly hard'.

**Why Pout?** by Andrew Schultz

Andrew Schultz has a long history of making wordplay games which all follow the same general pattern (typing words based on an overarching wordplay theme using words that appear in the location) as well as a large repertoire of other games (like chess games and even a baseball game).

His longest running series, called 'Prime Pro-Rhyme Row', involves rhyming pairs of words. While fun, I had the feeling it was getting mined out.

This game takes on a fresh mechanic that still involves two-word pairs. Unlike the rhyming games, which could be slowly brute-forced by trying each letter of the alphabet and then adding multi-consonant starters, this puzzle type (which I won't spoil just in case) can be solved through multiple means, including auditory and mechanical, but with much less possible lawnmowering.

That's not to say it's trivial. I did use hints a couple of times. It turned out one puzzle was there that I didn't even realize was a puzzle that was gating all the others.

Anyway, the story here is mostly surreal, with a sequence of random, fantastical things that don't exactly fit a coherent narrative, but the overarching plot is heartwarming and fun: you're collecting friends. In different areas you find people that need help, and, in return, they help you solve more of your puzzles, and can give you pep talks as well.

This is a lot of fun. The pep talks can be nice, too. Some are more general and vague:

> The ________ discusses ways to identify people or situations that justneed a bit of help, and how to do so without making them feel
> hopeless or in need of help, or that they got themselves in this
> position in the first place.

while others are more concrete:

> You think up a ________ you mumble under your breath. The
> merchant finds it a bit weird you like THAT as a way to keep positive.
> It doesn’t seem like that sort of thing helps the economy. Their
> cheeriness slips slightly, with impressively-balanced potshots at
> people more and less successful than they are.

I prefer the more concrete ones, as they have a lot of character.

Overall, this was fun. Recommended for fans of wordplay parser games.

I beta tested this game.

This is a murder mystery set on an Antarctic ice station. A murder has been discovered, and you are highly motivated to solve it. Unfortunately, without any real authority, all you can do is gather evidence and hope people find it.

The game is set out on a time-based system. You have a certain number of days until the real authorities are available. Each day is split up into 4 time periods (I think). During each time period you can interview someone, bond with someone, or do a couple special activities. Sometimes timed events come your way.

Conversation can be down just by clicking each link, but sometimes a new piece of evidence can add new topics, which adds complexity to the game.

Some actions require a closer relationship with someone or extended time, which means you may have to replay if you make poor choices early on.

I found the mystery intriguing and the clues logical. It's in the format where the player amasses enough evidence to satisfy themselves, and then you select a murderer to accuse (like Toby's Nose, for instance), but the game can prompt you when you have enough evidence.

Overall, I liked this mystery. The time and stress meters add some extra complexity, and the Notes system helped me stay organized and not have to worry I was going to forget something important. I think this will do pretty well in the competition, although there are many good games this year to compete against!

This was a cute game, written in Twine with lots of exploration and some puzzles.

You are given an invitation to a beautiful and magical house filled with enchanted objects and creatures. Almost everything has positive and wholesome undertones, although there are some disruptive or angry behaviors.

The house is full of animated things, like skulls or piles of clothes. Everything you meet has requests, from helping deal with a friend to basic needs like food. The puzzles have variety; even though the map is compact (with only 4 big locations and 2 smaller connecting rooms) the number of different tasks you can do and secrets you can find is surprising. New links pop up in one area based on actions in others, and there is some searching (like a big library bookshelf).

I think I liked the bedroom the best, because it had a combination of creepy and fun, or negative and positive emotions.

At times I wished for a little higher stakes, but the ending resonated with me emotionally. Similarly a few too many of the puzzles involved mechanical searching through a list of things, but at least the writing was interesting in each item and the other puzzles had more variety.

Overall, definitely a fun game to play. The reason I like playing IFComp games more than a lot of other IF is that you can tell the IFComp games have a lot of work put into them and were carefully nurtured and worked on until they’re a real gem. The love put into this game is reflected in its quality.

This game isn’t really complete. It’s described as setting up a larger game, and that makes sense. Looking at the code, there are several blank spots and dead ends.

This is a fighting simulator where you train, spar and fight to win money and advance your career. Eventually you can retire and start over.

This game definitely suffers from maximalism. Every choice has a dozen options, and there are tons of stats and a lot of info flying around. Most things seemed conceived on a grand scale but not fully implemented. I had negative stats for several portions of the game.

There’s also several side things that are a bit odd (like an oracle that costs ‘only a little money’ costing $100,000). As it is, the game is like a store in an old Western, with a huge front designed to look like a two-story building but just a little general store behind.

It’s probably combinatorial explosion that prevented the author from finishing everything. I’d recommend starting a game with a simple model that has the entire process from beginning to end (so, one fighter, one school of fighting, one possible fight, etc) and then once that’s working perfectly move on to adding more options at each level. Then you can replay it over and over as you program to make sure the core experience works.

This game was the only game entered in Spring Thing 2020's Late Harvest, designed to accomodate designers who were unable to complete their games in time for Spring Thing due to Covid.

It's a parser game with a long sequence of almost-identical rooms, each with different puzzles in them. The puzzles can repeat, and I believe in the long run that all of the rooms are procedurally generated in some way with common elements in them.

There is a bit of a twist, which I saw in the Club Floyd transcript and which was hinted. Explicitly, (Spoiler - click to show)You can TOUCH WALLS to go through them and end up in a story segment that you have little control over.

Overall, the plot was interesting, as were the puzzles, but both were a bit threadbare. Not bad at all for a first game, though.

This game has been on my 'to play' list for several years. It was one of the earliest Spring Thing games, in fact one of 4 games in the first year that Spring Thing had more than one entrant.

I've made a Sherlock Holmes parser game before and for me it was really hard to keep it from being 'type exactly what sherlock did in the story to progress'. I don't think I really succeeded.

And I don't think this game does either, although it had different goals than mine. It begins with an extended sequence of giving yourself cocaine, and then becomes a 'guess the next part of the book' sequence, with large chunks of text directly from the book (just like I did).

But after some point, it becomes very different. Sherlock burns with anger; an assassin is sent after him. And Sherlock decides to (Spoiler - click to show)blow up a ship.

I don't think this game is really possible without a walkthrough. The help menu gives many detailed ways to talk to people but you actually have to do very different things (like (Spoiler - click to show)hire willis instead of using ASK ABOUT or TALK TO or TELL.

It was a wild story in the end, but it makes a lot more sense than the original story, which was one of the duller Sherlock Holmes stories.

This game uses a similar engine to the author’s last game, Steal 10 Treasures to Win This Game, with some differences. Both only allow a set collection of inputs; nothing else can even be entered. So, error messages are replaced by just not allowing you to type things. However, the older game only uses single letters for inputs. This game lets you type longer words, and does have little responses explaining why you can’t do some things.

The game is set in the fictional land of Yurf, where a royal conflict has divided the world and four gems have been lost. You need to explore the world, which has a surreal Alice in Wonderland/Phantom Tollbooth feel.

The parser is one-word only. This makes the game simpler but also harder. I appreciated the reduced number of actions I had to try. On the other hand, I was frustrated by simple things like trying to look at one person in a group of three, checking my inventory or interacting with individual background items.

The one-word parser has been stretched to its limits here, and that means one thing: riddles. Around half or more of the games puzzles are intuition-based or ‘aha’ type riddles, where instead of manipulating physical objects or learning a system you have to sit and puzzle it out. I ended up having to use hints twice. While I typically enjoy riddles less than other styles of gameplay, they made sense both storywise and given the input constraints.

Overall, a polished and good-looking game, well-written and mostly bug-free (I passed on a typo and a sequence-breaking bug to the author).

This game was written in the mainframe language Rexx, designed to be played on an emulator.

It features ASCII art, used to make 12 playing cards. The point of the game is to collect the cards. It’s based on the story The Garden Behind the Moon by Howard Pyle, with a Moon House and a Moon Man and Moon Angel.

Gameplay is primarily menu based, with some menu options giving you a word you can type out.

