Ratings and Reviews by JJ McC

Adapted from a SpringThing24 Review

Played: 4/2/24
Playtime: 1.75 hrs, 7/27 achievements, 230pts

Barely a year and a half into my re-engagement with the IF world, and ChoiceScript feels like a gap in my curricula. I have played maybe three of these games in this time, against innumerable Twines and double digit Inks and Textures, nevemind Adventuron, or experimental platforms including Google Forms fer cryin out loud. And so, so many parsers of course.

ChoiceScript stands out as a unique platform in that pantheon, one committed to provisioning assorted gameplay styles (RPG! SIMfortress!) in addition to choice-driven IF. It gives unique flavor to works that engage those mechanisms which, of the three I played, most do! (It is always a gamble when I engage topics I don’t really understand in reviews. I’m kind of 0-2 on that so far, let’s see how this pans out.)

This is a fantasy story about service to a mercurial lord, and trying to retain personal honor and initiative while doing so. It has some GOT vibes to it, not as over-the-top dire, but certainly the same ‘what are your options, REALLY if the lord is a dick?’ twists and turns. The setting is nicely conceived and conveyed, the story very engaging. It is also a low-grade military simulator. And a low-grade SimCity simulator. And a low grade dating simulator? Maybe not quite, but close. Of course gameplay is choice-driven, its in the name. But you are balancing civilizing a city, conducting foreign diplomacy, establishing personal relationships with periodic set piece plot movement.

Per recommendation, I played on Easy mode, which I interpret to favor story over grindy mechanics, very much my preference. That said, the grindy aspects were not unpleasant. Micropayment apps have long known the value of watching numbers go up, and the game lets you do that! Without the payments! I had the vague sense that those numbers informed my relationship to my liege though it was hard to see those as big movements. Certainly, some military encounters seemed to impact subsequent diplomacy in a satisfying way. The personal relationships… maybe wheel spinning (until the end) but at least some color. In one sense they felt like disconnected minigames I would cycle between, but in another it kind of conveyed my evolving role in the kingdom, and different hats that needed wearing. Not a finely blended gazpacho, but an interestingly chunky pico de gallo. Though crap, why did I say that? I love gazpacho.

In any case, the gameplay cycled around me building to a very engaging crescendo. I did not expect to feel so deflated by it. The Spring Thing version of the game resolved to two options. In deference to spoilers let’s call them ‘buy’ or ‘sell’. The deflating part was that based on some text, lore and buildup, I was expecting to see a more compelling third option: ‘destroy capitalism’. I didn’t get that, so I ‘sold’ and got an ok ending, but it left me wanting. Dramatically, I needed to at least see that third option. Turns out that option may or may not be available in a different version of the game. In the moment though, that was the least interesting observation for me as a reviewer.

A more intriguing dynamic would have been that it was included, but my numbers were not high enough to expose it. Suppose it had been a hidden achievement, then what? Then, this would be a game structured for repeat play to complete (some mutually exclusive) achievements, maybe try Hard mode, and by GOD expose that last finale. But to do that, I’d need to cycle through another near two hours of limited minigames, trying to jockey for different results, and reliving variations on a cool plot that may not hold many more surprises. And what if I did all that, and then there was still no third option??? Or worse, THERE WAS A THIRD OPTION, BUT I STILL DIDN’T ACHIEVE IT??

Could the game justify those levels of repeated investment and disappointment, nevermind clock time of further cycles? For me, no. I had a pretty enjoyable 2 hrs, all told, with a pretty solid story and diverting minigames. It’s not the game’s fault I set my heart on a little more. (Well, it kind of is, but it certainly doesn’t OWE me anything.) I appreciate what it had to offer, but it decided to pull up short and/or not better communicate its third path.

It made its…
(•_•)
( •_•)>⌐■-■
Choice.
(⌐■_■)
YYEEEEAAAAAAAAHHHH

Mystery, Inc: “We should split up to cover more ground” Fred
Vibe: GOT-lite
Polish: Gleaming
Gimme the Wheel! : If my project, I would better telegraph the third finale requirements to give players a fighting replay chance. If it doesn’t exist, I would take whatever time I needed to invent and plumb it in!

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

Adapted from an IFCOMP22 Review

This is a parser based game, but the implementation feels like it is fighting convention kind of just to fight it? The attempt is to get the user to type commands more naturally, in complete sentences. I can see why intellectually this may make some sense (and certainly as a hook for voice-based accessibility), but practically speaking it feels misapplied in a keyboard-based IF. The mainstream tradition and promise of IF is to ‘put the player in the story.’ Now, since this form predates VR goggles by decades, it needed to do this in text. Text is already a layer of disconnect though, right? You aren’t ‘walking north’ you are TYPING ‘walk north.’ The more you think about typing, the less immersion you have. (Excepting of course sly little games that integrate typing-at-a-keyboard into its conceit. Those minxes!) This is why one letter abbreviations are so prevalent in IF - ‘examine’ is so many letters to type, it drags immersion, especially when done repeatedly. The more you can do this the better. The power of parser IF of course is that it presents the illusion of limitless nouns and verbs. WE know that’s not true, but that is the tradeoff we’ve negotiated over several decades: type any word, but common ones give shortcuts. I mean, I’ve personally never finished an IF game thinking, “that was pretty cool, but I really wish I could have typed more.”

So Headlights wants to renegotiate that. Sure, why not, no sacred cows, right? I think I tried twice then said, “I’m typing way too much about this,” and reverted to more standard verb-noun and abbreviation conventions. To its credit, Headlights’ parser handled it. To its detriment it put what appeared to be debug messages after every command.

>OPEN DOOR
[I heard: ‘open the door’ → Say ‘as spoken’ to repeat exactly as you said.]
The door is open.
>N
[I heard: ‘go north’ → Say ‘as spoken’ to repeat exactly as you said.]

AFTER EVERY COMMAND. Other than actively berating me for not typing articles, I’m not sure how much MORE intrusive it could be. At a minimum there should be a command to shut that off. So I didn’t care for the new parser capabilities. Sure I could have made more effort to meet the parser on its own terms, but I think I would have chafed as much or more at the extra typing.

It had some issues re-implementing other parser features as well. Objects were sometimes listed via their code relationship, not necessarily their physical description. X GROUND in one spot yielded “Inside a meadow is a physical object, a place, a side, a thing, and an inside.” It aliased verbs inelegantly like when I TOUCH LIQUID, I got “you have petted the liquid.” I think my overall favorite was USE TOILET… “I don’t know what to do with a toilet.” Wow game, your parents REALLY let you down. These gaps were not as common as the debug messages, but still overwhelming.

Ok, so the parser implementation was Intrusive. How about the story? It was pretty bare bones. 4 or 5 chapters of 4-9 room exploration and minimal ‘get X from room2, use in room4’ kind of puzzles. The maps were all pretty linear, the descriptions pretty minimal. Usually a sentence of where you are, then a line by line list of objects in the room. That was useful at least, as there wasn’t a lot of searching. My favorite puzzle was (Spoiler - click to show)letting yourself get bit by a spider for extra strength, leading me to exclaim “I’m Spiderman now!” Honestly, it felt like a test drive for the parser more than a complete work of its own. There is a climax and payoff, but the stakes never really register as more than a dry IF puzzle.

Will be interesting to see where this parser implementation goes from here though.

Played: 11/12/22
Playtime: 40min, finished
Artistic/Technical rankings: Mechanical/Intrusive
Would Play Again? No, experience feels complete

Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Played: 7/27/24
Playtime: 2.25hrs, 3 deaths, ‘won’ with walkthru

This is a companion piece to A1RL0CK, and I do recommend playing the two together. I also recommend playing in order, as I think the denouement of this game would not work as well out of order. Initially, it felt to me like an improvement in every way on the prior work - which I had found narratively very strong, but burdened by overwrought language, implementation gaps and (a few) inadequately clued puzzles.

Early in the proceedings of RU1N, I found it much smoother and linguistically more disciplined. Here, the protagonist is a blue collar space/underwater worker, notably different than the previous protagonist and much more relatable in his down-to-earth, no-nonsense voice. He is immediately thrown into an alien environment and asked to navigate. I found the language employed here very obfuscative and scattered, in a very effective way. My inability to mentally create a navigable geography or even a clear view of my surroundings seemed a clever way to evoke the disorientation of sudden immersion in an alien environment. I also liked how descriptions changed dramatically, where the protagonist’s first impressions were nightmarishly horrific, only to be supplanted with a more mundane reality. It was an effective way to convey hair-trigger panic at the distressing surroundings.

This impression carried me quite far, and was enhanced by a challenging folding-in-on-itself map that was navigable but just offkilter enough. I wish that early experience was sustained. Implementation issues seemed to become increasingly intrusive as time went on. From clumsy disambiguations

>x glass tube
Do you mean the narrow glass tube or the small device?

to LOTS of synonyms and missing nouns

> x aliens
Sorry, I don’t understand what “aliens” means.
> x alien
They are not much different from the fish you are used to.

to narrative phrasing that has either typos or baffling word choice

GOING AGAINST ME WILL GET YOU ANYTHING, JAY TEE. DOWN YOURWEAPONS AND JOIN THE CAUSE.

x panel
The panel is open, and shows a series of beaks facing the opening, like a rake.

In the most frustrating example, combining two objects produces a third, but the narrative does not announce either the disappearance of the components or the creation of a new one. I assumed it was a bug for a distressingly long period, only eventually noticing an addition to my inventory. As frustrating as these were, they nevertheless still represented an improvement in the prior entry.

A larger disappointment, for me, was the gradual transformation of the prose from its early punchy, unadorned simplicity to more melodramatic and overwritten. Contrast this early piece:

“So we’re screwed: it’s as dark here as in Satan’s colon. And there’s nothing up, down, left or right. Give me some pointers, Cart. I’m starting to feel overwhelmed.”

to this:

“Cursed is the shadow of hell,” you voice loudly.

While there may be a fictional character that can plausibly say both those things, I did not find this protagonist to be that guy. Similarly, the narration took a similar turn, forfeiting its early punchy gains for less appealing baroqueness (baroquery?). By the end, it felt linguistically fully of a piece with its predecessor.

Its final puzzle ALSO felt like a let down. Overall, RU1N was a much cleaner puzzle experience for me. Some challenging leaps, but mostly rewarding diligent examination and satisfying once completed. That final puzzle though - specifically the final step of the final puzzle. After having a series of moving parts to decode, manipulate and sequence, all of them satisfying, the difference between success and failure was one final move I found to be completely opaque. There is a mild hint in death, though I interpreted that hint quite differently and never got there. Walkthrough showed me the answer which, eh ok.

Now that I have fully and completely whined about this stuff, let me turn again. All of those artifacts were there, detracted from my experience, but all of them were both less pronounced than previously AND more than compensated by RU1N’s strengths. In addition to the early characterizations and scene setting called out above, this one included lots of ‘fiddles’ (minor atmospheric messages that emphasize the dynamic nature of the environment) that were positively creepy and unsettling and terrific mood setters. Most importantly, I found the plot of this one to be super strong, and the timing of its beats even MORE capably dispensed than its predecessor (which was a strength of that work too!). Its horror was more horrific, its revelations more organic and interesting. They were timed to ‘unlocking’ areas of the map, but given the relative smoothness of its puzzles translated to a steadier, more engaging pace of revelation. Yes, the protagonist character lost the thread a few times (peevishly damaging his equipment in a way that beggared credulity for his situation, strong physiological reactions that rang untrue), but the antagonist and NPCs stepped in to carry things ably to a strong finale, even if spoilers were needed to fully experience it. The antagonist’s final revelation in particular was both foreshadowed and surprising in a satisfying way.

So to sum up, feels, like its predecessor, that it could use more polish and prose editing. Its bones though are even stronger, and it accomplishes more with language than its predecessor attempted. Barring a sour final step, its puzzles were also both fairer and more satisfying. I turned this into an outright comparison. Didn’t mean to do that. Both are worth your time. (But this one is better.)

Played: 7/27/24
Playtime: 5min, 3/3 endings

Back before the internet enabled pervasive access to, euphemistically, “externally authored texts”, students had to work much harder to find shortcuts for research papers and book reviews. (Well, maybe just ‘harder.’) Cliff’s Notes were the legendary black-and-yellow pamphlet size books of sweet, sweet relief from hundreds of pages of droning on about, I dunno, whaling practices. While indispensable for adolescents that wanted a social life, they could be… clinical. They described plot beats, explained literary flourishes, notable prose characteristics, historical context. Great for impressing English teachers (who, in retrospect, were probably not as fooled as we kids believed). Not so great for actually EXPERIENCING the celebrated prose, thrilling to plot beats, or watching the author’s mind unveiled in its idiosyncratic glory.

NYX is a repudiation of Cliff’s Notes cold distillation. “I’m not gonna EXPLAIN (Spoiler - click to show)Alien to you,” sez NYX. “Imma speed run it for you.” Framed as a last transmission from a doomed spaceship with a single player choice, it packs an entire dramatic arc into an insanely tight time frame, with an earned choice of diverse denouments. To me though, this was not the most interesting thing about it.

