Reviews by JJ McC

Adapted from a SpringThing24 Review, English version

Played: 4/9/24
Playtime: 1.75hrs, all but 1st on FF, 3.5 endings

Epistolary works - fictions composed of purported real world text artifacts - are a compelling conceit. They allow for indirect world and character building where the reader is assembling an oblique narrative in their head. Part of the joy of these kinds of work is watching it evolve and click into place. The other part is the charge ‘real world documents’ give to the proceedings. A lot hinges on the form of those documents - they need to be a fine balance of plausible and informative. In particular, any sense that the documents are aimed at a third party reader (us!) instead of their in-world targets can undermine everything it wants to achieve.

I am delighted to report Jeangille just crushes the form of it. From its graphical presentation, its font use, to the measured content of the faux-missives we are drip-fed a tale of forbidden love and forbidden… other stuff. I found it unimpeachable in its conceit, almost never cracking to the pressures of info-dump to uninformed third party. Rather, it was deliberate in alluding to events the correspondents clearly understood in a way to slowly and naturally bring us up to speed. In particular, the mercurial tone of the author was nicely observed - they are not in the same monotone mood throughout their notes. Longing, anger, depression, new fascinations, petty jealousy, all are on display underscoring the fullness of the protagonist and the emotional passage of time. The crucial element here is the correspondents’ fascination with ‘gossip,’ allowing for plot-relevant events to be conveyed without artifice.

The language of the letters equally does some heavy lifting here. Its Romantic formality is the right balance of omnipresent but conceding to modern sensibilities in a way that allows us to acknowledge but not be distracted.

The interactiveness of the piece leverages its strengths in a dynamite way - periodically we are given opportunity to shade emotions, events and attitudes by selecting among alternatives. When done well, it has the precise flavor of composing a letter! Toying with a variety of subjects and phrasings to convey exactly what we want and putting us firmly in the protagonist’s chair. If I had any notes here, it would be that it was more powerfully realized when the page was blank below the choice, and filled in after, rather than embedded in otherwise unchangeable text. That underscored the ‘composing a letter’ dynamic that was so cool.

Through these interactive choices, the plot proceeds to a climax of which, depending on how your choices landed throughout the correspondence, I found 3.5 possible endings. And here’s where I can’t keep being coy about the plot, will try to spoiler my way through it.

We all know what is arguably the most famous epistolary novel, right? (LINK IS A SPOILER) It’s so foundational, it becomes a trope of that genre in other works. (LINKS ALSO SPOILERS) Ok, fine. (Spoiler - click to show)Vampires. The prior art is Vampires. Those resonances are so pronounced that even the slightest supporting event, alluded to most obliquely, immediately sets off alarm bells in the head and everything forward is contorted through that lens. We are ahead of the narrator, biting our nails for the inevitable escalation. Or better, awaiting the knowing twist from the author that crushes our expectations most delightfully.

The latter does not happen here and in another format that might be a slight let down. I mean it is here too, but it is more than compensated by the interactivity. As a player, we can low-key steer things into various endings in a VERY satisfying way so what we lose in meta-surprise we more than gain in the narrative collaboration. There is still a slight issue here, so slight I hesitate to bring it up, but I’m in this far. At the climactic decision we are meta-empowered to drive to a conclusion, clearly conveyed by the choice wordings. On a single playthrough, it is not clear how deeply our prior choices inform things, and we might be tempted to metagame it in an unsatisfying way. I didn’t, but I dwelt on the choice enough to recognize the peril. That musing itself pulled me out of the narrative flow at least a little bit. In one sense it might be more powerful if those final choices were less broad, instead informed by prior selections. (Turns out there are other options that ARE so constrained.) In another sense though, that might backpressure replayability, burying its strengths under opaque gameplay that the wordiness could not sustain. After much reflection, I think the right choice was made. What a relief for the author!

Because even this minor quibble faded on repeat plays. My admiration only increased for the work in the sense that the 3.5 endings I got were all different, yet satisfying conclusions to a choice architecture that allowed me to build naturally to each one. Ok, not the 1/2 ending, that one made me play-mad, but the rest for sure.

So that’s my conclusion. A well-realized, graphically compelling, tightly controlled work with satisfying plot arcs under player control. Who knew tampering with post could be so fun?