There are only 6 things you can do:
-Buy cards from the moon man (from $5 to $120)
-Sleep
-Visit the moon angel (in the code, this is supposed to make him more friendly, but the code that does that never actually runs, locking you out of part of the game)
-Look out the window
-polish stars (this gives you $5_
-visit the garden (only open once a week, gives random text).

So, the only way to make money is $5 at a time, with sleep in between each money-making event, and a little animation that plays when you polish the stars, and you have to do that 64 times to get all cards. Furthermore, you have to wait another 20 days or so to actually beat the game.

I didn’t finish the game all the way through, opting to read the code instead. The ascii art is lovely, but I don’t want to just repeat the same text over and over again for the cards; the gameplay is just too simple, I think.

This Twine game is intended to simulate a forensics-focused whodunnit.

You play as a detective investigating a woman who has been found dead in her apartment after several days. You have the opportunity to take hair, blood, and print samples, analyse medication, interview others, retrieve info from a smartphone, etc.

You yourself are nobody, a cipher, while the suspects are primarily interesting in the information they give rather than their unique characteristics.

There is a lot of technical info in this game, and a ton of links to methodically click through. It has the same kind of puzzle structure as in Toby's Nose, where you read all the info, come to the conclusion, and guess the suspect off a list.

I guessed the suspect wrong but had the cause of death right. It was a fun cerebral exercise, and I would play another game like this. If there were any room for improvement, it might be in making the characters have more unique and interesting features and personalities.

I've really enjoyed fairy-based stories in recent years, probably starting from reading SCP-4000.

This is a cute and well-written adventure about two swashbucklers who have been separated by the law. An execution is at hand, but faeries have gotten involved, and that throws everything into the mix.

This story works well in that it leans into the swashbuckling and fairy aspects with full sincerity, allowing their natural humor and adventure to show out. I could see Errol Flynn playing one of the characters (depending on your choices).

There's not a huge amount of branching, but there are enough places where it feels like you can really mess up or do great that I was pleased with the interactivity. There is an inventory system and some text-entry riddles.

Very fun overall.

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.

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.

Review for Twine version:

In this updated review, I'll mainly focus on the differences between the two versions, while a summary of the content can be found in my original review below.

Transitioning to Twine altered the feel mechanics of the game in an interesting way. The original setup was more or less 'one correct action at a time', leading to the next possible action. Due to the nature of parser games, the main interaction with the game was trying to guess the correct command to proceed.

By limiting the set of possible commands through Twine links, this revision on one hand eases the pain of 'guess the verb', but on the other hand limits the feel of exploration. I think it's a net positive, though, as the interface with its inventory and 'nested' sub-links still allows for a feeling of achievement.

My expectations for parser games and twine games are different, so seeing this game in Twine gave me a new viewpoint on the storyline. It's not unusual for parser games to flimsy plots and bizarre settings, as many classic games like Adventure and Zork focused more on interesting set-pieces rather than cohesive storytelling. But Twine has a history of attracting expert storytellers, so the bar is set higher.

There's a lot that doesn't make sense in this game. Why is there an entire chest, locked, containing (Spoiler - click to show)a single gold ring? Why is there (Spoiler - click to show)an altar that requires sacrifice, but that sacrifice isn't killed, just trapped inside? Later on, most of these concerns are addressed, because it sets up (Spoiler - click to show)the second playthrough(Spoiler - click to show) as a resolution for many of these questions, but it's a bit bewildering on the first go through. On the other hand, the game is influenced by the Conan series of books, movies, comics, etc. and there is perhaps no better way to show tribute to the original writing style than to have a flamboyant, bigger-than-life story that doesn't quite make sense but allows Conan to hit a lot of things really hard.

Overall, I felt like this was a satisfying play. It has different strengths and weaknesses than the original, and I think I ended up liking both version about the same. I did laugh at the jokes the second time and enjoyed the details in the writing, and I feel like overall the 'Conan-style' writing is my favorite feature of the game.

Original review:

This game is one whose development I have followed for some time.

This is a parser game set in a Conan The Barbarian-like world, with a muscular barbarian king who travels about fighting monsters and wizards and generally destroying things.

There is a cast of memorable NPCs and the writing has a strong voice, with complete customization of almost all messages and a rich setting.

This was originally developed in conjunction with the single choice jam; this game, instead of having exactly one action in the whole game, like most other entries, has exactly one correct action in each location (or, more appropriately, only one allowed action in each point in the game, since some rooms require consecutive correct actions).

There is also a limit on available verbs (customized to have clever names), so that means that at any point, to progress, you need to figure out which of the available verbs to use. Theoretically, this means that you could progress at any point just by trying all of the verbs on all of the nouns. The author works around this by frequently requiring unusual or surprising combinations.

Overall, it took me around 1.5 hours, and I found it clever and richly descriptive.

This is a polished parser game entered in the Text Adventure Literacy Jam.

In it, you find that Mother Goose was kidnapped, and you have to save her! On the way, you'll encounter many of the characters from Mother Goose's fairy tales.

Gameplay is classic parser style, with most of gameplay revolving around taking and dropping objects, using objects with clearly-defined uses, and talking with NPCs.

There is an odd feature of the game, where most of the time the use of an object is directly told you ('you should search this', 'you can open it', 'you can PUT IT ON something'), but other times you're merely told what you can not do, often with objects where some use would make sense. For instance, I was stymied when (Spoiler - click to show)the game told me that I needed to hide my smell, and I had (Spoiler - click to show)perfume, but the game only said (Spoiler - click to show)you don't feel like putting on the perfume. I felt like that was pretty frustrating. I found a different item later, but I thought it odd that the game had a clear solution which was just ruled out as a preference. A similar thing happened with (Spoiler - click to show)the need to make a loud sound and (Spoiler - click to show)the gunpowder. While I've spent a long time on this, these frustrations were only a part of the game and the rest was overall smooth.

I enjoyed the writing in general. The characters, while true to the stories, were also more flirtatious and/or violent than many modern adaptations of nursery rhymes, holding more true to the original versions.

Overall, a well-made game.

The trouble with parser games is that players can type in literally anything and hope to get a reasonable response out. This causes problems when the player enters something that seems logical to them which the game rejects.

There are two ways of addressing this: training players on a standardized set of verbs, so they enter a narrower range of commands, and programming more responses into your engine/game.

This game is a custom C# engine. Unfortunately, it doesn't recognize as wide a range of commands as most of the popular parser engines do, and it doesn't use common player-recognized commands and shortcuts like I and L, so it's missing both ways to keep player frustration at bay. I ended up frustrated a lot. I couldn't even read the initial text, as it scrolled off screen and mouse and arrow keys didn't move it (althought pg dn eventually did).

There are buttons and an extra text field, designed to make the task easier, which helped. But overall I think that the author vastly underestimated the ability of players (including me) to type exactly the wrong thing, over and over.

Combined with this, the game does not save or undo (and I had to manually exit to restart), and it has several instant deaths and other ways to lock yourself out of victory (I had to restart on two different occasions because I GAVE something TO someone, which the game accepted, but they didn't give it back).

The storyline is that you are in a dungeon cell where Excalibur has appeared, in the stone, and you have to escape. There are a few segments with fairies, but that's the end of this preview.

As a C# project made in a month this is very impressive, so much so that I would be impressed by this if I were on a hiring committee. As a parser game among many other parser games, it falls a bit flat. I don't know if the author reads IFDB reviews, but I'd suggest looking at some other current parser games to see what's possible in terms of responsiveness, and/or running more cycles of feedback with having people test the game and see what commands could be implemented to smooth gameplay.

This game was part of the Text Adventure Literacy Jam, which requires a tutorial and asks authors to make games appropriate for newcomers.

The tutorial in this game was, I thought, as long as the whole game, as it was very complex, involving following a complex recipe. I was surprised to find out there was more after, and quite a bit!

This is one of the longer Adventuron games I've seen in a while, not as big as Faeries of Haelstowne, for instance, but it took me around an hour or more.

You play as an Athenian maiden trapped in the labyrinth with the minotaur. But...he's actually a very nice minotaur. And he needs your help!

The gameplay and story reminded me of Bronze by Emily Short in a way, with an injured beast man that you have to care for. But this is a more positive game, and contains many references to Greek Mythology.