I am a fan of this genre, this story’s most obvious inspiration, this subculture, and this author. There was NO chance I wasn’t going to like this. What I found most noteworthy though was the prose. Here’s why. Early on, the protagonist makes the well-known observation ‘we should send poets, not engineers, to space.’ Leaving aside the driveby on engineers there, have you READ THIS AUTHOR BEFORE? I mean, there is no one else I would send into space!! They have got to be on the launch shortlist, once NASA validates the poetry priority. Which made it so impressive to me that the voice for this work was exactly as aliterary as the work claimed. Chameleon-like, the author delivers a protagonist’s voice that is consistently, believably workmanlike and technical, which sold the story that much more solidly. It’s almost unfair and, given how DISTINCTIVE their most flourishing prose is, astonishing it is done this well. So sure, delivers punch in tight package, interesting alternative arcs, bla bla bla. Still, the RANGE of authorial voice is the compelling part. That was my big takeaway.

That, and the importance of self-destruct subsystems.

Played: 7/26/24
Playtime: 1hr, finished

This is billed as a beginner parser, and ok maybe. Certainly, veterans will find the puzzle play pretty straightforward. But a lot of what might uncharitably be called ‘training wheels’ by my strawman companion, I would characterize as ‘quality of life improvements.’ The work’s use of color to telegraph bespoke verbs and interesting nouns is particularly welcome. Room and object descriptions are so terse that they convey interesting details economically with no distracting prose chaff. Conversation trees were laughably shallow, having the effect of not distracting the player with misinterpretable color and ANY response being immediately flagged as useful. It’s not trying to give the illusion of alive NPCs, they are game pieces serving their purpose with clarity. Making the experience as friction free as possible is certainly a boon for new players, but honestly helps all of us!

The production strongly leverages its Adventuron platform: its thematic meandros borders crisply provide exit listings and major feature lists above its ‘work area,’ guiding proceedings without drama or heavy hand. The prose itself is crisp, yet delightfully empathic, developing a pleasantly generous, propulsive vibe that is just a delight to marinate in. The story itself is similarly warm, bending Greek mythology into a friendlier posture. The welcoming tone of the piece does as much as any gameplay innovations to signal ‘Parsers welcome everyone, not just crusty old fraternity members.’

If I may be so bold, there were a few burrs I detected that could be further buffed away: in the start room >GET SACK gave me both
you can’t take it
you pick up the sack of grains (which I clearly did not)

In another room, the sack description was SO terse I believed them a pile of empties and was surprised to (Spoiler - click to show)pull grain from them. One NPC knew about keys, but not the associated gates, making for a bit of conversation clumsiness and friction. I would also break up the verb inventory into categories - basics/system commands and spoilers. The opening screen characterized the verb inventory as spoilery, so I avoided it. In so doing, I missed its bespoke >TSCRIPT command (game rejecting the more standard >SCRIPT) and only at the end learned I could have provided one. Two categories of verbs, spoil and no-spoil might be a useful refinement.

Anyway, all that is further polish on an already terrific ambassador for parser games. The Adventuron platform itself should not be overlooked here, and was presumably chosen deliberately. With its overt old school aesthetic and vibe it conjures a time when IF was shiny-new and filled with promise. LnM’s warm story and welcoming play expands on that to open the hobby to those that might otherwise fear its legendary opacity and cruelty. By extension, LnM makes all of US look less inbred and niche. Thanks LnM!

Played: 7/26/24
Playtime: 15min, 5 playthroughs

One word review: MeYOW.

Four-word review: I really dug this.

Multi-word review of uncertain length:
This is a fascinatingly structured choice-select scene. A charged social interaction between four bureaucrats of varying levels of self-importance. There are a few repartees, then things are broken up by the adult in the room. The story is really what each player brings to the exchange, and their interrelationships that drive the prickly encounter. Man is it well conceived and executed. It is short enough that with only a few replays you are assembling a full picture of the dynamics and personalities at play.

It is hard to say what the ‘best’ way to play this is, but I will say, my method just crushed it, and you are welcome to use it. After cycling one each in the first play, I decided to alternate between members of the same ‘faction’, then repeat starting with the opposite lead. This gave me full visibility into one faction’s drives. Then repeated the whole sequence for the other faction.

It helps that the piece gives convincingly varied motivations, personalities and vocal adeptness to each participant, then shows how ALL those pieces lead to the unchanging conversation flow. It is fascinating because it is so well done and organic. In particular, on my first pass of faction A (for ‘a$$hole’, as opposed B for ‘befuddled’) I came away thinking ‘uh, why are these two basically the same person?’ only to have the reversed order put that to the lie in a deeply satisfying and nuanced way.

Will a different order produce different ‘a-ha’ moments of equivalent quality? Did I even get the BEST revelation order? I dunno, maybe to both? But even if not EXACTLY equivalent, the charge of what is revealed about whom in what moment is still really cleverly done and it’s hard to believe some charge won’t be produced regardless of order.

Yeah, this struck me as pretty uncommon use of interactivity, deftly architected for satisfying mini-revelations stitched through a snide exchange of petty rivalries. This is like the whole driving impulse of reality TV. Which I don’t really like. But LOVE here!

Played: 7/26/24
Playtime: 5min

This is a short, very short excerpt from a longer work. I am not convinced reviewing this in isolation does it, or the larger work, any favors. A priest is taken aback by a visit from a former romantic partner. That’s kind of it? There is tension in subtext for sure, largely interpersonal. The obvious tension though, that of love forbidden by the church, is mostly ignored? That complete non-engagement itself begs intriguing, but unaddressed questions. In such a short work, there is little time to develop either character beyond the allusions to their relationship. We get some vague sketches of their history, a glimpse into how each of them feels about it, and some one-dimensional character work. We don’t get much insight into them as fully human beyond this encounter. As a thin slice from a larger pie we needn’t expect that, but as a standalone scene the missing pie looms large.

Man, I really want some pie now.

The interactivity is minimal here, of the page turning variety. As an extended dialogue, the graphical presentation is appropriately and cleanly reminiscent of a script. It establishes an engaging rhythm, most pages starting with business and ending with dialogue. This rhythm is my favorite part of the work, making a virtue of its artificiality. The work carries itself as a script as well, to the stagey side of naturalistic. The priest in particular almost immediately expresses overt emotionality without much ramp. This is certainly economical and perhaps more justified in a larger stage production, but in a short vignette reads unnatural. The scene partner also comes across as… kind of smug? In a way that diminishes the reader’s empathy for both of them. Again, something a larger work could flesh out more compellingly.

I appreciate that the climax is pregnant with foreboding about what is to come next, given the bits we’ve seen, but I struggle to say I was invested in it. The work was simply too abbreviated to develop that. I really think the way to consume this work will be in its larger container. A quick peek at the author’s page shows that Vespertine is ALSO part of this larger work? I struggle to see how the two connect, and THAT is VERY interesting. It actually feels more of a piece with another work, Idle Hands, not only for its Biblical allusion title, but for its fascination with the collision between stifling religious doctrine and raw human need. The fact that it is NOT notionally linked begs all kinds of questions about the larger work, including its billing as gothic horror, where the horror part was noticeably absent from this intro!

A generous reviewer would do well to reevaluate this piece in its larger context - the entire pie as it were. Which, dear reader you will no doubt have cause to celebrate, as I DID secure a pie between initial composing of this review and posting. Bourbon Pecan. So good.

Played: 7/26/24
Playtime: 45min

My introduction to this author was via their prose which typically lands squarely in my thirsty, thirsty brain. It is so singularly confident, eloquent and evocative it just pulls me along regardless of the tale it is telling! I have also come to revere their sly use of interactivity and links. Rarely as true alternatives, link choices are instead used build contradictions in the protagonist, often more effectively than simply explaining them. This work in particular, with its changing and unselectable options paints a clear picture of a protagonist struggling unsuccessfully against their own nature, and does so with uniquely effective interactive techniques.

This work also leverages the dreaded timed text in an ultimately successful way, representing a campfire conversation being lived, not laid out to consume at leisure. I will confess to some trepidation before its use was fully exposed. It is NOT a terrific way to consume story-based works, but it works here as both a graphical cue of its framing sequence and is evocative of its setting.

As a campfire tale, an Old West supernatural story, its setup is enthralling: a stolen identity to mask a deeper secret; a tempting offer that does not go optimally (I mean, do they EVER?); all cresting to some sort of resolution and twist. It’s a terrific formula, and the FORM of it is deeply appealing. Let me break it into four acts: ACT I - the setup and mini-climax; ACT II - a short transition; ACT III - a doomed, joyful interlude; ACT IV - turn and finale.

Despite a terrific plot frame, ACT I prose (acharacteristically for this author) pushed at me. It felt like an unedited first draft? I say this because the prose that so often effortlessly pulls me in, pushed at me here. In one dimension there was the disconnect between the language/imagery and its uneducated, hard scrabble protagonist. In another I found the sentences themselves over-claused? This author’s prose style is NOT Hemingway, not at all. But here, it felt like their typical discipline slipped and where extended sentences and modifying clauses usually flow and ebb but close with a punch, ACT I felt overridden with sentences that continued and continued and continued… and closed in confusion. It really felt of a different piece than the ACTs to follow. Because it was the FIRST ACT, it also pushed me away a bit, even as lots of plot (and notably inventive link architecture!) was happening. This was an uncomfortable, unwelcome conclusion for me. Judiciously turning some commas into periods would make a WORLD of difference here, to me anyway.*

For me, the most successful acts were the middle two. In particular, ACT II plays directly to the prose strengths of this author. I could remove this act from context and read it over and over again. Will resist spoiling what it is describing, but let’s just say it uses food chain specifics to paint passage of time (and obliquely evolution of protagonist) in a singularly magnetic way. This stands among the strongest sequences by this author. Because ACT I did not click in so crisply, this was a breath of relief as well.

ACT III delves into emotional interiority in a way that felt both earned and suitably shadowed for the tale. The prose employed to do so remained singular, unintrusive and propulsive. There were some logistical questions not quite clarified… a new character was able to pierce the veiled identity of a new body somehow… but the emotional content felt right. My specific question: (Spoiler - click to show)The host seemed to recognize the protagonist’s biological sex during a bath despite currently inhabiting a body the text leaned into as a male. Layered on top of this was deep sadness over the implications of the ACT I deal, agreed upon with no anticipation of ACT III’s fleeting joy. I found story beats, language and emotional content all clicking together smoothly and satisfyingly here.

ACT IV disappointed me in a different way. There was, throughout the work, some tension in the protagonist’s character. Early self-isolating choices pointed strongly one direction, only for later longing choices to contradict those earlier ones. In ACT IV, choices and mental anguish seemed further disconnected from plot beats and character motivations in a distracting way. In one sequence, the protagonist bemoans the impossibility of locating someone, despite having been told they are the local sheriff. Is it really that hard to find a sheriff when you need one? That seems like a pretty good lead to me! The anguish felt overwrought, given the circumstances. In general, the runup to the final scene felt more of a piece to ACT I than II and III, though the sentence structure definitely carried more discipline.

I am happy to report the final scene absolved a lot of that. A final plot twist is actually quite satisfying, leading to a final tragically impotent choice and open-ended climax. Then a campfire stinger appropriate for the narrative. While I initially rebelled at the open-ended climax, the narrative engaged it directly and turned me 180 on it in like two screens. That is some story-telling power!

So, overall impression: two frictiony acts, two banger acts, and a strong close. Sure, would prefer them all to stitch together cleanly, but if not, that’s good enough for me!

*It is not lost on me that the above criticism is fairly leveled at MY style as well. But this isn’t about me!

Played: 7/25/24
Playtime: 10min, 3/3 endings

It is kind of gratifying to watch an artistic arc. So much art is consumed one-and-done in this day and age. Honestly, that does seem to be the model that makes the most sense anyway. Artists spend inordinate time and energy refining and honing a piece of art to stand on its own, encapsulating a complete artistic vision, and hopefully resonating with an audience in an engineered way. (Art IS engineering. Fight me.) While repeated engagement may be deeply gratifying to the artist, its impact on the consumer is usually dominated by that first encounter.

There is serialized art of course. Novels and comics have long engaged in serialization, most famously pulpy entertainment of recurring characters in genre adventures. I am not talking about a FICTION or STORY arc, however, I’m talking about an artistic one. When a single artist is behind serialization for an extended time their intellectual and artistic growth can become part of the story, a compelling subtext to another round of puncheminnaface. If you’ve never read Dave Sim’s complete Cerebus, it is a rollercoaster of artistic preoccupations and before-your-eyes evolution. Its latter half in particular is so dominated by the artist inventing Bad Takes (TM) before our eyes as to be equal parts mesmerizing and repellent. That arc ultimately overwhelmed the fiction it was nominally creating.

This is not what’s happening here, to be clear. I invoked it as one type of artistic arc. Another, more relevant arc is when an artist returns to some theme several times, exploring it in different ways and to different effect. This work seems to be connected to two others by this author, as a trilogy of sorts, all exploring the intersection of entitlement and romantic relationships. The author acknowledges this work’s debt to a crackerjack earlier work that I personally really enjoyed. It also shares overt similarities to a subsequent work I reviewed this 'Thon. The artist of course has naming privileges, but absent their input I will call this “The Entitled Heart Trilogy.”