Mystery, Inc: Daphne
Vibe: Snail Mail
Polish: Gleaming
Gimme the Wheel! : I think, were it my project, I would double down on the ‘composing a letter’ paradigm and stage the text rather than provide inline options. Now I SAY that, but there is every possibility the reality of that would not be as satisfying as I think, and I’d end up reverting it anyway.

Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.

Adapted from a SpringThing24 Review

Played: 4/16/24
Playtime: 15min

This is a fully realized work that really weaves a spell. A full-on Dada exercise, it leans into dream-logic more effectively than any work I can think of. To the extent there is a frame to this, the protagonist is wandering around some rundown tropical resort. Yeah, that’s it. Everywhere they (she? probably she.) goes, eerie stuff happens around her. Human sized cats. An extended airport luggage claim sequence, where luggage are bird masks. Sugar sculptures of off-putting folktales. Sassy teens. All of it taken in stride by the protagonist.

The text is magnetic. It conveys so much, so singularly, with economy and punch. Each encounter is starkly realized, yet has its own vibe. Most of us have a limited well of imagery to draw on. When composing absurd Dada, it can become all too easy for fascinations, phrasings or images to repeat or resonate with each other in a way that ultimately constrains the effect. This author is wildly, perhaps distressingly, without bounds. I found the encounters to be singular and unique, and that breadth of vision coupled with the protagonist’s even responses set the tone of the piece more than any other thing. I cannot laud the vision and articulation highly enough.

I particularly like the head fake of (Spoiler - click to show)the luggage claim sequence. Pretending to (Spoiler - click to show)‘wake up’ only to discover no, still immersed in weird. The most effective use of interactivity for me were the links that replaced text on the page. The linked text was tightly integrated into the page layout in a smart way that ALSO reinforced the weirdness of the links. Even the navigation links, while not providing much influence over things (you are always going to click all the links), nevertheless provided a sense of exploration.

If I have a quibble with this piece, it is ‘What is the point of it?’ There are four endings that only kind of resonate with the one impactful choice you get to make. And only kind of resonate with the antecedents to that choice. Very much of a piece with the vibe of the thing, and very much aligned with the mission statement of Dada. So I guess my problem is with Dadaism? Except, there is a robust credits sequence that suggests there might be something decodable in the symbolism of the piece. Yeah, given the idiosyncrasies of my life journey, I’ve got no hope of decoding any of that.

Ultimately, it is a tight mood piece of fascinating breadth and weirdness and I sure appreciate it on that level. To the extent there are more layers I can’t find, my loss I guess? In my favorite words of the piece:

"maybe I'm the bird and she's the asshole"

Wait. No. The other way around.

Mystery, Inc: I dunno, Scooby I guess? Maybe this is how he dreams? Weird dog.
Vibe: Deep dream
Polish: Smooth
Gimme the Wheel! : No thank you. This work is deeply dependent on authorial voice, and no one else should, ah, aloha with it.

Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.

Adapted from a SpringThing24 Review

Played: 4/16/24
Playtime: 30min

A small first time limited parser effort, on a web platform that was new to me. So new, I can’t really say where gameplay glitches were platform- or author- driven. You wake up in a coffin and need to escape an underground tomb. As one does.

The geography is reasonably well communicated, aided by restricting itself to 4 instead of 8 cardinal directions. In addition to constraining its directional space, it also limits itself to a handful of verbs. I think this is a dynamite choice for first-time authors, but definitely challenges players accustomed to a fuller parser implementation. Its noun space is uneven, with many instances of ‘location contains an X’ ‘>X X’ ‘You see no X.’ Often, manipulating objects directly is rebuffed, and instead you must ‘>USE OTHER OBJECT’ to accomplish your task. It is possible to acclimatize to these implementations choices over time.

The puzzles themselves are reasonably straightforward with good textual cluing, including a maze section that I found to be far less than the usual annoying for these things. My playthrough was much more fighting the parser than the game’s architecture. So maybe platform based? For sure a platform problem was that it crashed midgame, and I had to wait fifteen minutes for a server reset or something to replay. (Playtime above includes first run, but not wait).

