Reviews by MathBrush

Ben Jackson has had several smooth, polished twine games released in recent years, so I had high expectations for this game, and I feel it delivered. At one point I thought to myself, "I wonder if I would ever be able to make something like this."

It leans hard on classic sci-fi tropes, including the classic 'wake up from a pod on a destroyed spaceship while you have amnesia' and the evergreen 'work with a ship's AI that you can't be sure is working for or against you'. They're classics for a reason, because they can work great in an interactive fiction setting. And here, the author has expanded on them to give them a distinct and unique touch.

You play as a crew member on a ship that has been 'reprinted' as a backup after all crew have, presumably, died. Most of the ship is lacking oxygen, and you have to get out to explore.

The author has used escape-room puzzles in past games like codes and minigames, and this is no exception. We have a lot of doors to open and a few other code-style or 'which item will help here?' puzzles.

But the major change here is recycling and fabricating. Throughout the ship, we can find floating clouds of debris that include things like fabrication recipes and junk. Throwing the junk into the recycling bin, we can get materials in 5 or 6 different categories which are used to make new items.

I enjoyed the progression of the game, especially when I reached a point where I could build equipment that completely solved several long-term problems. It reminded me in a good way of Trigaea, one of my favorite twine games where you gather resources, come back to base, fabricate new stuff and get new recipes.

I hit a wall with two different puzzles. The first turned out to be optional and was hard on purpose, although I feel like completionists would have found it more easily due to trying out everything else in the game. The second was the final puzzle, where I thought I had locked myself out of victory (but turned out not to have).

I felt like both crafting and storytelling had 'real' decisions. My decision on how to handle the AI early on radically changed parts of the game, and the order in which you get upgrades can make a big difference in your play experience.

Like others, I enjoyed the final plot twists, which seemed well-hinted at but still surprising in the exact way it plays out.

Overall, a lot of fun.

This game is written in Dialog and can be played entirely using hyperlinks. It has a minimap at the top that can be used for navigation, persistent links at the bottom, context-sensitive links for the current object being utilized, and green links for trivia and definitions.

You play as a dog in the Hittite empire. Magic is real, and as a dog, you can absorb it and transmit it to other things (Not people though! That's actually against the law. Straight to jail, believe it or not).

You work for a wise-woman, but she has been afflicted by a curse! You need to help her, but you can't even get out of your own home. Once free, your world expands more and more. You can help friends and gain new curses and blessings in your large village, visit the capital and make money, and gain greater power than you thought possible.

Like Daniel Stelzer's other hyperlinked Dialog game about a dog interacting with the supernatural and their afflicted older woman master (Miss Gosling's Last Case), this game has context-sensitive tips and tutorial messages at the beginning, but they've been tuned to be less intrusive, which is nice. There is also a 'think' function that tells you what puzzles you can solve, and the minimap also does that automatically. That's helpful in this sprawling game with many options.

Puzzle difficulty was hit or miss with me. Several times I felt like there were several reasonable options that the author ruled out for what felt like arbitrary reasons to me. A common source of frustration for me was intuiting when a movable object could be affected by fragility or by wind (or the opposites). Rather than making puzzles simpler, the author has instead added a lot of hints (as mentioned above) and made most puzzles optional; for the two largest areas, you only need to reach a certain minimum number of puzzles solved before you can move on or win the game. This reminds me of math tests: is it better to have a test most people can get a high score on, or to make it very hard and then just 'curve' it significantly? This is a 'curved' game.

The background material on the Hittites was fascinating. One common theme was that words had one pronunciation but are written with symbols that have another pronunciation, which reminded me of kanji with Chinese and Japanese readings.

Overall, I found the game substantial and fun. I got stuck several times and used the hints about 4-5 times. This is also the first shady ancient copper merchant I've found in a game that wasn't Ea-Nasir.

This was the second-most substantial game I've played this IFComp, and took me around 3.5 hours to play, with dinner in the middle, so about 2.5-3 hours of playtime.