This strikes me as a middle work both thematically and temporally. The first ‘entry’ engaged a troubled but redeemable relationship with a dangerously biased power dynamic. The third delivered a cold ‘masks off’ condemnation of full on toxicity. This one bridges the gap by using fantasy time loops to explore the surprisingly grey border between romantic manipulation and earnest will-to-change. In some ways it is the most subtly challenging of the three, particularly when exploring all possible endings. The author ultimately has some specific ideas about where things land, and in the construct of their fiction of course is the authority. I nevertheless appreciated that prior to the endings, the language remained open enough to challenge the player’s presumption of protagonist motives, conscious or otherwise. The fact that the ambiguity doesn’t extend to (one of) the endings is kind of a cutting rebuke of self-delusion lurking in the border tension. The fact that there are three endings further muddies the waters - toxicity is not fore-ordained!

I really enjoyed the first one. I appreciated the third one, which was much more straightforward, terse and confrontive. I may have liked the fleeting ambiguity of this one best of all, and the damning but open ending space it carved out. I really like all three of these together, and the artistic arc they collectively describe.

And unlike Cerebus, the artist is not reduced by their arc!

Played: 7/25/24
Playtime: 5min, 5 playthroughs, 5 deaths

The 'Thon has exposed me to a higher density of (Spoiler - click to show)choices-don’t-matter works than I have previously encountered. Seems like tight time frame Jams draw these out for completely understandable reasons. Thing is, this type of game hinges so completely on its artistic theme that everything else pales, and it becomes the dominant lens to view the work by.

Unless… you are sending up that very type of game!

The player-protagonist is a crash test dummy. Famously without initiative or agency. You achieve consciousness and have precious little time to try and do something. This is a very attractively put together example of the sub-genre. Its color scheme, aggressive layout and interface are both attractive and functional, and satisfyingly evocative of the protagonist’s identity. The choices on offer are surprisingly numerous, given the character in question, and it takes a few playthroughs to feel like the space is satisfactorily explored. Though even after a single play, you get a sneaking suspicion what the work is on about, the message is dutifully reinforced through repeat plays. One choice in particular - use of dreaded timed text - ups the ante in a kind of hilarious way. (Spoiler - click to show)Not only can you not influence your fate, you can’t even control how you get information!

This reads so clearly like a playful spoof of these types of games, and goes above and beyond to really twist the knife. From the protag’s identity, to gameplay, to timed text presentation, it is cheekily poking at other games of its ilk and outright taunting players who play them! “Hey, that crash test dummy? That’s YOU player! Strap in and shut up!” As a one-joke jam game, for IF nerds like me, it is the exact correct mix of taunting insult and loving send up to elicit “yah-you-got-me” laughter. You can have your (Spoiler - click to show)tragic fate, your helpless victimization, your cynical statement no-choice games. I think this is my favorite game of this type.

Played: 7/25/24
Playtime: 5min, ah, finished

This is a linear piece of short erotica. Interactivity is mainly used in mouseover phrases to dive deeper into a particular moment, usually to increase the explicitness of the proceedings. Otherwise you are turning pages, and not so many, until done. Oh yeah, your carnal partner is the Devil. Lucifer. Ol’ Scratch (in more ways than one, amirite??). Ok, I am going to endeavor to reign in my inner juvenile as I go forward. History suggests my success will likely be mixed at best, but know it is not from lack of trying.

Writing in general attempts to elicit emotions from the reader. Humor makes us laugh, tragedy makes us ache, horror unsettles us then gives us catharsis. Erotica speaks to a pretty specific and powerful human impulse. But here’s the thing, it ALSO has to contend with centuries of stigma, much of it socio-religiously sourced. Humans have a singular mechanism to deal with this level of discomfort: reductive humor. Especially transgressive humor which sublimates pretty quickly to profanity. Now, profanity is a lot of things, but for most of the world it is NOT a representation of the beauty of its subject. It is a challenging misdirection that derives its charge from its audacious defiance of convention, NOT the power of its purported subject.

So here we have this amazing physio-chemical trick our bodies can do, that in the best case interacts with our emotional wiring to build a transcendent experience of joyful linkage with another human being. But it finds itself wedged between socially indoctrinated shame and trivializing profanity. Finding the sweet spot in between is an insanely difficult needle to thread. It is a testament to the power of human sexuality that so many try.

But wait, effective erotica has still another enemy! While shared in the general among much of the population, carnal specifics are as varied as the people who pursue them. One person’s turnon is another’s kink, is another’s safe word deal-breaker. Specifics matter to those whom find it appealing and ALSO matter to those who don’t! An author really only has once choice here - relinquish hopes of universal appeal in favor of perfectly nailing it for the subculture that appreciates it. (See, look how heroically I resisted ‘nailing it’ riffing!)

To sum up. Thread a narrow needle for a specific segment of like-minded humans. When you write, the only tool you have to find this impossibly narrow path is words. This work has the right idea, I think, in that its prose leans poetic with occasional shots of enticing physical specificity. Poetry has the promise of capturing complicated human interiority, it’s kind of its north star. It’s almost unfair that this work, with all the above challenges, now must additionally contend with a reviewer whose patience for poetic prose is thin. While I did like the contrasting mouse-over unveilings of physicality, the rest of the text left me at arm’s length, just aiming a little TOO high to land.

I do admire that in its choice of partner, the work is explicitly, perhaps defiantly, running directly into the face of erotica’s socio-religious stigma. Couple that with some pleasantly jarring uses of profanity and you have a work that seems confidently determined to play with the boundaries of erotica. If anything, I do think more could have been done with the conceit. The text did not seem to acknowledge or leverage that super-interesting aspect of the pairing beyond some sly physical observations. Lastly, the work was a short description of a post-/pre- coital interlude without much dramatic arc. It actually ended kind of abruptly to my way of thinking, neither cresting nor teasing its forward path.

Note I did not use the word climax in that paragraph even once. I am a giant in my field.

It is a pretty short piece, a portrait of physicality that many of us humans are inherently interested in. It does admirably and effectively challenge the restrictive guardrails of profanity and stigma. Now, it comes down to personal sensibilities, both in prose and carnal preferences. For a work this well composed, I have no doubt there is an audience for THIS mix out there.

Played: 7/24/24
Playtime: 15min, 3/3 rescues, 2/4 fails, 3/5 awards

This is an entry for a Comp I do NOT judge! Weirdly, as EctoComp’s organizing principle (spooky Halloween fun) is slap in the middle of my road. Hey, I gotta pick and choose though, right? I intend to have a creative life of my own, and not just vicariously latch onto the heady works of my betters, then pepper them with whatever is happening in my brain chemistry at the time! I too have a dark passenger that needs servicing! Anyway, he’s in the backseat now so pepper away I shall.

The premise is exploring an old church and dealing with (Spoiler - click to show)the horror inside. It is basically a linear story, with a variety of details in the player’s hands (including the nature of your companion) that fan out into a series of replayable, collectible achievements. Achievements, more than any other mechanism, encourage ‘collect all the endings’ style of play, so that is how I engaged it.

I found the prose in this one more than it needed to be, in a very good way. In exploring the church, we learn our protagonist might have been raised religious but has since lapsed. The language was very good at conjuring a reverence of iconography and environment that, once seeded, still has a hold on us despite our subsequent spiritual journey. It was a nifty observation and mood to set, unnecessary for the horror that followed, but uniquely well-observed all the same.

After some short ((Spoiler - click to show)optional) exploring, you encounter the antagonist, make some choices and it ends. It is very disciplined, in that it understands replays will be less concerned with exploring and repeated text and thankfully provides for shorter paths to plumb its outcomes on subsequent plays. Of particular interest is the ability to choose the relationship of your companion. This choice opens different climax options and variations. I think my favorite was the (Spoiler - click to show)acquaintance whose fail ending made me laugh out loud.

So yeah, this was a MEIF (multi-ending IF), nicely tuned to its repeat play paradigm, offering a healthy variety of branches and written much better than it needed to be. Worth a play or 8-12!

Played: 7/24/24
Playtime: Act I (2x) 5min; Act II (3x) 5min; Act III (4x) 8min

I made the call to review these three Acts together, given their relative brevity and presumed linkages in the author's RGB Cycle. After playing them, I stand by that decision. These are three very short games, linked in formatting and variations on horror themes. In each, you are playing a potential victim’s role in a horror story. The setups are economically conveyed, crisply establishing dramatis personae and blurry setting, not wasting a word on unnecessary details or background. The dramatic resolution of the current scene is the whole focus, and given their dire urgency, appropriately so. Background details are dribbled out organically based on your choices and responses. It is a powerful, very successful approach to horror this short.

In the first act, a wife is confronted by a monstrous (pirate) husband. The second showcases a man trying to find his way out of darkness. The last is a man responding to a panic-inducing revelation. The pieces are thematically linked, though they share no common characters or setups. The ‘cycle’ in question seems deliberately named, and I am going to show my whole ass trying to explain what I could be completely wrong about. The name "RGB Cycle" carries two meanings I think. The more playful of the two is the use of color implicitly and explicitly in the works. On one level it is purely a graphical/presentation choice, implicitly linking characters across these narratives. On another level (and here I risk creating theme in whole cloth), each act is a different shade (ah? ah?) of culpability and agency in monstrous circumstances.

I am running out of non-spoiler room here. Each Act presents a life-or-death scenario of (Spoiler - click to show)predatory murder. Each Act features subtly different gameplay, from dialogue trees to modest puzzle solving, to dark room exploration. Each Act also provides (Spoiler - click to show)a single ending while perhaps head faking multiple endings, as far as my limited playthroughs could determine. When individual games do this, there is clearly a point to it. If the point is not surprising and/or thematically laser focused, it can land with an ‘eh, ok, I get it.’ When a TRYPTYCH of games do this, their impacts expand and multiply. When the genre of those games is horror, that choice rings loud and impactful. In particular, the variance in scenarios and motivations underline that the situations kind of don’t matter. The different roles of the 'colors' underline that personalities don't matter. Motivations and innocence don’t matter. These are all tones of a horrible, horrible rainbow whose overriding arc is impervious to its specific shadings (and most distressingly, impervious to (Spoiler - click to show)attempts to alter it).

That is a really cool conceit, deftly implemented, and landed for me like so much more than the sum of its parts. So yeah, three Acts cresting into an overarching message of effective horror. One review. Would be weird to only review Broadway productions scene by scene, wouldn’t it?

I would be remiss if I didn’t observe that Act II’s title is maybe my favorite IF title of all time. Certainly of those I can remember at the moment.

Boy will my face be RED if the last installments of this cycle contradict what I'm saying here. I'm getting GREEN in the gills thinking about it. And kinda BLUE. At least you know I'm not too YELLOW to post my thoughts!

Played: 7/22/24
Playtime: 8min, 4 endings

Hitting quite a run of these Short Story IF works. I suspect (and only suspect, not having participated in Jams of my own) Jams encourage this style of IF. Broad puzzly works, with complicated moving parts, player initiative anticipation, and their attendant debug and tweaking are a lot harder to force into a tight development timeline than a controlled linear narrative. Not a dig, linear narratives after all are the PROTO narratives. Should not be a surprise that there is a Jam that acknowledges this directly, the One Choice Jam. Makes the subtext text!

This is a story about mourning and reconciling difficult parent-child relationships. Per the one-choice conceit, you must select one of four artifacts to honor your mother, with mini-sections giving context on each of the choices. Actually, ‘difficult’ isn’t quite the word I want, though it is technically accurate. The story is not more or less difficult than any portrait of two differing lives squashing together, sometimes in harmony, sometimes with frictions, and further burdened by unfair and/or tone deaf expectations on both sides. Y’know, standard interpersonal relationship stuff.

This is a pretty good representation of that dynamic, I found. The artifacts represent samples of different aspects of this relationship. The One Choice offers conflictory impulses. On the one hand, it asks the player to select only one aspect of the relationship to foreground. A relationship that is explicitly NOT one thing, but a synthesis of them all. The very act of selection betrays the reality of the relationship’s complexity and flattens the fullness of it.

On the other hand, the player is deciding which memories to prioritize, in some way acknowledging that the complexity need not be uniform. That some traits might loom larger and more accurately summarize the relationship than others. Or more importantly for the protagonist, maybe the complexity was noise that distracted from the aspects that loomed largest.

There is a subtle on the third hand here, begging the handiness of the metaphor. Because the player is making the choice, the choice becomes what the player/protag WANTS to be true, almost independent of the deceased. It becomes more about the survivor than the deceased, and more revealing of their needs and wants. This feels like a stunningly well-observed insight into how ALL human relationships work, especially ones relegated to memories and not new experiences.

The work then hinges entirely on this one choice. I find it telling that the denouement is (Spoiler - click to show)not materially affected by the choice - funerals are scripted ritual after all. But the choice itself is what makes all the difference, to the protag and the player’s experience.

Hrm. So while I seem to have successfully avoided narrative spoilers, I have nevertheless completely spoiled the emotional content of the work. Does that count? Is there a mask for that?

Played: 7/22/24
Playtime: 1.5hrs

At some point, I review enough work from a single artist that my impulse is to turn a current review into a body-of-work overview. I need to resist this impulse, not because Death of the Artist (why would I want that???), but in fairness to the current work. Or perhaps, in fairness to the remaining body of work. To this point, I have admired almost all of this author’s works that I presumed to review, sometimes with qualifiers. Those caveats have given me things to talk about, digest, and clown on a bit.