One thing I liked about this game was that it has a lot of optional side quests, meaning that if you are having trouble you can just leave, but if you're enjoying yourself and want more of a challenge you can attempt the other quests.

There are a lot of hints and things.

I had several parser frustrations, many of which were just due to having a complex project in Adventuron, in my opinion (I had a big Adventuron project that had similar issues). I passed on everything I found to the author, though, and I didn't have much trouble completing the game in the end.

I liked the storyline overall, and felt it was a good spin on mythology and I loved the synergy between me and the minotaur. Glad I played.

This is an Adventuron game designed for the Text Adventure Literacy Jam. It has simple puzzles and structure, designed as an introduction to IF.

The author often had trouble when playing Adventuron on mobile because it wouldn't save, so this game is based on a password system. An early choice in the game leads to 4 branches, each accessible by a password.

Most of the gameplay revolves around driving to work, getting an assignment, then carrying out a task involving riddles or metaphoric actions of various sorts, including solving number patterns and changing the emotions of animals. There's one big final chapter at the end.

Overall, the game has some heartwarming moments and some big ideas. The execution doesn't really pull through though. There are a lot of typos and grammatical errors; the author is a non-native speaker, likely using a mobile device based on the author notes, but it may be worth running the text through a spellchecker like grammarly (you can even put code into spell checkers, just ignoring the errors the code part causes). A lot of items are underimplemented; one important item is stuck in a gate, but X item acts as if it's not there; similarly, there is a billboard that you can't EXAMINE or LOOK AT but can READ. You have to GO OFFICE to go to the office, but if you try to GO ______ for an address, it says 'not yet'; instead, you must just type ______ (i.e. the address itself). Due to these issues, I found myself struggling to enjoy parts of the game. With more polish, I could see this being very fun!

There is some pixel art, which ranges from abstract and confusing to fun and silly. There is an odd part about buying underwear off models, leaving them nude, but otherwise it's pretty solid.

Overall, lots of fun stuff here, just needs some more care and attention to spelling and implementation.

This game was entered in the IF Grand Prix 2024, in German. In it, you play as someone determined to stop a sorceror from hatching a dragon egg and dooming the nearby community.

Gameplay revolves around looking around, exploring, and then using different items you find to open up new areas.

It's written in a custom engine which looks visually appealing but which I struggled with. A lot of objects weren't implemented that were mentioned in the text, and many synonyms I've become accustomed to from other German games didn't work here, so I had about 25 commands at the beginning that weren't understood. I finally got one to work by accident. Exploring around, some commands were hinted in the text and just didn't work; an example (not from the game) would be like 'it looks like you can pull it!' but 'pull' doesn't work.

Not being a native speaker compounded this problem, but I've seen on the German forums that others had the same problems. I ended up using the walkthrough helpfully provided, pausing here and there to explore some.

Other than that, the game is a good fantasy game. Some of the puzzle solutions were a bit confusing but the game is small enough that just trying everything should be fine.

A new IF engine takes a ton of work. This one is very promising but could use some more synonyms. For instance, in Inform I can type 'Oben' and 'Hoch' and both make me go up, or just 'schau' for looking around (maybe these are unusual commands and I've trained myself wrong by misplaying other German titles, a native speaker would have to correct me). I see now when writing that there was a Help page on the front page of the game, but I didn't see that when I first played, and typing Hilfe didn't bring anything up in game. The help page would have helped some, though, but it doesn't mention the up and down directions, which I struggled with.

This was a well-made Inform game in German with custom CSS. It uses the Hybrid Choices extension for Dialog.

You play as a traveller who comes to a small town looking for your love. In the meantime, though, you find a mystery, as a young man goes missing.

Gameplay revolves mostly around dialogue and exploration, with one puzzle involving several metal implements that I found confusing enough for me (a non-native speaker) to need to look at the walkthrough, but once I saw the commands it made sense.

Between conversations, there is often a lot of fetch-quests, where one person asks you to go find something and bring it back. I felt like it was a lot of fun most of the time, but one specific part felt a little repetitive, as there are three things in a row where you get an item, use it, realize you need another, get it, use it, etc.

Overall, I liked the writing and thought the flashbacks were neat. A very strong game. Near the end there were two weird things; the use of the word (Spoiler - click to show)drugs to refer to illegal things, when it was more (Spoiler - click to show)a reference to pharmaceuticals at the time</spoil>, and a somewhat derogatory term for Asians spoken by an uncultured man.

'Western' is definitely an underutilized IF category so it was nice playing a very polished game in this genre.

This game was in a poll for games that need more reviews.

In this game, you play as a lowly librarian who has been tasked by a mysterious stranger with finding the Babylon Book, which contains all stories that can ever be written.

This is meant to be the first in a three-part series. The bulk of the game takes place in a bizarre student cafeteria where history, magic, and collegiate life mingle.

The game uses a lot of styling, and has cycling links, background images, music, and a lot of text boxes where you can type what you want. I'm not sure how often the game checks what's in the type boxes; I had one puzzle where for sure it mattered, but others didn't.

The story is madcap and surreal, so it can be fun but also hard to follow at times. I wasn't quite sure how I ended up in the cafeteria, or why I couldn't leave it; and I encountered many things before I knew how to make use of them.

But, this is fairly compact, and it's not too hard to explore everything even though there's a lot. So I was able to figure out things in the end.

I definitely think I'd play the next few games. The one thing that I wish were a little different was the many times where I saw a cool feature (especially text boxes) and didn't know if it was 'cool feature just to have fun with that is only used for characterization' or 'essential puzzle component'.

There have been a couple of polls over the years for 'games that need more reviews' and this has been on all of them. I loaded it up once a few years ago, but it seemed somewhat overwhelming.

But I'm glad I've finished it now!

This is a goofy, intentionally silly game in the vein of Escape from the Crazy Place. You are a police officer dressed as a Go Go dancer. Your partner is Donald McRonald: clown, pyromaniac, and overall goofy character.

The game map is split into about 9 main locations with a couple of extra ones. Gameplay revolves around bringing items from one area into another and getting Ronald to cooperate with you.

The plot is that something mysterious fell out the sky and crashed into the graveyard, and now so many of the dead and buried are rising up out their graves!

There is background music, which I thought was well-chosen; it felt like the soundtrack to one of those movies within a movie you see when people reference fake black and white horror films, like the werewolf movie in the Thriller music video. It has a lot more character than much of the music I've seen in other IF games.

However, I also found a lot of bugginess. The jelly doughnut was a major problem; I found it in a grave. I took it. Then I took something else in the grave, and it said I took the doughnut. I later gave the doughtnut to Donald, and it said he ate it, but then I still had it in my inventory. Similarly, the hints just went blank when first entered the (Spoiler - click to show)spacecraft. There were also a lot of interactions which may have been bugs and may have not; like when I opened my purse, and (Spoiler - click to show)tried to get something out and died, so I tried giving it to Ronald and told him to open it, then when I had it again I could take stuff out and not die, even though the boa was in there. Similarly, with the main nemesis, (Spoiler - click to show)I first tried doing nothing, and died; then breaking the machine, and died; then going through the light, and died; then talking, and that just gave a normal response. So I tried attacking the dog herself and got mind controlled away. So things were kind of chaotic. There are also several typos, mainly missing quotes when a sentence has a dialogue tag in the middle.

The characters and writing are funny and high quality, and the music really helps the ambiance. I enjoyed a lot of the puzzles, too. I wonder if that's why there are so few reviews; the game is good enough that no one would give it a 'this sucks, don't try this' review, but tricky enough to finish that people who like it often aren't able to see the end. However, I should note that as of writing this in April 2024, this game has a lot of 4-5 star ratings, while I'm giving it a 3-star rating, so my experience may be atypical.

This is a pretty substantial Moiki game with a creepy atmosphere, in French.

There is a book you love that is finally getting a movie adaptation! And your friend has a friend who knows someone who has an early bootleg copy!

The book is about a woman who reincarnates throughout history, including as various animals, but who can take control of some of the reincarnations given the right ritual.

Going to the movie takes you to a dark and frightening theatre where everyone behaves strangely...

The game gives the impression that there are many branches, although I only played through once. There are numerous quick-time events, which were difficult for me as a non-native speaker.