This is a rich and complex game. Instead of focusing on a multitude of small choices, it has a small set of meaningful choices that shape the later narrative. There's a lot of branches here, leading to 500K words, though much of that is due to minor variations of text; with efficient variable use, it would probably be 200-300K, still very large, but that would also probably make it buggy, so I think the author made a smart move here.

The choices themselves manage to be some of the most difficult ones in my recent gameplaying history. Each one is a compromise, giving something you want and something you don't.

But I guess I should describe the story. For those who aren't aware DemonApologist is a talented author whose works almost exclusively focus on what I might describe as monsteryaoi, where a human engages in a romantic relationship with a being typically depicted as evil or malevolent by others. I've found their past works to be engaging and good with dialogue and emotion, so much so that I have tried to study them as I practice writing romance for commercial fiction.

This game is no exception to the monster-loving pattern; in fact, it's the most well-formed example of it I've played. It also, as I describe earlier, provides an enhanced sense of agency.

Our protagonist is a humble initiate who has been prevented from ascending in the ranks of magicdom due to a cruel and callous advisor who won't let him graduate due to his sympathy towards demons. The advisor even summons demons and has them fight each other to the death to demonstrate how unimportant their lives are. He then gives the initiate an impossible task: to light the Pharos Fidelis, an extremely cursed lighthouse at the center of a magical storm.

He is also explicitly asked not to summon demons, and, if he does, to expect them to kill him.

Our initiate, therefore, takes the most logical action in the moment, which is to summon the hottest demon he knows (the one who was defeated in the earlier duel) and to flirt with him awkwardly.

Fortunately, it works out! Or not. That's where the choices come into play. At critical moments, 'you', the viewpoint character (different form the protagonist), get to influence the demon towards one of two options. Each option comes with one benefit and one drawback. These critical moments stack, producing numerous branching timelines and a ton of different endings.

The game looks great. The UI has little gears that pop open side comments and commentary, and I especially loved the background color change when the big event occurred. That event itself was described quite beautifully.

Perhaps surprisingly, the romance in this game peaks in the middle, not the end, allowing us plenty of time to see what a fully formed relationship might look like. I am reticent to play explicit games, but the game is very tasteful in describing our interactions with the demon and I did not feel distressed.

The game left me with a question in my mind about demon love and the concept of demon apologism in general. What is the essential core and appeal of the demon? Is it to be evil, itself? Or is it to be called evil by others? Would a sainted angel who is angelic in nature but hated by a cruel world still feel like a demon, or is it more important that the demon be ruthless and aggressive in nature and only tamed by the touch of man? If a demon turns out to be a good guy, does that erase his demon nature? If to be a demon is to be evil incarnate, can a demon truly make someone happy, a decidedly non-evil act? If it is not evil incarnate, then what makes a demon? It is a paradox, and not just a fruitless one. A lot of romance and even stories in general pivot on the notion of a 'bad boy/girl' that ends up having a heart of gold and doesn't really do bad boy things at all. This isn't directed to the author, it's just something their game made me think about a lot, because I think it's core to a large swathe of storytelling.

This is my third game I've played by Mr Hoffmann. I've had essentially the same experience with all three: I encountered them in a German competition, where they are by far the largest game. However, since they use drop down menus, I can often get far even without knowing a lot of verbs. However, after an hour or three of gameplay, I realized I only have 100 points out of 1000 or 2000 or 3000. So I give up, then later find the game in an English competition, where I can complete it. The only one that didn't follow that pattern is Phoney Island, a german-only game about Trump being evil that I finished in German.

This game has you investigating a store after its owner has mysteriously disappeared. There is a lot of merchandise, junk, and random stuff in the shop, all of which you can investigate and put together.

The multiple choice menus help here a lot, just like before. There are a lot of specific verbs we need, like 'unscrew' and 'wedge' and so on, and the menus help with that. There are also three levels of hints for many puzzles, which is nice.