DOL-OS, for me, was an unqualified, un-caveated success. You’re tying my review hands, work! It presents as an ooooold computer terminal, some archaic dawn-of-windows-like OS. Monochrome (mostly) terminal, visible-pixel fonts, all of it. And the design is just terrifically evocative, down to the messy desktops, the stray game and (working!) internet apps, the trashcan of nearly-deleted files. No clues what to do, just log in (initially as guest) and poke around a bit.

There, you are treated to a wide array of files, images and programs (among a field of ‘corrupted’ ones) that build a mosaic picture of a future dystopia. I cannot stress too highly how well done this is - the graphical presentation is just perfect, from its squiggly ‘corrupted’ files, to its program start screens and tones, to its broken internet. Too, the documents at your disposal are varied, redacted and fragmentary, presenting a picture of life under state paranoia and its often dire consequences. And the puzzles this enables! A clever set of puzzles dialed in specifically to this conceit and environment, integrated in a satisfyingly organic way.

Eventually, you can piece together the password to a user account and… learn of the genesis of the dystopia and perhaps the seeds of its fall. Only then is it clear that you are interacting with (Spoiler - click to show)a distant past, though honestly, the graphical presentation couldn’t clue it more openly. And you engage a final artifact from those times: (Spoiler - click to show)an AI created to render passionless legal judgements, most often capital. At that point you enter a dialogue (on keyboard) until a final, impactful decision.

This was just a wonderful, wonderful experience. Its verisimilitude was top tier, and sucked me in immediately to its world building. I relished the desktop playground constructed for my spelunking. I devoured all the files I could find, for 2/3 of the runtime hopelessly lost in the loose, seemingly disconnected puzzle pieces it was presenting. Then the game masterfully closed the gaps, fit the pieces in a satisfying pop, and built to a final conversation of great import. These kinds of mosaic narratives are catnip for me, and finding one this well done makes my heart sing.

So here is the part of my review where I would back off and whine about some detail, some gameplay artifact, some prose flourishes that didn’t quite… whatever. NOPE. I got none of that here. This is a winner folks, a straight up winner.

Played: 7/22/24
Playtime: 5min

You guys are really throwing down the gauntlet here, aren’t you? Ever shorter lengths, ever tighter conceits, its almost like you’re daring me to spoil! A dual Jam entry this, it is structured as a letter from sibling to sibling. The interactivity is of the page-turning variety, adding more text to a long letter in small chunks until it is done.

The letter itself is just sad, full of regret for a lifetime of (Spoiler - click to show)neglect and emotional isolation of its addressee. There are depressing details, nicely observed, that sell the specificity of its setting. There are equally depressing omissions on the author’s part that paint a pretty complete picture. A sad, complete picture. I found it effective in its brevity, if a bit of a downer. Which, I expect, is the whole point of it. I mean, writing is exercise in empathy, no? Trying to evoke emotions in others (horror, swooning, catharsis, tragedy, horniness, laughter, whatever) is one of the written word’s most common uses. Until advent of motion pictures, it was the main mass market vehicle for it (not to sell stage productions short). RTWYT15 ably steps into that legacy with its brief, cold shot of empathy. Really nice last line too.

Yah, this is shorter than most of my stuff, but it is scaled to the work, I promise!

Played: 7/22/24
Playtime: 15min

My second played work from the Goncharov Jam, and hoo boy quite different. This is a tragic love story, where interactivity is used to provide different insights and flashbacks into the central relationship, between a (Spoiler - click to show)gangster and a killer seemingly hired to kill him. An early charge I got from this work was this super loaded phrase in the Content Warning: - Brief cannibalism. LolWUT???

The cover art was actually the FIRST charge I got from this work. It is evocative, compelling, and very much of a piece with the 70’s movie conceit of the jam. So much is packed into that illustration, its dramatic layout, its swirling brush strokes, the dynamic lettering, the details in those swirls, I could stare at it for minutes. I could mount it next to my Vertigo poster as a full partner.

Another aspect of the work that landed precisely for me was its use of inline links. There are three types of them: 1) third person flashbacks; 2) first person internal monologue/observations; 3) advance the story. Each of these has its own interactive paradigm and color cues, very effectively segregating three intertwined narrative threads. If I had a quibble, it is with the default color scheme, which seems at odds both with the purported inspiration and the narrative itself. If it was intended as ironic frisson, it didn’t quite land that way for me. Small quibble, but there it is.

The story itself is a relationship study of two flawed men. The prose used here is quite magnetic, employed in both first and third person to simultaneously flesh out the deep attraction (Spoiler - click to show)and the tragic destiny of their relationship. The language flows from character-focused descriptions of physical and emotional attraction to horrific acts of violence, and does so in a shockingly consistent voice - the juxtaposition enhanced by the language thread that unites them.

It was a compelling read, no doubt, but like another recently reviewed work it engaged the ‘romancing the villain’ trope. It’s a work of fiction, I get that, but real or not there is some level of atrocity where I just stop caring about perpetrator heartache. I don’t want to make too much of it. It’s my own hangup. If you find that trope compelling, it is hard to see how this work would disappoint.

Played: 7/21/24
Playtime: 30min, 8-10 runs lost track, 634/752 (should be more)

A clever little jam entry asking you to optimize your thieving in a ten minute guards-are-coming window. This time, I went straight to the web implementation and had no issues with ADRIFT (in linux). Well, no platform-based issues. Per the rules of the JAM, it was implemented in a two week window which, ok, that buys it some forgiveness. Because for parsers, that is insane.

You are tasked to steal as much as you can carry and get out before you are caught, in a museum with a limited number of objects worth stealing. (Beyond the painting you secured that started the alarm timer.) That’s it! As an optimization game, on repeat plays you will divine the value of each object and figure out how to make away with the most value in your short window, until you decide you are done. It’s an interesting, if shallow logic problem, requiring some classic parser object manipulation.

And some classic parser fighting. Probably as an artifact of the short development time, you will often burn precious time guessing verbs or struggling with incomplete synonyms. Sometimes you quietly drop things you think you are carrying, other times objects are mysteriously not reported. Most vexing, in at least one scenario your final haul is not tallied correctly, where items in your inventory are not present in the final scoring.

Look, there are two kinds of people in the world: people who need to fill in every last cell in Sudoku, and those that are satisfied knowing it is solved once it tips past critical and don’t need to mechanically complete it. I know what you’re thinking. “Given every word you’ve written you are CERTAINLY the former, Reviewer! Just no room for doubt.” Seems likely doesn’t it? But NO! I CAN leave blocks unfilled once solution is certain! I AM FULL OF MYSTERIES AND CONTRADICTIONS, MARVEL AT MY UNKNOWABILITY!!!

So yeah, it ended up being an engaging enough puzzle for its tight scope. I figured out how to get high payoff items, but decided the mechanics of closing the score (including bug and syntax fighting) wouldn’t improve my experience further. Because I am ALSO composed of unimpeachable integrity (as well as so much bacon), I am only reporting a score the game alotted to me, above. As a two-week Jam game, its sins are easily forgiven and the its achievements against that time frame admirable. Also, not for nothing, quite fun.

Played: 7/24/24
Playtime: 30min

This is an opening chapter demo of a more ambitious project that includes music, voice, graphics and gameplay. Its title/logo was the first clue that I HAD to play it. The logo is insanely well conceived and executed, and an immediate draw to the work. The graphics in the game itself, on the other hand, take some adjustment. They are noticeably cruder than the game’s logo. They are rendered in primitive powerpoint style, with lots of overt geometric shapes, bright, limited palette colors and almost crude artistic short hands. The opening scene, in a ‘real world’ day care center was a bit jarring and off-putting. By the time we transition to the strange ‘Backrooms’ though, I found the art to be an increasingly mood-setting asset. I attribute this to NPC character design. While arguably as crudely rendered, NPC images rely on more fluid, freehandy shapes. They are also wildly imaginative, making for some evocative illustrations that hit far above their tooling limitations. The protagonist too is chockablock with low-res details (like the duck pattern on her jacket!) that combine to multiply- rather than sum-of-their-parts.

It helps a lot that the Backrooms are intended to be offputting and weird. My first impulse was ‘I’m in the Black Lodge!’ (from Twin Peaks), which, if there is a quicker way to get me on a game’s side I’m hard pressed to identify it. That knee-jerk is not totally without merit, as the titular ‘Backrooms’ are explicitly sourced from a memetic construct around weird liminal spaces featured in fan chats and copypasta. This take on the meme was engaging. Physics and logic are second thoughts that may or may not apply, moment by moment. I was as much put in the mind of Wizard of Oz as Twin Peaks in the unnaturally comfortable introduction and engagement of the deeply weird. You are introduced to a coterie of allies, then set about trying to return to earth. Complications (and villains) ensue.

Gameplay is pretty limited. There are a few moments of choice, but it is unclear how much this impacts the broad strokes of the story. Mostly you are clicking links that turn ‘pages’ (or advance powerpoint slides?). The focus of this demo chapter is orienting the player on the strange world they will be exploring. Or more like DISorienting, amirite? Thankfully, the narrative is propulsive and off-kilter enough that it speeds forward past some limited (so far) NPC characterizations and occasionally unconvincing dialogue. In particular, the protagonist adjusts to her new situation questionably fast, though frankly this choice helps the story’s mood and forward momentum more than it hurts. I found it to be an engaging read of constant surprise whose shortcomings are blink-and-you-miss-them. (And may be mitigated in a longer narrative anyway.)

All that said, there is one aspect that felt neglected. The game describes itself as an otome, which the internet dutifully informed me is a female-centric romance game, often characterized by choice-based romantic/emotional gameplay. The fact that I needed this explained might make me not the best critic here. Notwithstanding my genre ignorance, the romance aspect of the game was completely missing in this opening chapter. Now, given the plot events careening through this demo devoted to establishing the weird, weird setting, I agree there wasn’t really time for that. It ALSO means though that the demo doesn’t really give a taste of gameplay presumed to follow. Is this going to discourage fans of otome? Dunno, can’t speak to that, but feels like a missed opportunity in a demo.

All in all, the graphical and setting charms of this work far exceed any other quibbles. Apparently, there is voice acting and of course subsequent chapters to follow. Unindoctrinated to the draw of otome as I am, cannot say for sure that it will ultimately be for me or not, but ‘Find Love in the Black Lodge’ is a sly way to get me to try!

Played: 7/20/24
Playtime: 5min, lost count of playthroughs, so many

Just when I think IF has shown me all it has to offer, works still manage to surprise me. Ok, that’s a statement of unearned hubris. This work though, is a one-conceit jam whose hook is discovering that one conceit. And that one conceit is surprising and unique, once discovered. So yeah, another work whose impact can really only be discussed with spoilers. Here’s what I’m gonna do: try it without, then clarify that exercise in opacity behind spoiler protection.

This is a conversation tree of sorts, where you are selecting a word at a time until you reach critical mass and a sentence is revealed. It lives completely in replays, where the narrative (such as it is) is assembled from multiple, multiple endpoints. It momentarily gives the appearance of agency, but is quickly revealed to be an excavation exercise not a building one. The player is more assembling the variations in their head than guiding their creation. It is a unique formula I had not seen before and ultimately the revelation it builds to is unexpected if not necessarily dramatic. It also has a point of view on its surprise.

Um, it is default Twine also? I think I am out of non-spoiler gas. Ok then.

(Spoiler - click to show)As the final sentences multiply, the player gradually realizes these are all post excerpts from an unnamed, toxic online discussion thread. The sentences are curated specifically to capture the anonymous rancor, the self-righteous high grounding, and petty ad hominem attacks of its inspiration. The surprise understanding of what we are reading is the game’s one conceit, and the surprise is effective. It is also… incomplete? No, that’s not the word. Lacking? Hmm, no. Unsatisfying? Kind of. What it does well is capture sentences of generic application, such that devoid of context they still ring completely true to the conceit. There is also some slyness to the idea that common word choices can lead to very different outcomes, hinging on a single word. This itself feels like a condemning comment on its inspiration, and not an unwarranted one. But because it is devoid of context, it is unclear (Spoiler - click to show)WHOSE rancor is being skewered. The likely intent is that ALL of it is, but some of the entreaties actually change pretty significantly if interpreted with one context vs another. Meaning, some sentences come off as earnestly high ground, but whose meaning could curdle pretty quickly in specific context, and it is not clear the author sees that. It has the effect of coming across as authorial reproach rather than cold documentation. That perhaps unintended undercurrent, for me, made the work more difficult. Intellectually, I presume the author does not intend this, that the lack of context alone should telegraph the intent. (Spoiler - click to show)But the phrasing of some it is somehow… sympathetic? In a way that suggested to me some amount of ‘Monday Morning Zinger’ agenda, like some phrases were more right than others. That language artifact, which I presume is what it is, diluted what could have been the work’s more powerful message for me.

Played: 7/20/24
Playtime: 1.5hr, all 3 endings, 170/185

This is a wake-with-amnesia-in-sci-fi-base jam. It is pretty up front about its narrative aims, to dribble story at you while exploring and puzzle solving until the full narrative is clear. Its also pretty darn good at it. The challenge in these kinds of narratives is to make the background lore/flashbacks organic to the work and not a jarringly disconnected series of infodumps and background reading. There is enough variety in mechanism (loud speaker dialogue! found documents! mental impressions!) that things bubble along pleasantly if not COMPLETELY organically. That engineering should not be underestimated in a work where the author has limited control over player sequencing. There is a bit of monologuing right at the end that maybe crosses the infodump line, but has the benefit of kind of being de riguer for this kind of narrative.