The use of background images, music and occasional voice were very effective, and I was impressed both by the technical skill and the storytelling.

I was left unsure of how the final events of the game where I learn more about myself were connected to either the book or the movie; perhaps if I had played more, I could have seen the truth.

This is my first time playing an OpenAdventure game, and it was interesting. I didn't get it at first, so I tried a tutorial game, and then it made more sense.

This game at first appears highly non-linear, but it becomes apparent that everything is laid out for you step by step. The way the game works is that you have a map, a list of places on it, a list of people, and rumors on the bottom. You can click on many of these things. Each time you do, you get a paragraph or two of information. Very occasionally, you can click within that paragraph to unlock more areas, or type in a password of sorts to get to a new area or even an entirely new map (there are 2 maps in this game).

At the end of each map there is a self-graded quiz where you type in the answer to various questions. Then, instead of checking your answer, it tells you the truth. I've seen this way of doing mysteries before and it works fairly well here, although it limits your opportunity to correct yourself when wrong or to work on improving a partial answer.

The storyline is that a goddess has a magic cauldron in your village that has an awful curse put on it against any villager who steals it. Yet, it has been stolen. You, a bard, have to figure out who did it and why!

There was a lot of text in this game. I try to avoid using google translate but leaned on it at some points. It seems well-written in french. Due to the quirks of language translation, I had to laugh at google's attempt at translating this (to no fault of the author):

Original: "Il semble que vous allez devoir mouiller vos braies pour continuer la traque..."

Translation: "It looks like you're going to have to wet your pants to continue the hunt..."

Overall, this format seems like it has some clear advantages for mystery games. I'd be interested in seeing how it would work for other genres.

This brief Inform game has you waking up with temporary amnesia in a medical research facility with a door that has recently been welded shut.

It's a small game with about six rooms. There are two major tasks to take care of: getting some quiet and making things dark.

It is possible to lock yourself out of victory unwittingly, I believe. And one major puzzle requires some intuition that is not in the room description and which doesn't make sense based on earlier responses. In particular, (Spoiler - click to show)you have to turn off a radio, and TURN OFF RADIO says you can't turn it off and BREAK RADIO says you can't do anything to it, and it's too big to TAKE or PUSH. The solution is apparently to UNPLUG radio, despite the lack of a plug being mentioned.

Overall, it works as a small game to make to get used to Inform, but I prefer Sidewise by the same author.

This is one of the bigger complete games in the French Comp this year (2024).

You play in a fantasy world with two main races, one of which is white and in power and the other dark skinned and with less power. You are part of the latter group, and you have been called to be the guardian of a mysterious Door.

No one who goes through the door ever returns. As the guardian, you are given seven rules, including that you should try to dissuade anyone from entering, but can't physically prevent them.

The game has two main modes of interaction. One is recurring visits where you talk to a person and make decisions, some substantial. The other is exploration, which seems to stay roughly the same. There is a part where you need to solve a code; I made a guess based on my weak french and got it right on my first try (Spoiler - click to show)I thought 'ice, flower, sun, leaf' and put in 'hfsf'. I either got it right or it accepts anything.

I did get engaged over time seeing the evolution of the kingdom and the strange people entering the door. In the end, I chose to go through.

It said I only found 2 of 15 objects, and I only saw 300 or so of the 900 passages, so I assume it is very replayable.

This game, as its name suggests, is part of the same universe as A1RL0CK.

It's set in an underwater wreck that is enormous and filled with strange biological material. You have a special suit designed both to let you interface with the technology around you and to keep you under control.

The gameplay is partly exploration and partly puzzly. I enjoyed searching out parts of the ship, interfacing with technology and so on. I had some trouble with the parser when trying to deal with wheel valves, but I realized I had been using the wrong verb (SET is right, TURN works sometimes but not as often).

There is frequent strong profanity in the game. It makes sense in context. The story is very violent, kind of like 80s sci fi action like Alien, Predator, or Terminator.

Overall, I found the story strong. At times I got stuck, like I said; this is not an easy game, and careful attention to detail is basically required to pass through. I had a good time with it overall.

Having played many recent Autumn Chen games in the last year or two, I saw a lot of references to Pageant, and thought, 'I don't really remember that game well'.

Turns out, I never played it! I mixed it up with another game and never even tried it.

Having tried it, it's pretty great. It's clearly influenced by Emily Short's Bee; both use the same system (one from when it was a semi-commercial system and another after it became Dendry). Both are based on quality-based narratives that play out over several weeks, both are about a certain type of rigorous, conservative upbringing, one by fundamentalist Christians and oene by Chinese diaspora parents.

However, this is certainly not just a retread of familiar material. Our main heroine, Karen (whom I recognize from several other games) has a unique and complex approach to life that makes choices not straightforward. Karen is thoughtful and compassionate but also is under enormous stress and has social anxiety at times that makes intended choices (like responding and so on) impossible to actually carry out.

One fundamental aspect is that Karen is extremely competent but does not see herself that way. She does 95% of what a human is capable of doing, but only sees that 5% gap. She works with adult research scientists but only sees her ineptness; she is told frequently she is beautiful but only sees awkwardness; she is loved by others but only fears rejection.

But the key is that she acts in spite of these fears; she just keeps on trucking.

Having played other 'pageantverse' games I immediately narrowed in on interacting with (Spoiler - click to show)Emily as much as possible. This game explores young trans interactions quite a bit: what does a trans relationship look like? Actually, that's not true; this game isn't about 'trans relationships' first; it's just about relationships, and what happens when someone being trans is thrown in the mix. Some of the tensest moments in the game for me were switching between private moments with my friend being able to express herself however she wanted and public moments with her family where the expectation was 'be normal or get punished'.

Overall, I'm glad that this wasn't a 'downer ending' game. I was able to succeed in my goals (being close to someone and doing good in pageant + research while being mediocre in science olympiad and basically ignoring family).

A strong game, and it's clear why it spawned several good followups.

This game is (hopefully partially) autobiographical, describing a long career in a game company. A lot of it was familiar to me; my father owned a video game company growing up and I spent a lot of time at work. The arcade games, chill out areas, lots of sketches and endless cubicles, mixed with frustrating bugs, all sounded about right.

The main point of the game is two-fold: fix a bug, and find a 'peep' to hide in someone else's office.

There is a lot of narrative momentum, with parts like fixing the bug being an effective story, and the strange happenings beyond the janitor's closet...

On the other hand, I often found myself fighting the parser, especially when dealing with a certain unreachable thing I found.

Overall, there is a good haunting story here.

I beta tested this game.

The Alaric Blackmoon games have a long and storied history going back I think decades.

Most of the ones that I have played have been written in Adrift. They are written in traditional fantasy style; as books, they would have fit fine as a TSR series along with Forgotten Realms or Dragonlance.

The games are usually quite long, often with action sequences, and several of them use similar set pieces (like the castle in this game, which features in several other games).

This one is a stripped down and smaller version. There is just a simple goal: to explore the genealogy of the main characters.

I’ve seen others saying this game felt a little too small; I could see that, but I feel like it’s more polished than a lot of the other Blackmoon games. The only issue I found was with some leaves, where I had some both in my hand and in a cup, but that’s not necessarily bad, as I could have taken only part of it out.

Genealogy is a requirement in my religion and one I enjoy, so I liked this lower-stakes storyline. It can be very fun to track down an ancestor and find distant cousins.

Overall, this is a nice introduction to the series, and can get people use to the style of the other games (like magic, the way the Axe works, etc.)

This game is a game with multiple layers of storytelling. In it, you are an actress speaking with the police, telling a story about a film that is set within a film, all played by you, the player, as a game…but is all of that true? Layers shift and change.

This is a giallo story, but due to my inexperience with much of Italian cinema I took it to be a ‘slasher film’. As a meta slasher film, it shares a lot in common with movies like Scream or Wes Craven’s new nightmare, or to games like the recent IFComp game Blood Island. The only real difference between this genre and those is that this game has a lot more reference to nudity and sexuality, but that’s a common difference between American and European cinema. While I tend to avoid erotic games, the nudity and sexuality in this game never felt erotic; if anything, it was just a way to incite more fear and helplessness.