However, sometimes these systems fall apart. There are times when the multiple choice menu has the right verb but using it puts the noun in the wrong part of the sentence, causing it to fail. Sometimes the right word doesn't appear in the menu at all, so you need to type it, and often there are two places the word can be (the object being used and the object it's being used on) and you have to look at both objects to find it. Similarly, many of the puzzles have many conceivable solutions but you are forced into only one.

Overall, I think people will enjoy this who enjoy parser games for their ability to let you wander around a large space, tinkering with things, getting funny messages, and just existing in a parser world.

This was a refreshing game to play. In a time where a lot of games are using AI art or text that is bland and often nonsensical, this game stood out to me for its distinct art style (I think a combination of watercolors and something else?) and its well-planned, symmetric plot and characters.

This is one of only two games marked 'over two hours' on the website, and I spent about 4 hours from start to finish, but it would probably be about 2.5 hours if I locked in.

It's a wholesome game, the same way Eikas by by Lauren O'Donoghue is (for those who remember it from last IFComp). Both focus on relationships and nature in a nature setting and take place over a long period of time.

This game has its own unique elements, though. You are a newcomer to a town with a magical villa, with beautiful gardens, a mysterious library, and four characters, each having a tragic element in their lives as well as an interest in you. You yourself are afflicted by sleepwalking fits that take you into the garden at night.

All four characters have friendship paths and romance paths on top of that. I ended up romancing Penny the botanist and befriending the others.

Design-wise, some of the game does suffer from from having large, complex option and dialogue trees but requiring you to plow through almost all of them, which can feel like a chore at times, although the writing is charming. There are also options where you choose how to react, but these often boil down to "Be nice, be indifferent, be mean," with little use for the mean option (that I found). On the other hand, the ending choice was very well done, and I had to sit and contemplate for a while on what I'd pick, and there were both good and bad consequences to my choice. It's one of the best ethical dilemmas I've had in a game for a while. Similarly, there are some puzzle elements which are pretty fun, most of them relatively light but requiring at least some notetaking (one puzzle in particular feels like an Ocarina of Time reference to me).

Overall, I think that it would have been better to slow down and take the game in at a relaxed pace rather than rushing for the competition, as this is a pretty mellow and chill game to settle down with; a good game to play while drinking warm cider, snuggled up on the couch when it rains or snows outside.

There are two other games by this author in the competition; I definitely am looking forward to them now!

Murderworld, by Austin Auclair

I had both high and low expectations for this game. Austin Auclair previously wrote His Majesty's Royal Space Navy Service Handbook, which I enjoyed quite a bit. On the other hand, this game is X-men fan fiction, and many fan fiction parser games in the past haven't been that good.

Overall, I had a good experience with this game. It's big (it took me exactly 4 hours to play with total concentration, and the file is 6mb. I swear I saw Austin on blusky with an image showing this game has over 500K words, which I would believe, but I'm not sure it's the same game).

The idea is that you get to play as a ton of different x-men. You start off with a brief tutorial on a plane, then you have a chance to pick one of six different X-men to use to solve a major problem at the X-men's mansion. You don't swap between them; instead, the game just has six different paths through this section, which is quite long in itself. I played as Storm, which was fun given her powers.

This is about where the title screen drops. I'll spoiler the rest, although everything in this spoiler is only about as descriptive as the above and doesn't give much away (it's essentially the same as reading the table of contents of the walkthrough).

The game contains a set of young characters that I thought came from other media but which seem to be completely invented by the author. They fit well enough that I didn't really suspect that they were OCs (if they're not, someone can correct me!).

This game managed to avoid several of the flaws that very long games often have in IFComp. Instead of one sprawling world where everything is interconnected and you have to lawnmower trying every item in every room, the game silos off each section, so each section uses only the objects and people immediately available. It essentially is a collection of minigames with an overarching story, and I love that setup (I've used it for several games myself). It is also much more polished and fair than many long IFComp games, which can at times be very buggy or filled with impossible puzzles. I never had to consult the walkthrough, although I did use 'mission' a lot to remind myself of the goal, only realizing a little later on that it functions as a kind of in-game hint nudge (which I really appreciated). There are lots of blank white lines (a common issue for all inform programmers) and I did frequently try typing things that didn't work, but the VERBS command always got me back on track.