There was some implementation confusion, beyond missing noun responses. In one area, its initial description inadequately describes the objects within and then omits some exits. Other rooms had no exits listed and required directional trial-and-error. In one spot it seems like a programming parameter (MEASUREMENT) is referenced, clouding the description. Nothing dire or fatal, just more work needed. There are also typos: ‘carves’ instead of ‘carved’; ‘they figures’ instead of ‘the figures’; I stopped grabbing them after the crash.

All in all, I found it a respectable maiden effort. There was little narrative other than ‘escape!’, which, I'm in a tomb so, sure! Learning a platform requires mechanical engagement, the art can come once mastered. Look forward to seeing where the author goes from here! Maybe a little less anticipation for another encounter with this platform.

Mystery, Inc: Velma
Vibe: Escape (Multi-)Room
Polish: Distressed
Gimme the Wheel! : I think the focus on mechanical implementation is exactly right for this work. If it were mine, I would flesh out the noun space, attack typos, and fix room descriptions. Wring all the polish you can from this first effort. Engage playtesters (unless this WAS that effort! Sneaky author), and internalize all their feedback. From my own first effort I can say learning how to drive that last 5% of implementation is just as vital to IF mastery as the syntax-based first 95%.

Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.

Adapted from a SpringThing24 Review

Played: 4/16/24
Playtime: 15min

A second ST24 Bitly entry! I’ve only recently encountered my first! Another Atari-block-graphics throwback game, this one with effectively no text at all. You navigate your farmer-icon through a series of mazes of inventive icons (I particularly liked the orchestra at the end), pleasant colors and background music.

BUT! While the mazes start trivial, they grow increasingly complicated, increasingly crowded with both more product of your labors and more detritus and remains of previous farm work. It requires more and more effort just to reach the same point. All the while, the Ox-cart of your lifespan slowly advances. Cycle after cycle it crawls forward, as burden slowly overruns your farm. The cart of your life eventually breaks free just before all that detritus becomes too dense to escape. Then, finally untethered, the tracks of your life are transformed to musical bars which you navigate. Only this time instead of a tortured climb to the top of the screen, you are almost floating horizontally through them, until they populate with musical notes. Have you, after a lifetime of toil been freed by art? Or has your lifetime itself been the art all along?

Y’know, typical maze stuff.

Mystery, Inc: Fred
Vibe: Mazy
Polish: Gleaming
Gimme the Wheel! : No notes. Mission accomplished.

Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.

Adapted from a SpringThing24 Review

Played: 4/16/24
Playtime: 25min, lots of exploring the endings

I was introduced (as was, I believe, the world) to this amazing corner of IF during last year’s Thing. An Anthology of micro games, built around a common theme as an academic challenge, authored by young first-timers. The fact that this continues to exist in Year of Our Lord 2024 gives me hope for the future. My love for this effort has only deepened over time, and going forward its absence would cast a shadow over the Spring Thing Back Garden. Conversely, should we meet again next year, I fear I may have to ask it to marry me. My wife will be, understandably, nonplussed.

As last year, I will highlight for each entry a marketing blurb for the work, what was great about it, what could be learned from it, and what was notable about it, creatively.

Back to The City by David and his Mom
Blurb “How can you party when Horse needs your help?”
Great I loved the branching exploration possibilities, and the options to sort through each one.
Learning The power of creating and rewarding player choices
Notable A nice instance of multiple solutions to a problem!

Dark Dream by the Baily’s Sisters
Blurb “You were warned against late night snacks…”
Great A hilarious branching story of wildly unexpected consequences.
Learning The less sense something makes, often the funnier it is.
Notable No more coffee for me.

Halloween by Hailey and Milka
Blurb “Anything can happen on Halloween”
Great Range of good-to-bad endings was cool
Learning Collectible endings a great way to keep folks playing
Notable Liked the post-ending sting

IXI in the Forest by Leontine
Blurb “Some animals are not your friend”
Great Very different paths, and choices for IXI’s friend
Learning (Spoiler - click to show)does are meaner than you think
Notable Lack of kindness has consequences

Little Frogie by Natalie
Blurb “Dinner Plans Matter, Little Frog!”
Great Really liked the “A(n) X Moment” sting on the endings
Learning Longer paths are rewarding, but short paths can be really funny
Notable Rich choice space!