You play as an actress who leaves one movie set to go to another. Along the way, a mysterious figure stalks and harasses you, and can kill you. But is that just part of the film, too?

I received ending 1, which seemed like an apt ending for the game. Overall, just like another game that I mentioned to its author, this game reminds me quite a bit of opera. Its symbolism reminds me of things like Don Giovanni, with the statue dragging him to hell, or Duke Bluebeard’s Castle, where all actions are symbolic.

The game does have several implementation issues though, which I share a large part in, as I tested it. I’ll send specifics to the author, but there are a lot of places where things fire out of order or synonyms are missed. I certainly could have aided with that better!

But I suppose it’s a bit of a missed opportunity; due to the occasionally sketchy implementation, I had to religiously follow the walkthrough. This could have been presented as a ‘script’ feelie (similar to and mirroring the in-game script), adding another layer to the game. But I suppose a new release of the game could also bring the errors in line, which would raise the game to a 9 or 10 in my mind.

This is a heist game, written in Twine.

It has a character selection screen, and then you’re given a problem to solve. In this case, an ancient Cat goddess desires her treasure back!

The game that ensues is almost entirely focused on mechanics, with the story broadly sketched out. You end up in a very large museum that you have to navigate, finding the clues and items necessary to grab the treasure.

I found myself wishing for an on-screen map early on, getting lost pretty easily. Eventually a found a map, right before I won, but it could have been nice to have it onscreen.

There are 16 or so locations in the museum, and each one has only a line or two of description, with perhaps one interesting item to interact with. This strips down the game to its core features, which are primarily movement and object gathering.

I’ve seen a lot of reviews of parser games saying ‘I wonder if this should have been choice based’. Here, I think, not ‘this should be parser based’ but ‘I wonder if the author would enjoy writing parser games’. There seems to be a true pleasure in gathering inventory and travelling that I think could make parser code appealing.

In any case, I solved it, but only with some hints and a little peeking at the code (I was dumb and couldn’t find the key combination on my own).

Overall, I would have liked a little more fleshed out detail in the museum, since it sounded cool, and would have liked an on screen map, but I did have fun. I scored 82/100!

This game has a fun concept, using a messaging app to tell a story (in this case Telegram).

I don’t have Telegram, so I played the web version.

This idea has been played around with before; the Lifeline series of games has you texting with an astronaut, and I once was commissioned to write a game where you get a series of texts from someone using a Ouija board to communicate with you.

Anyway, I like the concept a lot. The timed text would fit in with the messaging thing, but I had an issue where every time the next message appeared it would change the focus of the screen, losing my place. So I could either have the text be really slow so I could finish before any interrupt (but then feel frustrated) or fast and constantly lose my place. I generally solved it by increasing the reading speed to 20x, letting it all appear, and then scrolling back. I think in the future it could be nice to have an option to have the messages not ‘bump’ the screen (unless there was such an option that I missed!)

The story is one that seems part symbolic or dreamlike and part lifelike. You are swallowed by an enormous whale, and discover a variety of things inside. I visited around 20 of 90 passages, so my experience was likely very different from others. I encountered and befriended a strange hermit, discovered my past, and attempted escape.

The graphics were really lovely. Sometimes they didn’t quite match what was being said (mentioning baleen but showing normal teeth, describing a bench with a watch and a hook but not showing them in the image), but the quality was high and they looked lovely.

Overall, I like the writing and art and would definitely try more such games.

This is a Twine game with lovingly crafted visuals, using backgrounds, animations, and various techniques like mouseover links, cycling links, etc.

I did something with it that is likely bad for the experience, like people who use online recipes and complain ‘I substituted ground dates for the chocolate and it tasted terrible!’. In my case, I downloaded the file and changed all of the timed text links to have a 0 second timer. Some of the original timers were 6 seconds and it was just agonizing to play.

So my experience may not be the one intended.

The story imagines a world where a common parasite exists that can puppet a body’s nervous and muscular systems after death, allowing corpses to speak and to remember.

Your brother has been found, and you have been called in to talk to him.

The main content of the game is divided between the top layer (you talking directly with the player) and the bottom layer (your memories and feelings about your brother). This is not a happy relationship whatsoever. It implies that your brother was extremely abusive; at first I thought it was sexual abuse, and may be, but physical abuse seems much more likely.

The game is effective in its communication of both the bitter anger after abuse but also the self-doubt. Where the writing is most effective in my opinion is that it contrasts scenes of deep hatred and unhappiness with scenes of love and affection. The variation in emotion and tone gives a much stronger gravitas to the scenes of pain and violence.

Hmm, this game is really intriguing! I had a bad experience at one part and good experiences at the other.

The idea here is that you play as a guy who, together with his best friend, enters a high-stakes two-player video game competition.

Except, things are not as they seem…

The intro is generally a linear story, although there are definitely opportunities to add your own flavor to things. There are extensive images and some background music; it seems like your characters are designed to look like anime high school protagonists.

Once the game starts, you have a lot more freedom. I had fun playing a character playing a character (the ‘Gameception’) and felt like I had real options.

But then…the game changed. And man I got really frustrated!

It becomes a ‘gauntlet’ where you have two choices at a time. One is right, but the other makes you die.

I was worried I’d have to play the whole game over. But it just took me to the start of the gauntlet.

But that’s the only checkpoint! And the gauntlet is really long with some timed text!

I tried 9 times and got so frustrated I had to quit. I ended up opening up the code; I guess I was really close to the end. And also there’s an almost entirely complete other game in the code too, which is pretty wild.

So, mostly fun game, with one super frustrating part. If that part just added some more ‘checkpoints’ I could have done better. Literally everything else was fun though.

Pseudavid has been consistently putting out thought-provoking games that are near-historical or near-real with cool UI for a while, so I looked forward to this.

The engine for this game reminds me a lot of Gruescript, and has clickable buttons but otherwise operates similar to a parser, for a parser-choice hybrid.

The idea is that you are exploring the woods at a time you aren’t really supposed to, taking pictures and looking for things to bring to school to show others.

The game has enough nature to feel like a nice walk through the forest, like the game The Fire Tower. But it’s odd enough to feel unusual. Plastic is seen as something exotic and rare. An abandoned hut contains what seems to be evidence of torture…or dental care.

I liked the overall vibes, and thought the game looked great, especially the background changing over time.

The game implied I missed out on something at the end, or at least my character did. I didn’t see any opportunities to do more than I did (I crossed the bridge and, looking at the walkthrough after, I had done everything in it).

Sometimes it was a bit of a chore to have 4 different things to click on every thing (the original click to look, then photograph, then smell/touch, then collect).

At times I struggled to use items. I can’t tell if there were bugs or just my way of clicking was bad. At times I thought that clicking to use an item and then clicking on a scenery object would bring up an option on that scenery object to use the item. At other times I thought that clicking on the object itself would bring up the option to use it on the scenery item. I suspect the latter was the case most often.

Also, it seemed like the map kept getting bigger (which was awesome) but at some point the X got stuck in the upper right.

Overall, I enjoyed this a lot; the complaints above are minor things, while the core game itself was something good and interesting.

I think I can summarize this game for me by saying that it very effectively told a story that I didn’t like.

It is a long twine game about a sniper fighting in Afghanistan, told in non-linear style through different points in his life. It uses a lot of interesting styling, has music, and uses images generated by OpenAI, according to the end credits. The images look almost like hallucinations, fitting for this grim and unpleasant story.

As the author has stated, this story includes scenes of torture and violence. The author writing this has talent, and has used that talent to effectively show the horror of torture. This is not something I enjoyed or wanted.

With multiple wars going on and massive disinformation campaigns causing me trouble in real life it was interesting to spend some time thinking about the game. It does show (and this is something I believe) that most people at the ‘bottom’ on both sides aren’t there out of hatred or desire to kill but because their government or other leaders have pushed them into it. It’s a terrible job where the better you are at it the more lives you ruin.

On the other hand, it depicts the Afghanistan enemies as being particularly despicable in terms of torture and murder. I’ve always thought that in the past, having grown up during the 20 yr-long war in Afghanistan, so I looked up ‘torture in Afghanistan’. The first thing that came up was the long-term torture and death of two Afghani citizens carried out by the US. The second was the torture of a British officer by the Taliban.