The story itself is interesting and surprising enough that while not COMPLETELY revolutionary is still unguessably unique and packed with rewarding details and callbacks. The story architecture is its strongest feature, and definitely worth the price of admission.

There are implementation issues with gameplay - at points you are informed you must drop an object you are no longer holding, many unimplemented nouns, some document disambiguation issues. Most are forgivable, though sometimes these artifacts were actively intrusive. One message pushed me to a walkthrough: (Spoiler - click to show)If you try to >GET or >PUSH a grate, you are told ‘That’s fixed in place.’ Yet it must be >OPEN’d which thanks to messaging I never tried. Another >VERB NOUN fail message seemed so conclusively ‘NO’ that I was discouraged from trying >VERB NOUN WITH OTHER-NOUN. Yet another puzzle was so insufficiently clued that the moon logic solution was out of grasp for me.

Armed with a walkthrough I did power past most of that, though am not sure I would have persisted without. That always casts a pall over things. The other notable aspect of the work is its prose. I am famously fussy about language, and while this is nowhere near the most indulgent I have encountered, its excesses were a bit beyond my comfort zone. This is of course a personal choice, and your experience may vary, depending on your patience for phrases like “The whales listen with interest to the arabesques of your mind.”

In the end, neither of those artifacts sank the work. Its confident, drip-fed central narrative is its strength and ultimately pulls you through to its worthy ending. With help of walkthrough.

Played: 7/17/24
Playtime: 1.5hrs, 3playthroughs, 23 of 46 memories

I like mice. They have a clear-eyed view of cats.

This work is a choice-select piece, pretty much exactly what the title suggests. You are recalling incidents from a long mouse life to the Murine Reaper before your final curtain. The world is from a mouse based RPG, which, why not? There was a Watership Down one too. The big memory choices present as cards in a hand - you choose what scene to ‘play,’ then refine that scene with a series of subordinate choices. Ultimately, you have created a specific memory of your mousy life. After a series of these, during which a long and varied life is assembled via anecdotes, some pronouncements are made on your mousy character and… well, conversations with Death

I found it to be an interesting, melancholy, and effective construct. The variety of possibilities give some player authority to influence the mouse’s life; the limited number of ‘cards in hand’ effectively represent worldly events outside our control. By contributing to an entire lifespan, the seeming disconnected nature of these anecdotes actually thrive a bit. You could easily take snapshot memories from your own life - a patchwork that is technically accurate, but whose connective tissue is entirely missing and must be inferred. It is not an unsuccessful approach, and encourages the player (as we ourselves do in our own lives) to connect the dots.

But not totally. In life, we can’t help but carry ourselves forward in a continuum. If there is enough space to infer the continuum, great! But when details clash, or seemingly large events get summarily dropped or contradicted later in life (or in the body of the vignette itself!)… the seams show a bit. Most egregiously in two of my playthroughs my gender appeared to change during my life. (If that happens to mice, that is news to me!) Other times, my collection of ‘end words’ seemingly contradicted my life story, like when I was described as lonely after having a successful litter or a passionate first love. Let’s poke at that last one a bit. In presentation, first love was sold as a tremendously powerful event, as first love often is. Certainly for most of us, that first love is important, though need not define every subsequent relationship or even make our end-of-life top 10. But in a patchwork view of life, if it is important enough to BE in the top 10, wouldn’t the subsequent heartbreak/longing/supercession be equally or more important? It’s not that we HAVE to marry our first mouse love. It’s that if it’s important enough to recall on our deathbed, how that turned to loneliness (or lifelong partnership, or subsequent lifelong relationship) is maybe MORE important!?

Similarly, the language and lore of the place was 90% there, but seams showed. When world building with human-adjacent species, the temptation is to try to describe human artifacts through other species’ (here, mice’) eyes. When done well, it is very powerful to the human reader, and can really sell the alternate worldview. When not quite there, descriptions can be bafflingly opaque, where the reader is less drawn into the mouse’s eyes than pulled away to wrangle ‘just WHAT is being described here’??? The other pitfall is to throw up hands and occasionally just call them human things. This latter particularly jars, after the reader has grown accustomed to off-kilter mousey descriptions. The work is like 90/5/5 on those.

In the end, while I can’t shake the seams, the overall construct remains sound. The vignettes themselves are wildly divergent (as you would hope in a long life!), each with their own emotions and resonances. Their variety is fun, well written, and allow for player-driven maturation, trauma and changing approaches to life. (I think my favorite might have been a singular image of water, disconnected from context, that inexplicably stuck in my mousey memory. That kind of incomplete memory rang powerfully true.) The unspoken imperative to stitch these memories together in the player’s head is a powerful gameplay choice. The graphical presentation underscores that somber, reflective tone quite well. And the melancholy they assemble into is affecting, even with seams clearly showing.

Played : 7/19/24
Playtime: 10min, 1hr of setup/source code reading

There are games, in IF a LOT of games, that hearken back to the golden age, dawn of IF. Successful examples can match the tone, humor and idiosyncratic fussiness to make for a warm experience. Thanks to the dynamite efforts of heroic fans across the years, a lot of original games are still available to modern audiences either through emulators or explicit porting and of course the legendary Z-machine legacy.

History has crowned some classics in the field, some games that even in their own time rose above their peers in gameplay, drama or humor, that delighted legions of fans and are rightly revered to this day. What we might forget is that for those games to rise, there was a veritable deluge of games from which they rose. Games that didn’t capture the imagination, whose opaque puzzles didn’t generate the mass-mind engagement, maybe whose limited platforms never got the market purchase to showcase their offerings. Thanks to computer literacy and pioneering efforts of motivated fans, we still have access to some of those today, too.

Sunburst Contamination is one such afterlife-gifted game, from the ranks of the lesser-knowns. Originally a Commodore 64 game, it was ported to ZMachine for its own stab at immortality. For me, it was the wrong kind of nostalgia. Nevermind I needed to install Frotz just to play it (which, honestly, why didn’t I do that sooner?), because modern interpreters like Gargoyle, Lectrote and Parchment can’t run it. Once I did fire it up in Frotz, it just kind of lay there. The game itself didn’t give me any clues what it wanted me to do, though thankfully the IFDB page did. I navigated its limited vocabulary, its largely empty spaces of unimplemented nouns, its wildly uneven implementation horizon, its bugs(?) - in one area I was able to bypass a gatekeeper without solving a puzzle, just using a different directional command. Then I got stuck on a door I couldn’t open, which, in fiction, I CERTAINLY would have known how to. I battered myself against it for enough time to know this was not where I wanted to be spending my time and quit. UNPLAYABLE is a hard word, and certainly back in the day, with expectations of frustrating trial-and-error would not necessarily apply here. Against modern standards, I found it so. Not all wine ages gracefully!

If you consume a lot of nostalgic IF, it is hard not to appreciate modern evolutions. By buffing down the cruelty and subtly expanding from the opacity of early efforts the FEEL of early IF can be evoked without the frustration that peppered so much of it. Interestingly, it has also reduced the need for online communities to trade hints and discoveries just to make progress. Between robust hint systems and walkthroughs, that forced community pressure is all but gone. Yet, here we are anyway!

My first stop after being stuck was to parse some existing reviews for hints. I didn’t get any, but I DID tumble onto a generous review that likened its gameplay to a Scott Adams spoof. What a bold, ephemeral choice! The reviewer claimed, which I have no reason to doubt, that the ‘bad’ gameplay, seemingly buggy implementation and even typos were all spoofing that particular style of IF. If you were deeply conversant in that playstyle, immersed in that zeitgeist back in the day, maybe this would land a lot better. Maybe its Adams-ness would trade on some cultural knowledge that clued its gameplay better, and made its frustrations funnier. Cultural Comedy often has the shortest shelf-life. 40 years on, gameplay norms have evolved significantly and what might in fact be hilariously cutting subversions of well-known tropes, now is just… unworkable. Like, if there was a SIDE-SPLITTING joke written in Aramaic - I totally wouldn’t get it, and may not even recognize it as writing.

My second stop after being stuck was so much more rewarding. I downloaded and started to parse the source code. My initial motivation was to parse the code directly to find the solution to my blocking hatch. I quickly lost myself in the sheer, willful majesty of the Basic code. What a treat that was! Spoiled as we are by modern languages with innovations like named variables and object orientation, even the code itself was a puzzle to understand! The mechanics of its primitive parser, the spaghetti of its gotos and gosubs, where puzzles were organized BY THE VERB USED TO SOLVE THEM. You may not know exactly what I mean here. What I mean is for objects that, say, need you to attach something, across the entire breadth of the game, ALL of it is implemented under if/else trees under the ATTACH verb! Authors were adding puzzle solutions inline, disconnected from all context! I didn’t get quite there in decoding my specific puzzle, but what an astonishing insight into those old author mindsets. How insanely motivated and lateral logic-mired must those authors have been?!? I love, love, love that this was preserved, and that I dove into it. The game itself left me pretty cold, but the IMPLEMENTATION was mesmerizing.

Played: 7/19/24
Playtime: 2hrs, 2 false starts, good ending

I don’t know what it is with these alternate platforms for me. Just getting the game to launch was a mini-game of its own. Initially I tried to create an account on the hosting site, only to be told “there is an error, please try again.” Trying again, I was told my username/pwd was already in use, but no email (with confirmation link) was ever sent, meaning I was locked out. Then I just decided to play it without account, meaning I would not be able to save. Without a net baybee!

Unfortunately, the web hosting was not great. Periodically, I would encounter fits of extreme lag between command entry and response. Which looked like unaccepted commands, so I would keep retrying until eventually the first command response came back. Until eventually that didn’t work either and after 5 minutes of wait I concluded it was never coming back. That safety (save-ty?) net would have really come in handy at that point.

So I reloaded the game to try and fly back to stall point, only this time a crucial (and unfair) event failed to happen like last time. Consulting walkthrough, the prerequisites SEEM to have been met, so maybe something about reloading corrupted state? Killed window, started again. This time was able to play through, but with nearly 1.5hrs invested in frustration. Let me put all that aside though (assuming I can), and focus on gameplay.

It is an old school throwback design, deliberately evoking the primitive Apple II graphics and limited vocab gameplay. It did some nice work introducing its command particularities while simultaneously setting the mood with a charming opening sequence of ‘sit down and play.’ The illustrations were amateurish, but in a fun, loving homage kind of way. Early puzzles went fairly smoothly, though there were lots of glitches in vocab, mystery verbs (>LOWER VINES) and weird longhand sequences (>PUT KEY IN KEYHOLE instead of >UNLOCK DOOR (WITH KEY)). I found myself consulting walkthrough almost always to figure out how to key in a solution, not because the solution was unclear. Given the energy spent early to acclimatize players, these occurrences felt like a gap?

That said, fussy verbs, incomplete synonyms and janky syntax were not unheard of in early days, so it didn’t feel out of place, and maybe part of the nostalgic vibe? I did appreciate that instant death and unwinnable states had guardrails put around them which might not have been there in the old days.

Aside from fighting syntax, the puzzles were lowkey fun, probably in the middle/low end of difficulty with one or two moon logic ones, but often amusing and satisfying nonetheless. If I could tease out my frustrations with the platform, would be a recommend for anyone needing a shot of greyscale graphics adventures. Its not cutting any new ground, but it is faithfully and warmly recreating welcome old ground.

I trust others’ experiences with the platform will not be so fraught.

Played: 7/15/24
Playtime: 1.5hr, finished

This is the kind of game I could easily fall into for days and not come out until the Palooza was done, bleary eyed and wondering how my beard got so big. It is a big, single puzzle maze parser game. As a librarian mouse(?), you are tasked to protect your library from encroaching adventurers, bent on looting the place. The rules and constraints of this party-and-mouse game are not at all clear at the outset, despite an ‘Employee Manual’ that introduces you to the limited-vocabulary verbs at your disposal.

The arbitrary rules you must follow (build a maze of 20 rooms. open it to pursuers. direct LOS with your pursuers will kill you. limited control over pursuers’ path. some magic items to employ) really hit a sweet spot for me. Just opaque enough to engage my inner explorer-scientist. Just limiting enough to make a real challenge. Just flexible enough to encourage broad experimentation. I can’t remember the last time I was this high on the fumes of a SINGLE PUZZLE.

Its structure definitely supports it: it’s two phases really. 1) build your maze. 2) dodge through it, eluding pursuers and setting traps until victory! Both phases are engaging in different ways, tight and short enough that neither wears out its welcome in repeat plays. I felt like I could bounce back and forth forever, learning from failed attempts to inform the next build; experimenting with the build to inform the run/trap pattern. None of it too large to get in your head, complex enough to prohibit trivial solution. Just super, super great fun.

As a parser fan, I tend to favor narrative-driven works with notable NPC implementations, over-the-top humor, or clever lateral thinking twists. This has none of that unless you stretch a bit on the latter. But it still carved out an engaging puzzle, with fun, absurd chrome, that lived in my brain until solved. I forced myself to put it aside to review other works, but it stayed right there, open on my desktop. Beating away like Poe’s Telltale Heart, slowly driving me mad until it was all I could think of. So, thanks for that game?