Survive or Die by Unicorn Sisters
Blurb “‘The Power of Friendship’ is more than a saying…”
Great Loved that the best ending was still unnerving
Learning Don’t split up. Ever.
Notable Loved the long arc of survival, lots of tension! (and deaths)

The Dark One by Mushroom
Blurb “Do you know the difference between good and bad advice?”
Great Very fun third-wall breaking between game and player
Learning There is power to short paragraphs
Notable Laughed out loud at ((Spoiler - click to show)you got killed by a serious level of distrust in combination with boredom).

Mystery, Inc: The Whole Gang!
Vibe: Raw Creativity
Polish: Textured
Gimme the Wheel! : I am on record as wishing for a wraparound game with Crypt-Keeper like host to these affairs, and refuse to give up on that dream. Maybe next year.

Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.

Adapted from a SpringThing24 Review

Played: 4/16/24
Playtime: 1hr, 60/80 pts, art lover

This work is a teaser for an anticipated (by me) future TADS release. It shares background with another recent game by the same author in what is becoming a sprawling fantasy universe.

The work opens on a seemingly male protagonist finding himself in an unfamiliar home, in an unfamiliar female body. His only clue to his situation is to explore a large painting that brings memory fragments back to him. And, uh, maybe also explore his new body. Just a bit. Y’know, because of the novelty of it. For science.

As a teaser, areas of the house are blocked off with “Under Construction” disclaimers and force field barriers, confining the interaction of this piece to mainly picking apart the titular triple portrait with your eyes, and consuming the attendant memories.

I found it to be a deep implementation, but a bit uneven? There are three main figures in the portrait (lets call them Sabrina, Kelly and Jill), one of which seems to be the new you! It is a situation where MOST any noun you see can bear further scrutiny. I noted some frequent gaps to this in the transcript. The fact that one of the figures needs disambiguation with you also makes for occasionally clunky object resolutions. One strange artifact of this was that if you examined, say, Sabrina with an obvious adjective, you got a full list of her possible sub-focii as a disambiguation prompt. I actually kinda liked this, as it gave a soft framework for exploration. I was a bit crestfallen that Kelly and Jill, despite also having obvious adjectives, provided no such framework - it was much more a ‘page through the window buffer for nouns’ kind of exercise.

You are told there are 80 points worth of details to find, but a cheeky author-standin-Imp gives you permission to quit early, when you are ready. I kinda liked that touch, as it really drove home the ‘not a game, just a space to play in’ of the thing. I happily hung around until it got to be more work hunting nouns than new revelations, then cut and ran.

Like the previous effort, the star here is the intriguing background. Unlike the previous effort this seems to be a small piece of the final product? I am officially intrigued and looking forward to it in, according to the author, two short years! (I get it. TADS takes time, ya’ll.)

I would be remiss in a way that would have you challenging my review credentials if I did not observe two notable things about the work:

1) It reads like a translation with many typos, misspellings and awkward grammatical constructs. The grammar is kind of endearing, honestly, as it gives the piece a very specific flavor. But along with the spelling/typos they can be distracting.

2) This piece really likes bosoms, you’re going to get a good bit of them. Not pornographically, but… notably. Ok, I’m on thin ice here, because I can hear your judgement through the internet. “Reviewer, it’s an interactive work. It’s only going to come up if YOU BRING IT UP. So exactly how often did you >X BOSOMS, Reviewer, HOW OFTEN???” I hear you, and ok maybe, but this is a work that GIVES YOU POINTS FOR DOING SO. It’s not me perving! It’s the cold hand of economic incentives I tell you! Ok, you’ve backed me in a corner, I should probably quit while I’m behind, but you’ll see what I mean.

Mystery, Inc: Searching for clues? Velma
Vibe: Detail Obsession
Polish: Textured
Gimme the Wheel! : If this were my project, I would seek out a willing volunteer to help polish the translation a bit, ideally in a way that files off the distracting burrs but keeps the charming rhythm in tact. The volunteer for this thankless duty should be someone of great physical attractiveness, towering intellect, and unhealthy love for TADS. Name should probably start with a J. (TADS board inside joke! In 2024 we ALL* start with J!)

*rounding off

Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.