I don’t know, this isn’t the kind of stuff I want to read about or really even think about. I would like to help end war, for sure, and I think there are ways I can do that privately and publicly. But I don’t think even people who were captured and tortured want other people to learn to vicariously suffer for them. And I don’t need more convincing that war atrocities are a very bad thing.

So, the writing on the story was very effective, the use of media and nonlinear narrative was expert, and the math calculations were interesting. But I did not enjoy the game and certainly don’t want to play it again.

This is a longish Ink game where you are Osiris, recently deceased pharaoh and newly resurrected God.

Most of the game consists of travelling to different locations and interrogating different Gods. There is some freedom (in which Gods to visit first) and some saving of state (some topics only come up after you talk to others elsewhere).

There was one math puzzle which I both overthought (by getting tripped up by the mention of Base 12 beforehand, which turned out not to be important) and underthought (by just not getting it).

The characters were very diverse and interesting. Some gods were nice; Geb was a big loser who smoked weed and acted like a peeping tom.

I classified murder mysteries in an earlier post. This one was the kind (as far as I could tell) where you complete puzzles and the mystery solves itself in the process.

Overall, the setting and characters were the biggest strength to me. I didn’t derive enjoyment from the sex scenes. I did like the reimagination of the Egyptian mythological world, and thought the styling looked good.

This parser game had a really strong storyline and distinct worldbuilding, with some pretty fleshed out characters and interesting UI.

You are a beat witch; you see, some adolescent girls wake up one day with the power to be hurt by music and to use music (and other things?) to affect others.

The entire city has been blasted by an EMP and thousands are dead, so everyone’s blaming you, and you have to set things straight.

Music is frequently mentioned in the game, and is included in the game itself through vorple. Color is also used, and there is frequently either timed text or text that scrolls when you hit a button (I think it’s mostly the latter).

The story is at times gruesome and at times cruel, with some kindness mixed in. There is a lot of control, whether through magic or force, and a lot of deception. The villain is a definite villain, and some of the lines are darkly effective, although some are a bit weird (I swear at one point they said (Spoiler - click to show)I’m gonna squeeze you like a fart.)

The gameplay seems entirely linear; at times there are choices you can make which are remembered and mentioned later on in the game, but mostly it seems like the game is designed for you to find the trigger for the next cutscene. Its generally smooth and I rarely had difficulty finding what to do.

So, overall I’d say this is pretty high quality. Something for me seemed slightly missing from the story; maybe more breathers from the intensity of the action? Something to add more contrast to make the dramatic moments pop out more. But the styling is excellent and the writing is very descriptive.

This is a game by Andrew Schultz, an author who excels at wordplay-based games.

But, instead of a parser game, it’s twine!

The conceit of this one is taking pairs of words in pairs (so 4 words total) so that if you switch the first letters or (or chunk of letters) of the first pair, you get the second pair. Just like the name: ‘Trail Stash’, if you switch the TR and ST, becomes 'Stale Trash".

I wondered how effective Twine could be in this format. After all, this is a similar concept to the parser games; would it be less effective here?

But as I played, I thought, ‘hmm, this is great!’. One of the difficulties I often have with the parser games by Andrew Schultz is that it is often uncertain how to interact when you have an item in a location; do you type the solution of the wordplay puzzle, or use a verb with the object?

Twine solves this problem by limiting possible interactions.

This doesn’t make things easy, though! I had difficulty near the end game where just nothing seemed to work. Then I realized that I had missed an important solution early on and missed out on three locations!

So overall, this worked well. The only caveats I had are below:

My one caveat is that there was no apparent connection between some of the items and the solutions. For instance, you have to detect losers, but the object is . Although, now that I think of it, I guess ’ has multiple meanings. So maybe it’s just my lack of imagination.

I’ve liked Xavid’s parser games before, so this twine game looked interesting.

It reminded me of an extended version of Astrid Dalmady’s game You Are at a Crossroads, which is the first Twine game I really liked and the game that got me into choice-based games originally. Both of these games involving ritualistic revisiting of locations, unlocking more content by having net items in an inventory.

I like Astrid Dalmady’s game, but it’s pretty small. So this game is nice way to get that same kind of feel, although this game has quite a bit of its own structure and story that is unique to it.

You are packing up, ready to move out of a home, but every in your house are pictures of a man who is someone close to you, a boyfriend or spouse or lover. You have worries and fears and concerns, and you begin to explore those in a symbolic way.

Several helpful people guide you as you go along, exploring memories of the past in a symbolic format. At first there is much you can’t do, which can get frustrating, but eventually your new capabilities give you more strengths.

The feel is almost a parser/choice hybrid, with its extensive set of locations and inventory items. But it manages to tread the thin line between too many options and too few; I occasionally found myself trying to lawnmower all options, but in each case I realized that it would be easier to just step back and think.

So overall, a strong game. The psychology of it isn’t unusually insightful, but the symbolism employed was enjoyable and interesting to me and the descriptions were evocative.

This game was loosely based on 'The Blessings' by Dar Williams.

This game was good to read. I’ve known Bez for several years, and while I have not been able to be as helpful as some of his other friends, I’ve been able to watch his journey over time and follow along.

This is an interactive museum of Bez’s experiences through several different locations, with one exhibit per living location. There are photos, transcribed documents, and music from several indie musicians, which sounds good.

The museum is a well-written and fascinating look into the life of one individual. It is frank and open about challenges like debilitating illnesses (the pseudo-dementia, for instance), suicidal thoughts and impulses, homelessness, unsupportive staff and family, and so on. The fascinating part is how relatable it is; this is a very specific life with considerations that aren’t universally applicable, and yet for me the writing was relatable and approachable, and I could connect with it and consider similar challenges in my own life.

It’s not all challenges though. There are many successes and realizations and small happinesses mixed together with the hard times.

Bez has written solid games before with interesting mechanics, as well as interactive essays that are more limited in scope and linear. This game combines a lot of the best of both, with a non-fiction emphasis but with more ways to interact. There’s no need to make autobiographical fiction ‘fun’, since it’s just a story of life, but I think that the features like graphics, music, and navigation improve the reader experience and increase the connection between writer and reader.

This game features a magical protagonist that goes away to camp for magic kids.

At first I thought the game had read my mind; I named my protagonist Eduardo, and I was shocked to see Eduardo raised in a Spanish family! But then I realized it was just part of the story, especially when I saw that Eduardo was chosen to be a girl (I had imagined a boy), although gender is explicitly stated to be somewhat flexible".

The game treats many social issues, with a heavy emphasis on climate change and corporations destroying the wilderness, which gave me fond flashbacks to movies like Ferngully and Ernest Goes to Camp from my youth. Many of the NPCs were black, indigenous and/or hispanic, with a wide variety of hair types, skin tones and backgrounds. Mention was made of differing family types, including having two moms or being orphaned. And there was a discussion on how magic had been stigmatized in women more than in men.

So it seemed like social issues were a heavy topic in the game, not as a side tangent but as the central focus.

There’s a lot of promising features in the game but it is incomplete. Only the first chapter or so are finished, and there are some typos here and there, not enough to be distracting but enough to be noticeable. So once things are fleshed out I could see it being pretty solid.

There’s a lot where it’s hard for me to say if it worked or not. The personalities of the NPCs, the voice in the player’s head. A lot of it depends on where this ends up going. So I think my rating might end up a little in the middle of the range, getting bumped up or down if a continuation is made in the future. But overall there’s a lot of promise here, both in the writing and the art.

Last year’s game ‘Who Shot Gum E Bear?’ by the same author had a deeply amusing concept (hardboiled noir detective where everyone is candy) coupled with some solid writing but sketchy implementation.

This year’s game ups the notch a bit on the implementation but uses a more secluded setting.

You are called to an abandoned factory which is scheduled for demolition and tasked with finding out what happened to a missing husband. You get locked in, and have to use your wits to solve the case and to get out.