Played: 7/13/24
Playtime: 2.5hr, stuck, unfinished

If ever I WANTED to like a game more, I can’t think of it just now. This is a 50s B-Movie Space Horror spoof, with strong Ed Wood Jr connections. Stop already, I think I’m getting the vapors! The game has an insanely good ambient music/soundtrack just perfect for its theme. Seriously, it is a perfect mood setter, don’t even TRY to play without it. The work is also funny, from an endless parade of funny tombstone epitaphs, to your pugnaciously willful partner, to the bonkers plot turns, to just outright winning prose. A fave: “everything carvable has been carven to within an inch of structural collapse” In my first half hour I was gleefully giggling, romping from one area to another, just having a grand time. Then it came time to start solving puzzles.

Man do I wish puzzle play synched with me like literally every other aspect of the work. There are a relatively spartan nine areas whose midgame puzzles just slammed things to a crashing halt. I consider myself reasonably experienced in these things, but after two hours of no progress whatsoever, the charms of the piece kind of washed away in torrents of frustration. Consulting the location-sensitive hints were only marginally helpful, sometimes offering opaque hints, sometimes reinforcing what I WANTED to do with no pointer HOW, and other times just plain missing. Lots of seemingly arbitrary deaths, funny the first few times, defeating after great stretches of no progress. In desperation, I consulted prior reviews that helpfully pointed out that (Spoiler - click to show)if you give your bag-of-instant-death to your partner and let him open it, it will no longer kill you when you do so. No story justification, mind, no text cluing that this might work, and once accomplished no text stating it in fact did. The helpful review characterized that move as a bug, but honestly, I’m not sure how ELSE it could be accomplished, and for sure it was needed to solve multiple puzzles! I blundered forward for a while after that, starting to make some progress, then again ran aground with no more internet help to guide me.

There are other, more traditional, buggy behaviors - text that addresses the partner before he arrives on scene; objects that should be consumed reappearing without comment - but these are exactly the kind of things that are easily forgiven in works that sing, and SO not the problem in works that make me struggle.

It doesn’t help that I tried SO SO MANY THINGS in the meantime that just didn’t work. Catching fireflies for light! Begging my partner to use his lighter! Wearing a helmet to avoid toxic fumes! Using objects as reach extenders! So many different gorilla entreaties! These are not spoilers, as none of them worked. It was the more frustrating because there was one puzzle I really liked, and tumbled into in what felt a ‘normal’ problem solving flow. I also seemed to be assembling some fun, intriguing pieces towards endgame, currently unemployed. I am forced to conclude that as on-my-vibe as this was in EVERY ASPECT BUT ONE, that one aspect we were just completely disconnected, this work and I.

It makes me unutterably sad that THIS game, of all games, rejected my puzzle-solving advances so resoundingly. A prohibitively opaque High Fantasy Cat People V Broccoli People RPG would not produce this level of regret in me. At this point, after slogging 2.5hrs in, it is pretty clear the relationship problem is not the game, it’s me. I’m in pain now, but with time I hope I can find it in me to become friends again.

Played: 7/11/24
Playtime: 15min

Let’s say I gave you infinite monkeys, y’know, as a birthday gift. Following year, I gave you infinite IF workstations. Never mind the HARROWING year you just suffered. In the even more bedeviling year that followed, let’s say those infinite IF monkeys submitted to infinite IF Jams and I reviewed every one of them. See, it’s not just you suffering!

So after those three years, math tells us YWAtaSW would be produced by that ill-considered simian gift army of mine. I call BS. There is no universe, irrational number based or not, where the conceit of this work is replicated, never mind its execution. Redo the math. If it tells you it could, the math is wrong. We made a fundamental error somewhere in history and are stranded down an untenable path, prisoners of our bad calculus. This explains quantum entanglement and energy teleportation too.

So yeah, YWAtaSW has a pretty singular premise - that you are playing a work of IF created by an entity you briefly swapped consciousness with, expressing their experience back to you. The identity of the swapper is not exactly a secret, but it is delightfully, bafflingly, bonkers as hell. I am torn between just outing the interloper’s identity and not. It is not a secret at all, but the implementation is so daffy I am reluctant to color it with any interpretation of my own.

If I had a wish, it would be that the work committed to its premise MORE. Most of it is a delightful ‘Stranger in a Strange Land’ ‘fish out of water’ look at the prosaic corners of human life. The mundane object inventories are particularly welcome. Like each artifact, however trivial to us, is worthy of deep marvel. Its ruminations on green and grass made me snort aloud. It is so good natured and pie-eyed about it, it is overtly winning. I had a nagging feeling though that the specifics of your timeshare partner could be more foregrounded. When the specifics show up they are clever and winning, but as often it feels more generic? Like any arbitrary alien identity’s experience? I don’t want to be too down on this, it is super successful in the general, wanting more specifics is just me being greedy. I particularly liked the sexual politics guilelessly left behind for the protagonist to untangle. Hey if I didn’t know what sex was, I’d sure be curious too. Not that my curiosity is COMPLETELY sated by full knowledge.

A totally bananas conceit, in a very fun, very funny implementation. Not the work’s fault I am fascinated with gifted equine denture.

Also, a REAL friend would have included infinite bags of monkey chow that first birthday. That’s on me.

Played: 7/11/24
Playtime: 12min, 6 playthroughs

This is a work submitted for an internet fad Jam - the BEST kind of Jam. An internet fad where lore is manufactured from a typo, a misunderstood offhand comment, a picture out of context, then that lore TAKES OFF into life of its own, composed completely of the whimsy of those whom it erupted around. Somehow stronger and more vital than the gossamer-thin threads of its animus and powered by sheer LOLs. The Best kind of fad.

As I was not part of the genesis of this particular memetic construct, I’m not the one to explain it, I am just expressing my admiration for constructs of its ilk. Someone took this phenomenon and said, “Let’s Game Jam it!” Ah humanity, when I fear all is dark, you endlessly remind me how great we can be, when we’re not being shitty to each other.

So this is a gangster game, notionally related to a fake meme gangster movie. You are tasked to find out some information about the other gangster gang for your gangster gang, by sweet talking a femme fatale. In the lore of the meme, the fake movie in question would be from the 70s, but this feels more pre-New Hollywood 50s-60s. It is a portentous conversation, with subtexts of danger and disaster swirling around a pretense of flirtation. It FEELS black and white, mannered, and swelling with unspoken anxieties. And no doubt fabulous clothing. Through a conversation tree you are asked to get as much information as possible, though how you prioritize that over flirtation is completely up to you.

Then, as these things mandate, the conversation ends with increased tension and without resolution. And that’s it. It is a very capable representation of a memorable scene between powerhouse actresses at the height of their powers, the scene that film scholars would endlessly revisit before TCM showings. Completely devoid of the context of the rest of the movie. Honestly, choosing THIS way to honor its inspiration is kind of … inspired.

It was pretty fun, certainly a quick play, and gave an admirable range of dialogue choices that narrowed to a few outcomes, none of which felt unnatural or lesser. Like the meme itself, it leaves great swaths of subsequent possibilities in the mind of the player, pointed towards but whose inclarity is its virtue. It kind of honors both the form and function of its memetic inspiration that way. It’s not clear to me it achieves much outside the context of its inspiration, but as a Jam entry was never required to do so. Viva fits of whimsy!

Played: 7/11/24
Playtime: 30min, read time really

This is a linear work, its aims cleverly clued by its graphical layout which conclusively evokes pages in a book. Its interactivity is precisely that, turning pages at each one’s end. It is exactly as interactive as a short story. As a short story, its effectiveness is entirely in the hands of the author.

Which is a wild thing to say. At some level, all art, interactive or no, springs from an author’s vision and implementation skill. At least in the ways I am interested in talking about. INTERACTIVE art explicitly aims to include the consumer in the art, (for want of a better word) PASSIVE art does not. This is a two edged sword for the author. The promise of interactivity is a deeper engagement, a unique frisson that is the difference between participation and consumption. The peril of interactivity is that the author has no control over the player, and must somehow accommodate or steer the experience to still deliver their artistic statement against an unpredictable range of interactions.

Am I saying fiction is “easier” than IF? That would be a hell of a hubristic thing, wouldn’t it? Let’s dodge that with mealy mouthed “they both have challenges.” The unique challenge of fiction is to get reader buyin, then keep it. The setup, scenario, human behaviors and plot twists all need to be convincingly communicated and sustained. There is no implicit buyin by player typing along at keyboard. In both kinds of art, the prose itself is doing the lion’s share of this convincing.

My Girl worked for me as a short story for most of its breadth, thanks to its prose. It is somewhat dreamy, somewhat poetic, but always cold and unsentimental, befitting its scenario and characters. It compellingly tells the story of an unhappy marriage, a woman abandoned by her husband for long stretches at sea, then expected to service marital and emotional duties during infrequent returns as if these gaps were immaterial. The wife a player in her husband’s story, as almost a glorified extra. Unsurprisingly, she is increasing dissatisfied with that role. For great stretches, the language and turns of phrase terrifically convey the feeling. Some standouts: “ever bending the crooked language of his devotion like a bludgeon” “There is nothing within your dominion that your husband would not claim as his own, in deserved access” “the hymns you sing segment it small, dividing the hours as neatly as in your book”

It is a slow, sad dance of spiraling despair, very effectively and magnetically conveyed… for 80-85% of its length?

Just often enough, there are narrative twists or observations that do not evolve naturally, that jarringly intrude into the narrative flow without prior warning or support. An observation about “frivolity of men” breaks the personal scope of the narrative, suddenly speaking (in isolation) to a larger indictment than the text was previously concerned with. Contradictory descriptions: “sniffing out for traces of betrayal that you could swear are dribbling in red rivulets down the inside of your wrist as he speaks.” vs “He has no reason to not believe you would be truthful, that you would be true.”

And two major plot twists, one of which carried some setup portent only to be so shadowed as to muddy its impact. Then a final twist from nowhere, the more unsatisfying for its terse, disconnected resolution.

There is a school of thought that for short stories, the ending is whole measure of success. I don’t think it has to be true. Certainly I have found any number of longer format works who have bungled the ending BADLY (looking at you The Stand) that nevertheless are fondly remembered for the many, many things that worked like gangbusters before that. My Girl doesn’t beef anywhere near that bad, but leaves me with analogous feelings. Sure, there were glitches at the end, but for great swaths of its length, I was captivated.

Played: 7/11/24
Playtime: 15min, two playthroughs

Y’know how some games are emerald-cut jewels of insight into some aspect of creation? That touch on universal themes and leverage interactivity to deliver that insight to the player like a thunderbolt? That instantly spark a spiraling sea of contemplations, revelations and powerful proximity to Larger Truths? That compel reviewers to hammer out page after page of analysis and exploration, as much desperately trying to grapple with the feelings the work elicited as informing potential audiences?

Wouldn’t it be EXHAUSTING if every IF work was like that??? Like, just fatiguing beyond all measure.

KoB is, thankfully, not that. It is another one-conceit Jam that slyly slips in a second conceit on replay. It feels graphically a little hastier than some. Textually, a little deeper than others. It is a pre-date screening by a helpful roommate that tests the player’s empathy a bit (I’m gonna say up to the line, but not hitting ‘manipulatively so’), then delivers some quick horror. In a game this small, that feels spoilery, but the game’s own descriptions basically confirm this, so I’m good.

I’m a horror guy, so my bar was not very high for this thing. I liked it for what it was. I really liked that it bucked a strong feline subculture in IF to SHOWCASE A DOG (who’s a good girl??). I liked it better on replay, when going for a different ending which really drove home the horror. Hard to imagine you won’t like those things too.

Except for, well you know who you are. :cat:

Played: 7/10/24
Playtime: 1/2 hr, 86 pts, fired; additional 1hr “won” with walkthrough goose
CW: AI art

CnL has a lot going for it, I wish so much of it was not qualified. This is a pretty classic parser experience, wrapped in an attractive package and oozing with wit.

The wit is the least qualified success in the work. It is suffused with pre-cancellation Scott Adams’ Dilbert vibes, which, death of the artist, when at its best was crushingly on point in its lampooning of empty business jargon. Most NPCs are endless fonts of vacuous business platitudes, and the game’s unbending commitment to the bit sells it terrifically. The game ups its ante by building these farcical lampoonings into its puzzles and plot beats. Occasionally laugh out loud, it is always wryly amusing and keeps things bubbling along. As a player you can decide whether this train of humor is still fresh, but for me, the work’s total investment just sold it.

The game’s presentation is crisp and clean - the vertical illustrations siding the clean font text panel establishes a graphic identity that is pleasing and engaging. The illustrations themselves flex between functional and part of the gag, and often work pretty well. There are some stylistic hints and non-uniformities that clue their AI authorship. For me, I concede that the artwork works with the vibe pretty well, introducing a 1950’s Man in Grey Suit overlay to 90s-00s corporate cult culture. It is not unsuccessful. The ambivalence you are detecting is that even when AI art is successful, and I have played other works where it was as successful as here, I inevitably struggle with its larger implications. “Death of the Artist” only makes sense to me when the artist was at least once alive. If this aspect of AI art does not bedevil you, you will doubtless find this less ambiguously successful.