Adapted from a SpringThing24 Review

Played: 4/15/24
Playtime: 1.75hrs, current ending

‘Product Misuse’ is a squirrelly legal tactic, used to limit financial liability when injuries result from products being used in ways not intended or sanctioned by manufacturers. It is squirrelly because the law specifically allows for liability when products are used in ways ‘foreseeable to the manufacturer’ even if unintended. You see the problem. What is a reasonable test for ‘foreseeable’? It is further complicated by a patchwork of US state laws, some of which put the burden on the manufacturer to show it is not foreseeable, while others put the burden on the plaintiff to prove it was not misuse!

This review engages a 3-chapter preview of a longer work (ooh! smashcut from seemingly disconnected review intro… that could be… FORESHADOWING!) , a medieval fantasy work set in a world of magic and man-mythical creature bonding and horny young(?) adults. It’s Dragonriders of Porn! If you think I went way out of my way to unfairly make that crack, which is almost certainly NOT the first time it’s ever been coined, you are a longtime reader that has a firm grasp on the cut of my jib. It is ChoiceScript, and adheres to the idiosyncrasies of that platform, not the least of which is a tiresome eye color/hair color/gender detail selection sequence. Notwithstanding that ChoiceScript fealty, I found the work itself to be both well and inadequately written.

I found the broad strokes world building pretty competent and engaging. The socio-political conflicts were vibrant and interesting. The details of magic, multi-versal worlds, and mythical creatures were familiar with enough unique spin to engage. Certainly, I felt invested in the proceedings, and ate up each new piece of the background in my quest to understand more. It was most accomplished, I thought, when describing physical environs, showing a nice eye for composition and detail and providing some really fantastical settings including alien worlds, natural wonders, and magic-informed architectures. The overall sense of place and setting was really top notch. Kudos for that! It was so well done, it formed a perfect background for… ah, not yet, I’ll get to it.

I did not resonate with the characters that inhabited this world so well. The NPCs were certainly pleasant enough: some roguish, some noble, some tortured and mysterious, none of them super vivid or escaping their archetype but yeah, certainly pleasant. The protagonist though is where the true break happened. Despite head feinting at player autonomy, the work had a very specific idea about the protagonists’ arc. It provided choices that let you steer, but the surrounding text attributed thoughts, emotions and subsequent actions that really only made sense if you were on one path: (Spoiler - click to show)breaking with your past and getting on board with your new warrior-mage life.

So here’s the thing, ladies and gentlemen of the jury. The setup is, you are an accomplished spy, in service of your king, on a very specific diplomatic mission. “Got it!” sez I, “I’m Fantasy James Bond.” Or in my case, JACE Bond, and yes, name chosen deliberately. Once that thought flashed in my head, it struck me as such a powerful premise I could not let go of it. No matter how hard the narrative pushed me to do so. (I also named my raptor-pet Claudia Schiffer. If I had fully baked my approach just a few screens sooner it would have been Moneypenny.)

Every subsequent action I took was me fighting the work to implement that compelling vision. Cartoonish (figuratively) cat-petting villain? Check! Love interests? More like (super explicit) Fantasy Bond Girls! Injustices around me? Excellent levers to pull against the villainous mastermind! A helpful familiar? More like a combination Q-gadget and Mish Moneypenny! Choice of wardrobe and drinks? Fantasy Tuxedos and Fantasy Martinis! Leave my employer for a new life of magic and wonder? More like deep undercover for His Majesty’s Secret Service! Ladies and gentlemen of the jury, I commit to the bit HARD.

I commit to it so hard, I had to start ignoring text, particularly the text that tried to dictate my thoughts and reactions, and instead head-canon'd my own. I only reluctantly accepted a magical animal bond, my first thought being “Why can’t I just bond with Claudia Schiffer?” (Which, not the first time in my life I’ve had that thought, amirite former adolescent cis boys??) I mentally translated “I would like a relationship with X” to “I seduce X for information or advantage.” I rejected any text that tried to pretend this new life held any attraction for me. Here’s the weird thing - THE WORK CONTINUED TO LET ME DO THIS! Time after time, choice after choice, I thought “surely my road runs out here…” No! Right up to the end, actions remained available that lent themselves to a Bond Movie re-interpretation, and all it required was liberally ignoring and rewriting some mental descriptions which the work had no right to in the first place!