I’m going to quote my classification of (many but not all) interactive fiction mystery games:

1-Have a standard puzzle game that happens to be about murder mystery, with solving the puzzles leading to solving the mystery. This is like Ballyhoo.
2-Modelling evidence and clues in-game, which have to be combined to form a solution. This is how Erstwhile works, and most of my mysteries.
3-Collecting evidence through puzzles and conversation and then having a quiz at the end (where you have to accuse the right person). This is how Toby’s Nose works.
4-Collecting physical evidence and showing it to someone, being able to make an arrest when you have enough evidence.

This is the first type. Solving puzzles involves collecting evidence as well as escaping and once all puzzles are solved the game is over. Accusations, motive, etc. are all handled by the PC rather than the player, and I think that works well here.

The game has some suggestive/racy elements, enough that I wouldn’t want my middle-school age son to play it but mild enough that if he did I wouldn’t be especially upset, just have to explain the use of certain items.

The implementation is both really neat and kind of bad. The neat stuff is how the puzzles go beyond ‘one item one use’ in clever ways. The bad is that most of the standard responses aren’t changed. It might help for next time to use RESPONSES ALL while programming to get a list of responses and then changing a lot of them. But it’s not necessary; if the goal is just to have a snack-size fun game, that’s already being achieved here. The responses would only be if the author specifically wanted a more polished game. I think I mostly would want that because the writings so good everywhere else that seeing it in the standard responses would make the game even more fun.

This is a game translated from Russian that has quite a bit of twists and turns in it. Most are discovered early on.

I’ll say that a game with a sleeping woman and ‘16+’ and referring to ‘your mistress’ turned out to be something very different than I was expecting. It turns out to be a grim tale about the effects of war but with a sweet perspective.

More on the setting:
(Spoiler - click to show)The gameplay style is Twine with inventory management and location state tracking. So you can move objects from room to room, and your constant inventory of things like hands and feet change in their function over time.

The puzzles are fairly tricky but logical. One thing I might have appreciated was automatically ‘looking’ after travelling to each new location, since what’s in each location often changes due to your actions. I also had a bit of trouble some times mentally picturing how all the different locations related to each other.

I think this is around a 1-2 hour game, although I used the walkthrough for part of it. I like the concept, and appreciated the dedication at the end. I think there are a lot of strong story elements here and puzzles. There are also some neat images, although playing online on the ifcomp website I didn’t see some of the images, and they were broken. You can still click on them to advance though.

Part of the game is designed to show the horrors of war and for me it was very effective, the way the protagonist just didn’t understand really helped drive home for me how scary it must all be.

I have to preface this review by saying that I have always that that Francis Bacon, the renaissance guy, was the same as Francis Bacon, the scary pope painting guy. I thought it was just some kind of über-Protestant thing. This game really cleared that up!

I was excited while playing this game, although perhaps not for a reason the author would have foreseen. I’ve been making an area in my own game which is a puzzleless museum placed adjacent to conversation heavy areas, and I was wondering how many conversation topics would be appropriate, and how large of a museum would make sense, and whether players should be able to lawnmower all topics or have to pick and choose.

So when I saw this puzzleless museum conversation game, I was very intrigued to poke around at the mechanics and see my overall impression. So while the game seems far more focused on story than mechanics, this review will focus a bit more on the latter.

The setup is that you are in a museum with three main rooms, each with a triptych of paintings. The paintings are real paintings by Francis Bacon; I was able to look them all up and see what they looked like in real life.

Examining the paintings and walking around the museum gives you the opportunity to converse with various figures, each of which has their own opinion on Francis Bacon. The NPCs are also adaptable, and you can change their opinion of you and willingness to talk by various actions, in a way I haven’t seen much of since games like Galatea and Blue Lacuna (although on a smaller scale here).

Topics are listed, and as you talk they change, although the change isn’t notified. You can ask about some things not on the list (for instance, I asked an early character about Christ, since the topic of the painting was Golgotha).

There are also several achievements, allowing for some puzzle elements. Some of them are straightforward, while others might be difficult to think about. Several achievements involved exhausting conversation trees, which I honestly did not want to do; not because I didn’t want to see more text, but by picking only the topics I wanted, I felt I had agency, but exhausting the tree didn’t feel ‘agent-y’. ‘Agentic’?

This game has some very heavy themes: sexual abuse and rape, violent assaults, traumatic death, obsession, religion, broken relationships, and so on. But all of it is examined in a thoughtful way, from a distance. None of these things are glorified; instead, different observers comment on it, some finding it deeply repugnant, others finding beauty in pain.

There is a great deal of strong profanity, and some of the language around Christ made me feel uncomfortable (as a member of the Church of Jesus Christ of Latter-day Saints), but I understand the author’s choices here and the effect they were going for. So while those parts weren’t for me, much of the game was, and I plan on rating this very highly. Beyond just appreciating the game’s messages, I also learned and grew as an author by reading this work, which is the highest compliment I am capable of giving.

This game is a sprawling and varied horror comedy twine game about trying to use the toilet at night.

The style is kind of like a gauntlet but with more branching. You can select between multiple paths, but along each path, there is often only 1 choice that lets you live, while others let you die. The deaths give you many, many different endings, with comedic names and which are listed on the main page of the game after you unlock them.

The story draws on a wide variety of horror tropes, from witches and imps to shadow-creatures and eldritch horrors. It's low on continuity and high on amusing moments and subverting expectations.

The writing is descriptive and funny.

Overall, this game has a lot to like; however, I think for my personal preferences (that do not reflect all players!) I would have preferred some more coherence in the storyline, or more unity in the themes.

This game was entered into Ectocomp 2023, in the Grand Guignol division.

It is a wordplay game, centered on the idea of rhyming pairs where you swap the first consonants.

I always enjoy this author's wordplay gameplay, but I often find the words used too abstract or obscure to fully enjoy, or have difficulty knowing what to do.

This game is much more concrete than usual, with vivid imagery: animals, mountains, machinery, buildings, ravines, etc. This made me more invested in the game.

I also liked the symmetrical structure, with a neat trick where paths diverge and converge and you have to approach each problem from both sides.

I got stuck on a few of the parts where you had to use an item elsewhere, and I think I ran into a bug where someone will pursue you once but seemingly (?) won't pursue you after that. But it was only a slight thing in an overall nice game.

The difficulty level was just right for me, with many easy things to do, some pretty easy things, and only a few really challenging problems (I used the treat chunk a couple of times and peeked at the walkthrough for one ending thing).

This is a nicely styled Twine game that is digestible in an hour or so. You play as a robot rover helping a damaged ai-driven (fictional AI, not chatgpt ai) spaceship to get repaired.

You discover a world with little slime creatures in it that can shapechange. You also have an inventory of items that can be used to alter the shapes of the creatures and things around you.

It's a fun concept, and the game is designed to be relatively mild and enjoyable. While some puzzles are tricky (I had to use the walkthrough because I got stuck), there's a lot of leeway to help you finish without having to solve everything. I stopped at 150 points.

I like the worldbuilding and inventory here. I didn't feel a need to revisit this game in the future, but I'm glad I played it. I came to try it because it showed up on the Interactive Fiction top 50 for 2023.

This game is an Inform/PunyInform game that centers around you, a young priest, receiving a charge to search for the Ark of the Covenant that had been entrusted to your local church for generations and hidden in times of war.

+Polish: Like most Garry Francis games, this is smooth and polished. Many interactions have been anticipated and coded for.

+Descriptiveness: The text is straightforward but detailed. Locations are described both by form and function, with nice little details thrown in about the history you have with things.

+Interactivity: Puzzles were set up in a way that I could form hypotheses and strategize and carry out my plans with just enough difficulty.

-Emotional impact: This game combines two very weighty topics ((Spoiler - click to show)the ark of the covenant and vampires) and treats them in a pretty matter-of-fact way. Dramatic actions like (Spoiler - click to show)unearthing the corpse of a beloved friend and (Spoiler - click to show)burning a vampire to ash are given the same treatment as unlocking doors and climbing ladders.

+Would I play again or recommend? Yes, I think people will like this.

This game was kind of a rollercoaster experience for me.

I started it up, and it looked like a simple tutorial adventure, like a TALJ game intended to be succinct.

But I soon found that I couldn't type, as it looked like it was auto-completing everything I typed, and into weird things.

So I tried experimenting a while but just didn't get it. I saw that ? gave instructions, so I tried typing that.