The gameplay experience was more traditionally asterisk’d. There were many design and bug artifacts that I understand may now be addressed: weird state glitches, cross-room disambiguations, missing synonyms, moon logic puzzles and lack of reasonable alternate solutions.

These were not everywhere, by the way. There are plenty of lateral thinking, assemble the clues, and search for item puzzles that land squarely in parser tradition, often with humorous twists and satisfying clicks.

This review sounds kind of whiny and mopey doesn’t it? I actually enjoyed the experience a lot more than this review might be conveying. I think I got into that weird space where I enjoyed it enough to want to enjoy it even more, and felt those frictions more keenly. It is a worthwhile play - wryly amusing on several levels. Pretty fair, fun endstates even in failure. Its puzzles as often parser classics as glitchy-but-still-pretty-fun. I wouldn’t let my moping hold you back. Death of the Reviewer! (Especially as the updated version is probably even better)

Played: 7/9/24
Playtime: 45min, two restarts due to bugs

I was immediately won over by the sly, subversive wit that permeates the piece. It is nominally modern, but also medieval, and slides across its academia/occult knowledge/farce vibes with confidence and panache, dropping academic treatises and pop culture references with equal weight. It’s a quest for a portentious tome in the bowels of a library you are interning at. You need to make porridge, as is usually required in these things. There’s fights, snotty students, amusingly off-kilter puzzles. Two quick samples that I snorted in delight at: “[RE granola]The loudest, crumbiest of all the snacks.” “the medieval peasant you keep in your head for dialectical purposes cackles at you,”

It’s also, unfortunately, intrusively buggy in one of its central puzzles. In one early section, you are asked to concoct something. If you explore out of order, you can find yourself carrying the wrong ingredients for your puzzle solving mixture, with no way to replace incorrect items. In the course of decoding its mild complexity, I twice found myself in endless loops, unable to click free and needed to restart. This early in the game, not a huge problem but certainly jarring and unwelcome. If appearing in a longer work, would be game ending.

Even when not outright blocked, I was sometimes treated to buggy text as well, the following appearing after a paragraph of normal text:
"(set: the recipe card,jerky to it - jerky
what I can only presume to be internal code.

So yeah, a flawed experience, but honestly the rest of it is so witty and good-natured it was easy enough to forgive. The graphical presentation is pleasing, the use of sound amusing and deftly employed. A little more polish and it would be an unambiguous recommend. Will keep my eye out for promised subsequent chapters.

Played: 7/9/24
Playtime: 20min, 4 playthroughs

Sometimes my subconscious is an a$$hole. There is a phrase that came to mind during my third playthrough that was deeply uncharitable, kind of mean, and I could not shake once it hit. It also came kind of out of the blue, like a dreamstate free association. This is the second work by this author I have played, and I am just an outright fan of their prose. The dreamstate is a natural outcome of this mesmeric writing style, whose use of swirling imagery, conflicting clauses and poetic descriptions weave a spell like few others.

In IF I have encountered many, many attempts at this kind of word alchemy, vanishingly few this successful. The prose whisks you along, hinting at backstory through misty descriptions that leave an impression then maddeningly waft away, propelling you to the next thought or emotion. My first two playthroughs, I was driftwood caught in the eddies of this work, sliding to and fro, gently prodded to one direction or another and constantly, comfortably rocked while being so. I found it a joy to read. An example which, because I am a word nerd, stopped me in my tracks to admire it: “a place in her long shadow shaped exactly like you”

constellate tells the story of the reunion of two soldiers, one retired, who share an emotional history while hinting at the harsh backstory that led to their separation. The protagonist/player is processing deeply conflicted emotions at the reunion, and the gameplay centers around how you choose to engage that conflict. It employs one of my favorite (when done well) mechanics: links that change text inline to refine the sentence they inhabit. Here, this mechanism perfectly conveys the protagonists conflicted mindset, and gives the player some autonomy based on where it ‘resolves.’ I cannot tell if the narrative changes based on where the final click leaves things, but the thought that it might makes me happy. It certainly does yeoman’s work to sell the protagonist’s internal conflict.

So I went through twice in kind of a dream haze, savoring the warm, enveloping prose, the charge of conflict presented to player/protagonist. I think there was a weird schism there though, because while I definitely felt the conflict, the actual romantic feelings eluded me. If anything, an unhealthy lust, fueled by protagonist’s self-hatred, seemed a more convincing response… until some random firing neurons produced this:

(Spoiler - click to show)Space Nazis in Love

Once that cold, cruel phrase bubbled through the prose miasma to hit my forebrain, it became the only prism I could view through. My subconscious is an a$$hole, but, it’s not totally wrong? Without hint that the backstory is unreliably reported, which we have no reason to believe, we are instead left with two people who commit horrific acts, only one of whom seemingly has any regrets. Yet that pretty fundamental difference is still secondary to their strong chemical attraction. The author is not unaware of this contradiction, certainly the climax is fraught with conflict and compromise. As a player though, I kind of lost connection - sure, they’ve got pretty epic baggage, but even bittersweetness carries sweetness. Is that really what they deserve?

So my recommendation is play through this game for sure - admire its seemingly peerless prose; marvel at the effectiveness of the static links; get swept along by its rhythms and beats. Just stop after twice.

Played: 7/7/24
Playtime: 15min, 4 endings

I swear, fresh off their IFCOMP23 performance, @EJoyce has decided to just troll me exclusively. Veggie lasagna? With CATS??? About the only part of this game I related to was not wanting to let my partner down! This is a game where you try to make (occasionally dubiously hygenic) pasta while cats try to foil your every move. AS THEY ALWAYS, ALWAYS DO. You know where my dog was while I played this? Snoozing peacefully in the corner! Dogs respect your boundaries is what I’m saying, and I’m providing no glimpse into the wealth of counter-evidence at my disposal that might undermine that thesis.

As a choice select game, you are typically asked to choose between ‘do I indulge my whiskered tormentor?’ or ‘do I stay on task?’ while making lasagna. Which path is most successful? The answer may surprise you! Sure, the challenges presented by these feline monsters are varied, humorous and seemingly endless. The text is crisp and propulsive, never letting you get TOO mired in cat-minutiae. As other jams, it has one central conceit, lets you play with that for a while, then provides a subversive set of endings that justifies its runtime quite nicely. I went through four times, spanning the breadth from ‘get out of here whiskers, you’re my partner’s problem’ to ‘ooh pwetty kitty, what was I doing again?’ (that latter proving yet again, as if proof were still needed, just how heroic a reviewer your humble servant is!) The endings were suitably humorous, not the least of which… eh, I made it this far, no spoilers. I do recommend spanning the breadth of endings yourself. I do NOT recommend serving some of these to you partner!

Played: 7/6/24
Playtime: 35m, 4 endings - 3 short, one very long and very good

This work gave me cause to ruminate over the nature of multi-ending IF (MEIF for short). It’s got 14 of them. I have far from a categorical knowledge of this class of IF, but have seen enough to start to wonder about them. “Endings” is kind of a loaded term anyway, right? “Endings” implies a finality, a closure, in the context of fiction, a dramatic culmination. These are things you build towards, planting thematic resonances, scattering then gathering plot threads, evolving relationships and character traits to some final overarching statement of satisfying surprise or inevitability.

They are such fragile, complicated things, it’s a wonder authors can do ONE of those in a given work. What hubris stirs these IF artists to presume 5, 10, 14? There’s a few approaches to multi-ending that have enough merit to be enumerated.

The first is to eschew linear narrative constructs altogether - make the multiple endings the POINT of the work. There is little narrative flow beyond the simplest …and then… , it is the ENDINGS that carry all that weight and the more you see, the better you understand the narrative mosaic. Or, more often, the gag. Because this approach challenges our relationship with traditional narrative, it is particularly suited to humor.

The second is to use interactivity to change the player’s relationship to the narrative, but not the fundamental plot beats themselves. The varied ‘endings’ then reflect how successfully the player aligned to a linear plot - I do not mean this as a judgement. In classic IF this is the ‘You have Died’ ending. You failed to advance along the plotline beyond point X. One might conclude that this is the LEAST interesting MEIF, in that the “ending” is clearly not a NARRATIVE one, and the player is intended to try again and again until the true ending is achieved. A more interesting approach is to allow the player character choices responding to the plot - are they complicit in horrors, a victim of bad choices, or exonerated by thematic alignment? Great dramatic effect can be wrung from player ‘plot failure.’ The challenge is to craft the choice architecture to manage the different endstates in a way that feels organic and satisfying.

The most difficult by FAR is the branching narrative, where player decisions are meant to influence the plot. Cold mathematics quickly steps in to nP the space beyond human capacity, so the art here is to judiciously choose a manageable number of threads, then architect choices in a way that feels more open than it is. THEN ensure that everyone of them justifies itself against every possible permutation of player choice that terminates there! One approach to this problem gave us ‘hidden score threshold’ IF, where choices add up to a scorecheck at key branching crossroads. More manual solutions also exist, most successfully in smaller, tighter works.

There is some real existential hand wringing to do over MEIF for the prospective author. The first question to answer is ‘How do I want the player to engage this work?’ Will they be playing through only once, experiencing a narrative tailored to their specific choices, the majority of the work going unseen? Are they to Ash Ketchum that sh*t and greedily gobble up all of it? Somewhere between? How do you signal to a player which of those is the desired mode? And how does your game respond when players do whatever wild thing they want to do anyway?

Classic IF authors instinctively understood that if you characterize an ending as “FAILURE” players will want to reengage to get the win. That’s kind of a gimme. More elaborate constructs still feel pretty elusive to me - I have seen some very successful comedy pieces, one memorable mosaic ending dramatic piece. Telltale came as close to branching narrative success as I can think of right now. I have seen some dramatic failures in all those types though. The critical thing to understand about MEIF is that for subsequent runs, the player’s eyes are glazing over parts they’ve seen before. The more text you put before an interesting choice point, the more like drudgery it will feel to the player, and the more the endings need to justify or compensate that.

All of which brings us back to … Teatime. I played through four times. The first three endings were kind of unsatisfying. Variations on ‘life is hard and couch is comfortable, but should probably get up.’ But not really dramatically satisfying (though buoyed by energetic, fun text). Also, not for nothing, longer to re-click through than their resolution justified.

My FOURTH run though, I kind of took the game’s broad hints of ‘this is probably the path you should engage’ and did. I was treated to some Videodrome/Alan Wake II reminiscent stuff that was flat excellent, including a graphic presentation change, some talk show format clowning that had interesting choices, impactful character moments, and took a fun, funny, kind of endearing path to a dramatically satisfying close. It was also 4-5 times LONGER than the already kinda long other branches. Meaning, if there are multiple endings buried in that branch I will never see them.

But y’know what? I don’t need to see anymore. The remaining 10(!) paths could be long or short. If short, my experience says maybe not as satisfying as repeated clicking will warrant. If long SOOO much repeated text to get through, and hard to imagine it improves on the one I already got. That one long path was worth the price of admission, and I’m glad I stuck it out.

Which only made me ask… Given the narrative tightness of the longest path, what was the POINT of all those other endings? This work gave me cause to ruminate over the nature of multi-ending IF (MEIF for short). It’s got 14…

Played: 7/6/24
Playtime: 25min, 5 playthroughs, 3 endings

PUBLIC SERVICE ANNOUNCEMENT: DR. WHO PLAYS NO PART IN THIS WORK

This is a short piece about an odd encounter one winter night. I guess it is a slice of life kind of thing. Certainly the simple majority of my playthroughs led to a denouement that was essentially a low stakes, “well that was a weird memory, wasn’t it?” That’s not a problem. I mean short stories trade in that all the time, the intriguing but trivial anecdote in an otherwise offscreen life. No connection to anything else, just a wild thing to reflect on from time to time. I would say, the first three playthroughs were unevenly implemented, in the sense that it was no more or less remarkable whether I engaged the strange phone booth or not. In fact, some ending text PRESUMED I had gone way farther than I actually did, referring to a girl that particular playthrough had not encountered. (There was another weird instance of me opening cans when I had bought bottles.)

The other two playthoughs more interestingly justified the time, one developing into an unsettling stalker scenario, the next into a ‘random hookup gone wrong’ vibe. In both cases though, the narrative pulled WAY short of any significant consequences or backstory, just ended up being different flavors of ‘hn, that was weird.’ Lots of intriguingly suggestive details but no solid answers. I think your enjoyment of the piece will hinge on how open to these kinds of mini-narratives you are. There was no character arc in my playthrough, no dramatic crescendos or reveals, just some weird details that defied explanation. Like a story you might tell at a cocktail party, whose whole point is ‘here’s a weird thing that happened to me…’

I think this might be a stronger piece with some narrative throughlines. There are hints that the PC might have somehow done something bad in the past, or that the visitor intended something bad, but nothing came of either in my playthroughs. It is possible my mix of choices derailed any of that, but just as possible that the hints were the whole point of the piece and nothing more was there. The latter FEELS more consistent with the work, so if it was the former, a stronger authorial hand would need to show the cards a little more prominently.

But that seemingly was not the work’s aim and that’s fine. It ably accomplishes a Wierd Cocktail Party Anecdote simulation, which, if those were uninteresting, we’d never bring them up at parties would we?