Members of the jury, If I was “misusing” the work, WHY DID IT CONTINUE TO CONSISTENTLY FEED ME OPENINGS??? This leaves me in a weird place, review wise. Hands down, I had the most fun with this entry over anything in SpringThing24. I took PAGES of notes, several times more than any other work. I have written more about this work than any other (if this review looks long to you, know that I have re-edited myself multiple times trying to get this just right, leaving many moments of pure joy on the cutting room floor). I ACTIVELY CONSIDERED CREATING THREADS OF ALTERNATE CHOICE TEXT TO SUBMIT TO THE AUTHOR IN SERVICE OF THIS CONCEIT, LIKE SOME FPS FAN MOD/SKIN.

But. I cannot deny that the headiest joy came from my subversive reinterpretation, and the dizzying realization that the author’s choice architecture improbably continued to let me play. It seems obvious that I was not actually embracing the author’s full vision here. So we are back to ‘foreseeable use.’ And is it on me to prove I was not misusing the work, or on the author to prove this was not foreseeable when it played along SO, SO WELL? You gave me the interactivity, don’t be mad that I used it! This could take years of litigating JJMcC V INK AND INTRIGUE to decide. Thank you Judge, members of the jury, this concludes my opening statement.

Mystery, Inc: Animal Best Friends? Shaggy.
Vibe: under pending litigation
Polish: Gleaming
Gimme the Wheel! : So if it were MY work, I would excise all text that attributed or editorialized the protagonist’s thoughts, feelings and desires. Instead, I would render their choices as ACTIONS TAKEN, with event consequences, but leave the motivations and other soft stuff in the player’s head. This is really, really hard to do, but I’d do it by crumb. Having said that, the author is under no obligation to tell any story other than the one they want to, including a definitive protagonists’ arc. I’m just saying what I would do. If the author chooses not to, I call dibs on the Fantasy James Bond conceit.

Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.

Adapted from a SpringThing24 Review

Played: 4/13/24
Playtime: 40min, 4 plays, 3/3 endings

There is something inspirational about the human mind when it commits to the bit beyond all reason, FOR no reason. The bigger the bit, the bigger the charge. That commitment itself becomes a thing of beauty, the more dear for its rarity. There’s a reason Andy Kaufmann and Sasha Baron Cohen are such towering comedic figures. Also divisive for sure, but towering. In fairness, those figures commit to something so socially transgressive that the parallels are not quite aligned with NC, which is a much sweeter, more amiable commitment. Still plenty bonkers though.

The setup is a bit tortured. You get to a place where VERBS don’t exist, so yeah, you ‘got some ‘splainin’ ta do Lucy.’ This is not a problem, by the way, the tortured setup is very much part of the gag. It can also be read as a sly elbow to the ribs of the IF player - what are parser fans if not WORD WIZARDS??? As a word wizard, you have fortunately created a series of objects that auto-activate when you noun. But they ALL activate, and in a specific order. Use them to save yourself from a DRAGON, because, why not?

Since I’ve already unfairly compared this work to two towering figures in comedy, let me compound it by invoking an analogous figure in IF. This piece could be easily imagined in the ouvre of Andrew Shultz - a small, playful wordplay puzzle of specific and twisted setup. At this point I kind of want to take it all back, because these endless comparisons imply it only lives in the shadow of others, and NC very much does not. It is its own weird, wonderful thing that exists independent of those worthies.

It takes a while to get on its vibe, and that disconnect may be the best part of the game - figuring out the new syntax rules to this world and bending them to your will. But ‘best’ is not the same as ‘only fun.’ The puzzles themselves have nuance in world rules that need managing. Between the arcane and restrictive-but-arbitrary rules (again, not a complaint. How arbitrary are the rules to Sudoku? Chess? And NC is so much more entertaining than both of them!) it is a fully engaging puzzle.

It also has the insight to know EXACTLY what size to be. Its short length and tight geography are textboook “not a jot bigger than needed” and drive home its virtues with a hammer. I should also mention that the prose style through all of this is bubbly and light, and every bit a partner in the success of the piece. In particular, when you (Spoiler - click to show)destroy nouns you catch a fleeting glimpse of verbs, whose descriptions just made my heart happy.

If it has a fault, it’s that the piece does not heal ideological fractures in America. Are you kidding me? It also can’t make the perfect souffle’ WHY WOULD YOU ASK IT TO?? It is a lovely, well-written, hilarious yet-tightly-tuned bonkers experiment, perfectly sized to deliver its punch. Those other things can wait.