It turns out that different keyboard keys are mapped to whole actions, and typing that key will give that action. It's not quadratic in complexity, it's linear (1 key 1 action, no nouns as they are context-dependent).

So overall it's an interesting effect, similar to Gruescript or other parser-choice hybrids. Some of the choices for commands were a bit odd, and some (like arrow keys) seem like they wouldn't translate to mobile well (which I didn't try).

Overall, the puzzles were clever and the game was polished. The interactivity definitely threw me for a loop and I'm pretty sure I'm not a fan, although it's hard to say if that's just because I'm not used to it or because it would be perennially awkward. I guess I could compare it to the text adventure equivalent of QWOP.

Overall the charming and complex puzzles are why I'm giving a higher score.

This is a fairly short ADRIFT game in which you command six different soldiers, switching between their viewpoints to find aliens to kill.

Each soldier has their own mini puzzle. Some of these are pretty short, requiring little effort, while others are fairly complex and may need some repeat tries.

I found the writing enjoyable and many of the interactions were clever and well thought-out.

I found a few small bugs. Ducking if nothing is around acts as if something is there; most interactions were bug free, though, and two things I was going to bring up as second examples were actually caused by own error (I kept typing 'pulse rifle' instead of 'laser rifle', for instance), so I guess there really weren't a lot of bugs (except the six you kill haha). I do wish that saving and UNDOing worked even if you had switched your player character though.

The interactions were generally pretty simple, but there is an (optional) hour long timer and a (non optional) 80 turn timer that significantly complicates things. I had to restart several times to figure out a good strategy. But I was invested to do so several times, ask for hints online and switch the version of Adrift I was using because I did want to finish the game.

Unlike Andrew Schultz's other chess puzzles, this one has a ton of flexibility. You have two bishops and a king, and have to force the other king into check.

This is a famous setup, and there are several paths to victory. I admit that although I could get it penned up in the corner, I couldn't win, so I had to look up a tutorial. But I learned some real-life skills in the process, which was nice.

Compared to the other chess games it let me do a bit more thinking; before the game would prevent me from doing something and I had no idea why. This game let me get myself into a mess. It was harder because of that, but I enjoyed the exploration more.

There were a few minor typos; the opening text could be more easily readable, with indented paragraphs or paragraph breaks instead of line breaks between chunks, and one line of text said "The two bishos drum", so overall very minor issues for a fun game.

This is probably the best game I've played by this author.

It's a continuation of the older game Jesse Stavros' Compass, but I found that this game was mostly self-contained and explained the plot of the previous game fairly well.

The idea is that there is are several underground networks of talented individuals who are able to travel through space and/or time. Your friend, the young Jesse Stavros, has gone missing after visiting the Grateful Dead in concertin the 1970s.

The game hops between a variety of distinct and well-described locations, from a lonely motel to a squatter-infested theater to a refined steamboat.

The game has a lot of rooms and a lot of characters. This kind of complexity can lead to bugs or dull repetition if not done well, but this game is very polished for its size. Most people can respond to most topics; NPCs move independently. There were only a few minor errors for me here and there; a steamboat passenger's name wasn't printed in an ambient paragraph about him; a dead body was described as if it still had a gun I took. But in a game of this size and complexity, these are only minor errors.

Puzzles are well-clued. Two or three times I wasn't sure and peaked at the walkthrough, and it turned out I had had the right idea but in the wrong place or that I hadn't tried long enough. I had some trouble with one machine for a long time until I realized I hadn't examined it; once I did there were clear instructions.

Overall, I had fun. It reminds me of Cryptozoologist or other Robb Sherwinn games, although I'd say the overall level of polish is high. I was disappointed it (Spoiler - click to show)ended on a cliffhanger, but I'll definitely be interested in a future episode.

I also appreciated that, while the tone is mature and many of the characters are used to the seedy side of life, the game doesn't rely on any slurs or racist stereotypes or misogyny and instead uses dialogue and ambient objects to establish the atmosphere.

This game is set in the Hinterlands, which I believe is a setting designed by the author (I've played another game from that setting). The setting reminds me a lot of the Max Blaster comics in Calvin and Hobbes: rayguns, oozy monsters, bizarre aliens, and a daring hero.

This game features a pretty large town with a wide variety of locations, like a farm, a temple, a distant shack, a nearby military base, an apartment building with many individual apartments you can enter, etc. However, everything is designed compactly to be easily traversible.

Your character is kind of a rogue or rascal. In the course of the game, you commit several heinous acts, but with the framing it comes of as more of an anti-hero than a pure villain, more like Rocket Raccoon than Darth Vader.

I didn't encounter any bugs. At one point there was a large rock I needed to interact with that didn't have any adjectives, while I also carried some rocks. So I had to go to another room to drop them; if the rock was 'large rock' or 'heavy rock' that could be avoided, but that's a minor quibble in a very polished game.

I had to use the hints three times, but they're organized pretty well, and each time the solution was fair, just involving more exploring and more talking.

Sometimes the logic isn't clear; you can get away with a lot of things that someone might reasonably stop you from doing. But I feel like it operates with the same kind of consistent logic as a Looney-Tunes cartoon (although darker!). It would make a pretty funny animated short.

This game uses a custom Javascript system that is similar to Twine or Choicescript in that you click from a variety of buttons to progress the story. It is optimized for mobile, and worked great on Desktop for me. The delay between clicks was just a little too long for my taste, but that was my only complaint.

You are presented as Madame Soo, a Chinese woman who is also a detective. In a classic locked room mystery, you find a man who has been strangled and have to figure out how it happened.

Overall, the writing was descriptive and the characters were fairly vivid.

With interactivity, the main mechanism for progression is to type in the name of an address you want to visit. There doesn't seem to be any way to go back, so its vital that you write down all names and locations as you go.

The clues themselves and all the deductions outside of the names are done by the character in-story. I would have liked to have had more involvement in that deduction, although I know that's a tricky thing to do in a game.

Others have mentioned the presentation of racism in the game. For me, I found it contributed more to being obnoxious than to providing key historical context.

Overall, I'm impressed by the architecture and writing of this game. My quibbles are mainly with the interactivity level and being drawn out of the game emotionally by the depictions mentioned above.

This is an experimental, somewhat unpolished game entered in the back garden of Spring Thing. As an experiment, I think it works, but it could use some touching up as a game/story itself.

The idea is that you, following the examples of Orpheus and Heracles, have descended into the underworld to follow after the woman you love.

Like other stories about the descent into Hades, you have a guide, Phos, a ball of light that follows you around, and who gives you a guided tour of the afterlife, showing you what happens to people there, etc.

This is written using Vorple, which allows multimedia and hyperlinks to be added to Inform. Most of the game, if not all, can be played by clicking links in the text, typing directional commands, and choosing menu options.

The art is Ai-generated, and looks very good; the model seems well-trained on the style used. Apparently some text is also AI, which makes sense; I had in my review notes that 'the text has strange errors at times, not like non-native English speakers, just strange placement of words'. So if it were AI-influenced, that would make sense.

The game doesn't outstay its welcome, and has some very nice moments. However, there are some stray typos, like double periods or the word 'sturggle' instead of struggle. Sometimes menu items for conversation still appeared even though I had left the area in question. But despite these rough edges, the core game is enjoyable.

Note that Vorple games such as this one don't currently work well if downloaded and played offline.

The first Marie game, Pre-Marie, was the first Adventuron game I ever played, and it gave me a good impression.

This one fleshes out the details significantly. It's in PunyInform, I think.

I'm giving it 5 stars, but not necessarily because I think most people will adore it. It simply had a nice combination of things I like: a vague conspiracy, a tense mystery setting, logical but kind of sticky parser puzzles and a lot of standard parser gameplay. And the in-game timer provided some tension. So for me that's exactly what I was looking for in a game.

The idea is that you are investigating a kind of conspiracy related to you and your town, but you've been kidnapped and stuffed somewhere. There's just a hint of the supernatural, possibly a fakeout or even unintentional. Most of the game involves escaping from your situation in progressively larger containers/rooms/locations.

Pretty fun, if you just want a brief chill parser game. I fought with the parser a couple of times, but it was overall pretty smooth.

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.