I like the plot; I'm divided on the writing. It's clear that Austin Auclair is talented at executing his desired goal, I just have some minor quibbles with the goal itself. Two things that stuck out were character descriptions and overall emotions. The descriptions are focused on detailing the costumes of the characters in minute detail; this seemed more like a replacement for visual media rather than writing for writing's sake, if that makes any sense, kind of like alt-text for a picture. The descriptions for the OCs were much more natural which makes sense, as that was 'pure Auclair' and not a reassurance that the x-men are in their authentic costumes. As for the emotions, I felt like the setup made this game very dramatic, but when we arrive at the disaster everyone seems relaxed and chill, joking almost. This fits in great with the comedic later segments (appropriate for the 'Murderworld' setting) but that initial dissonance of 'why are we pranking each other with the phone when people might be dying?' threw me off.

Dialogue is appropriate for X-men. I thought Storm was stilted and Scott was cringe, both of which are 100% accurate. Nightcrawler's segment had some great dialogue, and I enjoyed the final battle (and the reveal of who the true instigator is and why (Spoiler - click to show)Storm was spared).

I think people will like this. You don't have to be an X-men expert to solve this, as there are numerous help systems (especially VERBS) to remind you of what the powers are. This is probably one of the best superhero parser games I've played, similar to the Earth and Sky series' later entries. My big gripe with most superhero games is that I really want to use my powers, but most games limit you severely in how you can use them. This game really thinks out the limits of your superpowers, and lets you use them quite a bit (Storm gets a big playground for doing all sorts of weather shenanigans, Wolverine can chop up almost everything, etc.). With my minor gripes, I'd rate this a 9/10 or 4.5/5, which I'll round up to 5 on IFDB. (I won't mention most of my ratings here on intfiction, but I thought this one would be good).

This game was part of Ryan Veeder's early explorations with unusual uses of Inform, which later branched out into things like twine/parser hybrids, collections of parser games that communicate with each other, dramatic graphical displays, etc.

The main interesting feature here is that the game saves automatically online and reloads your progress, and that the game differs depending on the day you play it. Two characters come and go based on the day of the week, and several actions require multiple days to complete.

Because of this, I frequently started the game before stopping due to forgetting to play again and intimidation. But I finally finished it!

The main idea of the game is that you're at a large pond, which represents most of the map. The pond itself is around 16 (Inform) rooms of water, and circling around it is a long series of rooms forming a circle. You get a fishing rod and a jacket, and the game lets you customize yourself quite a bit, down to a fear of bugs.

You are not given any defined goal. You are not even really able to fish. But as you explore, you begin to find both badges and a large variety of birds. In going out of your way to find badges or birds, you'll also discover a lot about the lives of the people who lived at and/or visited the pond.

The scope of the game is quite large. Even without the timed aspect, it took me around 10-11 hours to play and comment on the game in a forum thread, and so if only half of that was playing, it'd still be around 5 hours, and if only a third was playing, it'd still be 3-4 hours. This is substantial content.

The storytelling is mostly environmental storytelling. Many events are only alluded to. Careful notekeeping can be very helpful.

Overall, I genuinely enjoyed finishing this game off. It took me 6 years to get around to it (and I've had it open in a browser tab for one of those years), but it was worth it.

This game was originally made as a tabletop RPG and then converted into Twine years later.

It features a pretty great storyline about seven women who conceived children from a devil (or so rumours go), one of which is you. You have demonic power like using spectres and giving your blood to spirits for more power. Your goal is to find out the truth behind your birth and to determine your future.

The game is very complex, with multiple areas, each with their own encounters, and each encounter being a large puzzle.

There is art (handdrawn and then enhanced by AI, a process that makes it more coherent than pure AI), which helps the game quite a bit.

The big draw here, outside of the art and story, is the combat. And this is also why I'm giving a lower score than the other reviewers (but would be happy to revise upward if the author feels it's unfair).