Mystery, Inc: Fred
Vibe: Experimental
Polish: Smooth
Gimme the Wheel! : There is one state-glitch I noticed, I’d fix that if it were my project.

Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.

Adapted from a SpringThing24 Review

Played: 4/10/24
Playtime: 1.5hr, 4 endings of at least 5

I really like what this game is doing, and I’m working out if the frictions I felt ended up being completely necessary and justified.

The piece opens on an adult woman adjusting to her first night in a new apartment. At one point I cynically wrote down “Moving In Simulator” in my notes. I stand by the accuracy, if not dickish tone, of that note. For the first forty minutes I explored a small studio-ish apartment of fairly deep implementation, doing some last few chores before going to bed. In the course of that, I learned some background about my situation - it was not a desired relocation - and most especially the geography and layout of the place. It took me forty minutes to get to the title screen! I’d be lying if I said I was enraptured by the proceedings to that point.

Turns out I needed that intro, as I was awakened by a potential intruder and… from there it was off to the races where that intro knowledge was CRUCIAL. The work also shifted at that point to future conditional tense (WHAT???) and mental gears clashed for a moment but I quickly adjusted. Now we’re playing cat and mouse with a hostile intruder in a small, dark apartment, in an awkward syntax. This section of the game is just as deeply implemented as the first half, with many different possibilities and outcomes in this tight feint and counter-feint. The genius thing is, by using future conditional tense, after one finish (which you are allowed to accept or reject), (Spoiler - click to show)the whole thing is recast and revealed to be a lightning fast mental excercise by the protagonist, deciding how to react by playing things out in her mind! What an elegant, satisfying and unique replay/‘RESTART’ conceit! The final words of the game on finding an acceptable run (which you, not the game, gets to decide on) are just PERFECT.

The other thing gameplay did quite well is align player and protagonist. We’ve only had a single evenings’ introduction to the surroundings, but SO HAS SHE. Any fumbling we do with the environment is very much in-game and resonates with her perfectly. Couple that with its reasonably deep implementation and it has a lot going for it.

I don’t even think I want to talk about ‘flaws,’ maybe ‘compromises?’ For one, as a percentage of time, fully half my playtime was spent on setup. On reflection, I concluded this was appropriate, but in the moment it was not compelling. I also found the intruder to be less terrifying than the game wanted me to think. I am not sure whether it was the language, the discernible pattern of movements, the restart conceit, or the sometimes unfairness of his actions ((Spoiler - click to show)I would have expected more reprieve from a locked bathroom door) that put me into ‘game’ mode rather than ‘hunted’ mode. Again, I think it might have been NECESSARY to do that, so the game didn’t become a long fight against a randomizer, but it did undermine the tension a bit. In one notable case, I could not bend the parser to my will (Spoiler - click to show)trying to push the chair to wedge the front door to buy some time. Ok, that last I won’t forgive, but the rest ultimately is necessary to let those final words ring so nicely.

So yeah, in game I had reservations and frictions, but it all felt completely and satisfyingly justified by the ending. I especially liked the 4 different endings I found - all very varied but earned dramatic closures to the scenario, deeply respecting but also not coddling player choice. Yr in a tough spot, girl, you make the call on what success looks like! I will take a moment-by-moment confounding work that sticks the landing this well over an absorbing work that fumbles on the goal line 7 out of 10 times. Y’know, in my Gymnastic Football metaphor.

Mystery, Inc: Daphne
Vibe: The Strangers
Polish: Smooth
Gimme the Wheel! : Ok, it’s not my project and good thing. I’d be afraid anything I did to try and ‘fix’ it would disturb the ending and I can’t justify that.

Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.

Adapted from a SpringThing24 Review

Played: 4/10-12/24
Playtime: 4.25hrs

Well, this was just delightful. I’ve not had cause to reference “Twinesformers: Parsers in Disguise” in a while, apparently saving it for now. This is a Twine work, repurposed to support a parser-like gameplay style. There are inventories, spell lists, maps to navigate, items to search out and use or combine. I don’t know that I have seen a better implementation of this. The UI was deeply intuitive and natural, including navigating among multiple POV characters and even body parts! I was rarely lost in narrative flow or paths forward (just three times, actually, of course I’ll get to those).

The case against link-based parser play is that it enables ‘lawn mowering,’ exhaustively clicking all links in all combinations, until something works. ToR is not immune to this, but it resists it better than anything I’ve seen. I think it is a combination of the permutations available and the lovely prose of its story. Most object links can be clicked by any number of characters or sub-characters, and AGAIN in conjunction with any number of inventory items and spells. It can mushroom into an untenable amount of permutations, which encourages a more thoughtful approach to the puzzles.

The prose though, hoo. The prose is the beating heart of this thing. The tone is light, a deeply optimistic, just barely-short-of-naive positivity. This is conveyed economically, matter-of-factly, and so consistently that you can’t help but be swept along by it. Yeah, even me, the guy that hates poetry! The prose is ALSO soft cluing paths forward. And of course carrying the plot. Oh, and setting geographies and settings. Character too, it’s also providing voices and agency to a wealth of characters. SO MUCH TO ACCOMPLISH, ISN’T THAT INSANE?!?!?!

Okay. I hear your snorts of derision. “Reviewer,” you snootily say, “literally EVERY WRITTEN WORK does all those things. Its kinda written-narrative’s thing.” Yeah, well do they do it so EFFORTLESSLY? So CRISPLY? So gosh-darn SWEETLY??? We are talking mostly terse paragraphs of description and dialogue that do ALL that, plus provide soft cues to keep you progressing, PLUS warm your cold cynical hearts, you ivory tower bastards. I cannot overstate what a delight the prose style was in this work, how it carried me through some tough times and created a world it sucked to leave. I don’t know why, but this line just exemplifies what I’m talking about so perfectly:

"The upper ruins were not held together by magic, but, apparently, they were supported by the lower parts."

That wry, matter-of-fact voice, ah, I’m smitten. The other thing the above blurb captures is just how well-thought out the world and plot is. Despite being a fantasy of heroic undead, magic spells and artifacts, light geopolitics, everything works together in such a satisfying way. Most especially in puzzle construction. The ability for Rosalind to disassemble to solve puzzles was endlessly varied and invariably fun. Spell usage was a little more straightforward, but no less fun. Setups and payoffs abound every step of the way but especially in endgame. This is a work where SOMEONE IS TALKED OUT OF PREJUDICE and somehow my response was NOT ‘oh c’mon.’ Would it work that way in the real world? YOU DON’T KNOW, ROSALINDA AND TEAM HAVE NOT TRIED YET.

It gives me no joy to report there are some frictions, but I’ll try to dispense with them quickly. For one, the UI had an unfortunate scroll length where some options went unnoticed below the window’s edge. This caused me to spam/lawnmower the insanely large space, made more painful than normal for its breadth. Check your scrollbar first is my advice for those stuck.

There are some unanticipated solutions I wish had been addressed in game, most notably (Spoiler - click to show)not being allowed to feed a Tinctured Piecrust to a catfish and being unable to (Spoiler - click to show)get Ormund to help with crystal grabbing or plate-standing. I didn’t need those to work, just explained. Minor quibbles to be sure.

There was one puzzle I considered unfair, which is code for hard but not in a SATISFYING way, a (Spoiler - click to show)search only one character can complete, in one specific location, with no hints I spotted that that might be necessary. There was another that was SUPER fair, and I just missed it, but chuckled in glee when I tapped the progressive hint that clicked it into place.

…aaaand I’m done with the negative. This was not a mind-blowing game changer of deep human insight. This was a frothy, pulpy fantasy lark of unremitting positivity and cleverness, buoyed by text it was a treat to read. And not for nothing, an elegantly architected Twinesformer experience that will forward be my gold standard for these kinds of things. Kudos author, I enjoyed every minute. Most minutes. All the minutes worth talking about.

Mystery, Inc: Daphne
Vibe: Plucky Fantasy
Polish: Smooth
Gimme the Wheel! : If it were my project, most folks in my life would question who I really was, how I deceived them so long, but could they keep this new guy anyway? For me though, I think I would plumb some of those alternate solutions into text, either with playful rejections or as alternate solutions. This is probably not a simple ask, given the large permuted space already accommodated, but since the work makes it LOOK so easy, it must BE easy, yeah?

Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.