You see, the way combat works is that you and your opponent(s) alternate turns. You have 2 actions (at first) and your opponent has a varying number of actions.

One action can be used to summon a spirit or spectre to help you. Doing so costs blood. Each spirit starts with one ability that costs a few 'control points' and one that costs all control points. It's helpful to save the 'all control' points one for last.

You can also spend you action using an item or attacking with a relic (a weapon).

The issue is that using your abilities gives yourself damage, and your enemy gives damage. That means you lose health very quickly. You have two rations in your inventory that can heal you, and occasionally you can rest, but essentially there is no way to just go out there and grind combat to level up. In 3 different attempted playthroughs on three different difficulties (completed only on easy) I wasn't able to level up myself (apparently there are classes?), barely levelled up one relic by paying for it, and never reached the level 2 abilities of the spirits. Every early enemy is very hard, each beatable alone but not 2 or 3 in a row.

Reading other reviews, it seems like everyone is in the same situation. Rovarsson beat it on hard with 5 fights by save scumming but mentions never having health. The other reviews on here also mention that as well.

Even on the easiest mode, there isn't really a way to heal, just skip fights.

Now, I'm sure there is some reasonable way to play through and hit up a lot of encounters and level up items. The author mentions some combos of attacks; there are spectres with abilities like 'boost next attack' and 'do triple damage' which could theoretically one-shot people. But all of that takes damage to summon the spirits.

I think this would work better as a TTRPG, as intended, because there the DM or player can 'fudge' things if it gets too intense. But for right now, as a computer game, I just don't see any way to play through and level up yourself or abilities. If the author provided a sample walkthrough for the first two chapters, like suggestions on who to fight first or how to get stronger, that would be interesting and helpful.

I sought out this game specifically by trying to find the worst-selling recent games published by Choice of Games. I'm working on making one right now, and I've had a really bad-selling one in the past, so I wanted to see what I could learn from playing it.

I used number of ratings as a metric for 'worst-selling'. On the Choice of Games app, it has the third-least ratings out of the 170 or so games listed.


Having played the whole thing, I can say that the storyline and setting are pretty solid, and the characters are great. But I have some theories as to why it may have struggled.

First of all, the game is called 'Escape From Death'. The cover art for the game is a cool-looking grim reaper. The first paragraph of the description is "Steal Death's power and break free of his corrupt realm! Hide your heartbeat from the dead as you harness soul magic, navigate political intrigue, determine the fate of the Afterlife—and perhaps even claim its throne yourself.".

I didn't read the full description before playing. So I imagined some kind of gritty urban fantasy game, maybe like Wayhaven, where you play cat and mouse with the grim reaper.

The truth is very different. This game actually has very little to do with death and the afterlife. With just minor changes to the text, this is a (good) standard 'strange lands' fantasy/western Isekai, with more in common with Alice in Wonderland, The Phantom Toolbooth, or Narnia than with any horror or thriller stories.


The grim reaper is actually a chill guy named Aaron that is part of a government and is appointed by a council. The position of Death is basically being President of the Afterlife. Souls that die come down and are transformed into Elite (who look human and treat memories from life as drugs) and Penitent (who are transformed into animals. There is unrest between the lower classes and the higher classes. The majority of the game is exploring the political factions and wheeling and dealing between them, exposing their corruption or helping their cause. There is very little mention of the living or the human world. Occasionally you get flashbacks to your life above, but they feel very disconnected from the game itself, and having been alive once in the above world doesn't come up. People even die down here, turning into vaguely sentient water or sand (something like that).

The author had been constructing this setting for a long time, and it shows in the game. The four side characters seem like old friends to the author, with very well-mapped-out personalities and interactions. At times, though, it would have been hard for me to know who counts as a main character without the stats screen.

Speaking of which, I think that's where the main difficulty with the game lies. I once wrote an essay after playing over a hundred Choice of Games games about patterns in good and bad ones, and I saw that something I call 'stat disease' is very common in lower-placing games. When I started playing this game and looked at the stat screen after 1 chapter, I instantly recognized 'stat disease'. Tons of sliders, almost all of which had barely budged since we started. All of my stats were in the mid-50s. Choices didn't clearly label which stat was involved and if it was being increased or tested. Some choices had overlap, etc.

So, for me, this game had strong characters and a cool setting, but it wasn't what I had imagined going in, and had trouble with the stats. I still had a good time, and the game had no bugs I could see, so I'm still giving it a high score. I wonder if the game I worked on will end up in a similar spot to this one, so I look at this not to criticize it, but to hopefully learn from its fate. This has the bones of a high-selling game. I just need to figure out what kept it from that destiny.

This game is a tie-in with the author's two published books, Quantum Time and The Quantum Contingent. All three deal with a spy agency and a quirky cast of characters.

In this game, you are a new agent arriving at headquarters, and you have to get your assignment from the chief of the spy agency you work for. Once you get it, you end up setting off on a jet to locations across the world where you can gather items, face danger, and help a quantum-entangled experiment.

Genre-wise it's similar to Zork set in the modern day, with a combination of science fiction and fantasy without much regard to how well they fit together; instead it follows the 'rule of cool'. So there are things like light sabers, magic, virtual reality, etc. It also contains detailed, enthusiastic descriptions of locations, especially in Oxford, which were fun to read and which gave me some googling to do.

The book tie-in setting here was both a blessing and a curse. The great part about it is that the world feels vibrant and alive, with characters connected to each other and backstory everywhere you look. The curse is that the game assumes you know this info. I started the game with no idea what to do; it said I needed to get my mission, but I was by a farmhouse. It was only by exploration and looking at a spoiler-free map that I discovered I was supposed to be trying to find the base. Early on the game mentioned Martin but I didn't know who that was. Near the end it was hard to know what my last tasks were (after fixing Cassandra's computer). It felt like the author had spent so much time in this world that some facts felt obvious or natural, but weren't to me as a casual reader. Nevertheless, the further I got and the more I learned about the world, the more all of the references and discussions made sense.

I think people will mostly enjoy this game if they like Zork-style humor and exploration. The game is both hard and easy; when there is a task you need to do, the game generally gives you a lot of hints and nudging on how to do it. Much of the points are optional (like finding treasures). The difficulties I did have were in figuring out how to type commands or what to do next. The most difficult thing for me was figuring out how to operate the jet (I tried TURN ON JET, ENTER COCKPIT, FLY JET, etc. It turned out I needed information found on another item).

The game is both superbly polished and unpolished. It is very polished because it has important nouns bolded and unimportant nouns in italics; has a list of Places and Things you've seen; has tons of things to talk to agents about, etc. It's unpolished because it is missing some background scenery (like the digital display in Cassandra's lab, which is not implemented despite being mentioned prominently); sometimes it just doesn't make sense (like the escape tunnel that says 'Martin has to show you the way first'); and sometimes it knows what you want to do but chooses to ignore it (like if you try to put something ON something and it says, 'No, you have to HOOK it'). All of these things are very normal in first games, and I have all confidence that the author's next games will be polished in every sense.

Here are my five criteria I use for judging when I'm not sure what score I want to give. Among all IF games I've ever played, I'd give this game 3 stars for great idea and mixed execution; for effort and as a first game, I could give it 4. So for the appearance of subjectivity I'll do the criteria:

-Polish: As described above, the game is very smooth in most respects but lacking in others. One area is quotation marks, which are absent in some text and at least once appeared gratuitously.
+Descriptiveness: The world felt very much alive and vibrant, with rich text.
-Interactivity: As described above, I often didn't know what to do and sometimes struggled to find the right command for the thing I wanted to do. Much of the interactivity was engaging.
+Emotional impact: I found the game amusing and entertaining. I plan on reading the books it belongs to when I find time.
+Would I play again? I would play a revised version of this game, and I look forward to future games by this author.

However, on reflection, I've decided to bump up to 4 stars.