Played: 7/6/24
Playtime: 10min, 4 playthroughs

Hm. This is the latest work that confounds my reductive reviewing approach with another in a seemingly endless series of ‘howmygonnadothis?’ choices to make. When reviewing for Comps, judging is in the mix so I feel compelled to explore the factors that led to a specific rating. That pressure/justification is absent here. While my aim is more towards fellow players and the author, I try to be congizant of the Key Review Question.

The unspoken question is ‘is this worth a player’s time, and if so, what kind of player?’ Single-conceit Jam games are typically so brief that it would be near impossible to fail that test. BUT, they are also so brief that their single is conceit IS THE WHOLE THING. So if, in a review, I tell you the single conceit there is nothing left to experience unspoiled. In a large game, spoilers may not be ideal, but with some surgical precision you can limit the damage while making relevant points. In a small game, there may not be much left after the damage.

Sure, that’s kinda what spoiler tags are for, but also is our global energy system well served by delivering scads of 100% illegible reviews to browsers across the planet?

What I can say is that this work telegraphs a kind of distasteful style of gameplay, but whose central conceit thoroughly and completely redeems it. Even THAT feels spoilery. Is gameplay fun? I wouldn’t say that. Is it engaging? A little too prickly and bare bones for that. But its central message and (Spoiler - click to show)gameplay headfake are well rendered at exactly the right size, exactly the right conciseness to drive its message home. Its prickliness serves that conceit wonderfully. I found this game expertly calibrated and pretty darn cool.

Played: 7/6/24
Playtime: 13min, 8 playthroughs

GONNA DISCUSS WITH BIG SPOILERS, LIKE NOTHING BUT
it’s pretty short, go ahead and play first

Is there anything more dispiriting than social impotence? Is dispiriting the right word? It feels like it is, but it also feels like it isn’t… big enough? That your life exists only in the minds of those around you and no amount of cleverness, resistance, will or empathy, nothing actually of you makes the slightest difference in that. History is choked with marginalized peoples and genders that exist as outright property of others. Vast swaths of modern life still carry these impulses, usually applied to people whose lives and agendas are inconvenient to our own narratives. It is the worst kind of dehumanizing. I don’t know, maybe I shouldn’t try to rank those kinds of things. It’s pretty bad though.

This is a work that uses a heroic narrative from Greek mythology to drive that point home. The packaging is super attractive, opening with classic art, then a story-appropriate background painting of roiling seas under translucent text box. As a player, you are making a series of choices as Andromeda during her attempted sacrifice and subsequent rescue. An amusing variety of responses from ‘sweep me away broad shoulders’ to ‘back off entitled ass’ are available to you. The inability of any of those choices to alter your path are the crux of the work. You can be sassy, reasonable, unreasonable, compliant or enthusiastic, and none of it gives you initiative in your own life. Depending on a particular runthrough, this can vary the experience from spineless surrender to despairing defeat.

It is worth noting that “nothing you do will change anything” is one of the emergent staples of IF-as-narrative. Its theme-to-implementation-difficulty equation has an off the charts ratio, especially in shorter works. It is one of the easiest things to implement, no? No branching narrative, maybe a state variable or two, just the one path with some alternate text. The success or failure of a work like this depends pretty definitively on how convincing and/or entertaining that message is, relative the theme of the piece.

It is pretty perfect against a theme of social impotence.

Is it fun? I mean, does that SOUND fun to you? This is not a piece aimed at entertainment per se (though some branches to have a wry wit to them). It has a point of view, a message, and is super effective at delivering it. As a short work of interactive art, AC accomplishes a vivid, crushing evocation. This f@%#ing sucks. Remember that, sez the work.

Played: 6/7/24
Playtime: 15min, lost, 1.25hrs later, won

The Way Home is an ADRIFT game. For a Linux user, ADRIFT games are … suboptimal. As far as I can tell, the only way to play is to run Frankendrift after installing MS .NET (ptoo ptoo). Which, because I am a hero of BASHian proportions, I did. Frankendrift had some performance issues when I tested this, but I am given to understand those have been subsequently improved.

This is not the game’s fault in any case, and I hope I can tease out the negative coloring it imparted to the experience. I will say I did appreciate the crude but effective-enough mapping window. Thanks to sometimes spotty direction descriptions it was very useful.

The game itself is part 2 of a fantasy adventure, though as these things typically go, is more puzzle than swashbuckling. Also very much NOT required to play part 1. It stands on its own with two meaty puzzles composed of subordinate mini-puzzles. Very classic vibe in that way. I understand it to be an update of a Commodore 64 game? Wow, cool! I can very much see this being of that time and place. Descriptions are spare, from a time when storage was not cheaper than water. Just enough to set the stage and highlight important items, with bare minimum chrome to color things. Gameplay is very much classic parser, with a limited but set-complete vocabulary. Also very classic in that synonyms are in short supply.

I am happy to report that the hint system is fully functional, helpful, and context aware. I needed it twice, once because I was convinced I needed to (Spoiler - click to show)build a sled instead of … somehow… (Spoiler - click to show)ride a ladder, and a second time because (Spoiler - click to show)locksmith was not a synonym for keymaster. I wouldn’t say either of those were infuriating, but neither were they satisfying once spoiled. I will also say that while I did solve another puzzle it felt very much like an “if all you have is a rat, all problems look like cheese” situation. There are some death fails, but thankfully they occur early enough in the proceedings that a restart isn’t TOO onerous.

So yeah, very faithful old school recreation, of a time when IF technology was more fussy, puzzles more streamlined and idiosyncratic, and prose less adorned. I didn’t dislike the experience, but it is hard to justify the interpreter struggle to my fellow linux users. For non-linux it is a nice dose of old school Adventure, still cruel but less than most, good for a relatively tight nostalgia shot.

Played: 7/6/24
Playtime: 15min, chapter1

I did not expect this here! A preview chapter of a pay-to-play text adventure! I am delighted beyond words that this thing exists. The application was very attractive on my Motorola - a very professional, evocative presentation, graphically appealing, choices sliding in crisply from the sidelines to facilitate my agency.

There is a bit more text here than I was ready for - some pages required scrolling to get to choices, though I must say that friction quickly faded. The writing is warm and functional, but still concise enough to not waste your time so it rarely felt like description for description sake. It FELT very ChoiceScripty to me. There was a good bit of establishing character traits and physical appearance, some soft relationship building all on the way to a background mystery involving your brother and his shifty Dwarf friend.

As a preview, it had a few things going against it. For one, the non-character choices you were making had uncertain effect on the narrative. It wasn’t clear beyond some flavor text ANY choices actually did anything. Which is always an unfair statement, clearly building character is ‘doing something.’ But relative gameplay there were few hints your choices had consequences or effects. Meaning by the end of the chapter I didn’t really have a feel for what this fellow I was building would be DOING in subsequent chapters. What my gameplay was going to be.

For a second, as an intro chapter, it had a LOT of infodump work to do in establishing setting, NPCs, stakes, and of course your ChoiceScript Character Sheet. The setting is super Tolkien adjacent. Not a dig. Featuring Halflings, there is no universe where that is not true. It also includes a distant man-elf war against a dark power. A mysterious ‘protector’ that has really strong Ranger vibes. It’s close is what I’m saying. It also seemingly extends my least favorite Tolkien artifact, elvish racism against Dwarves, to Halflings. Why is THAT the JRR Touchstone?? All of it is pleasantly enough conveyed (barring that poor Dwarf - which, to be clear, I am exaggerating for effect), but for a High Fantasy Tourist like me, not so compellingly.

For my part, being a casual-at-best ChoiceScript engager, unmoved by fantasy as a genre, and unclear what kind of IF ride I would be signing on for, I probably pass on the rest of it. If I had any suggestions, and I recognize like most post-publication feedback is mostly academic, I would proffer that the free trail chapter might be better served showcasing gameplay to some extent: a training wheels combat, introductory throwaway find-use puzzles, a quick relationship based levelup, whatever the game itself centers on. Something to telegraph the gameplay to follow. To its credit, I will say the combination of presentation, crisp writing, and toned down CS-iness had its charms, even to me. I could see ChoiceScript fans having a more promising engagement, and fantasy fans finding a lot to be happy with here. If you consider yourself one or both of those, I do recommend it.

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.

Adapted from a SpringThing24 Review

Played: 4/9/24
Playtime: 2hrs

It is rare for me to see the ‘Interactive’ and ‘Fiction’ aspects of a work as truly separate things. Sure, I sometimes lean on those aspects when writing about IF works because its honestly pretty convenient, but the alchemy is how they come together to form a new, more interesting thing. I mean, isn’t that why we’re here? Fiction without interactivity is a story. Interactivity without fiction is a parlor game. There is always an implicit question about the combo, ‘what does interactivity bring to the table v like, just reading a book?’ (That is somehow a more interesting question than ‘what if bingo had a character arc???’)

I’m not an academic, and there’s probably much better thought out constructs than whatever I’m about to type next but let me try to call out some explicit things interactivity can bring to a narrative.

- collaborative character building through choice architecture and prioritization, more strongly investing the reader in a protagonist
- narrative pacing for dramatic effect
- dynamic graphical flourishes to enhance specific moments
- collaborative plot development, letting reader input influence events; at its most pronounced resulting in multiple, orthogonal stories (all of which provisioned by the author in some way)

There is a temptation to categorize based on the latter. Is it a linear story enhanced by Interactivity? A pass/fail narrative of puzzle solving? A full branching narrative of ever-richer complexity and text volume only the minority of which is presented in any one playthrough? None of these are inherently better than any other, just different aims.

I’ve spent a lot of time on this explication, while nominally discussing Alltarach (seems I gotta get there sooner or later). I’ve done that because this is the first work I concluded the interactivity might have detracted (though not completely!) from the experience. So, let’s surgeon scalpel this thing and talk story first.

This is a deeply accomplished story with a compelling central conceit: that Irish Myth and Christianity (specifically its lore) coexist on equal footing with each other. That Cu Chulainn and Saint Patrick are basically peers, and exist and influence mortal affairs in qualitatively similar pro-active ways. What an amazingly subversive and challenging premise! I honestly gasped when I realized what it was about. It takes the trappings of Mythic lore and applies them to a time of growing Christian influence in a Battle of the Gods. CHRISTIANITY IS EXACTLY AS TRUE AS MYTH. Whooo, swinging for the bleachers! I love the unrestrained chutzpah of it! It does make for some really shocking and strange juxtapositions, like when Christianity (as the newcomer) is positioned as the more liberal, accepting strain of belief. I didn’t read that as a fault though, more as a bold-faced CHALLENGE. It is a gutsy, supercharged take of pure audacity and I love it for that.

And it is EARNED. Thanks to a detailed bibliography, its mythic trappings are comprehensive and well thought out, employed progressively through a story of escalating scope. The text veritably oozes with Irish authenticity. Literally so, if you read the copious footnote bubbles as pushing through the story, so dense that the story cannot keep them contained. Between the richness of the tone, its authentic patina and pure audacity, it is easy to be swept along by this tale and I was.

So let’s talk about that tale: a sister searching for a lost brother and uncovering mythic truths and family secrets. The brother is portrayed as a stoic but compelling mystery, the protagonist as detached and a bit helpless, and both grow and change throughout the story. They are mostly up to the task of navigating this deeply compelling world, but for different reasons can’t help but pale a bit next to it. The WAY they pale though, almost always devolves to the way interactivity is employed.

Let’s start with the protagonist. She is our main interactive avatar for most of the story. We set her priorities in how we pursue the investigation. We set her character in how we choose to interact with other characters. We collaboratively build and invest in her… to a point. The story is often good at integrating our input, but significantly also often whiffs on it. In my play, there was a local boy of repellent ego who I rejected at every turn. Nevertheless, the story insisted on a path I had avoided. Similarly, another boy I flirted with amounted to nothing. Choices I had intended to be mild reproach turned into bitter, over-emotive outbursts. Discussion topics I prioritized according to an inner character priority read out of order, emotionally. It all had a distancing effect where my Brid was at war with the piece’s Brid.

Similarly the brother. While I liked the graphical cues when the narrative shifted to his perspective, his interactions struck me as distinctly different than his early characterization. I could rationalize early scenes, where he was alone and presumably we were seeing an inner life he shields from others. But when reunited, if anything, he gets MORE emo and expressive, as presented in dialogue choices I might select. Okay, that was a bit glib. Admittedly he was going through some stuff. Even so, the contrast to his early characterization (unremarked upon by our protagonist!) was jarring. The cumulative effect of both of those things was characters at war with the narrative because of interactivity.

Perhaps its biggest deflation was in plot influence. The climax is structured as a conversation between the siblings to decide the results of the quest. Interestingly, the player gets to cycle between them, taking both sides of the dialogue. I liked this in concept. On the sister’s side I felt this was reasonably well implemented, and fit a dialogue-based game paradigm of ‘can I convince him through topic selection?’ The other side though, felt kind of all over the place - inconsistent characterization, uncanny and incomplete response availability and ultimately a BIG DECISION. My problem was, until the end none of it felt strictly under my control despite my nominal driving, to the point the final real choice felt untethered. Because I could form no coherent character in my head, I actually had no idea what me-as-brother would do, or even why those choices were available at that specific point. So I cheated, and chose what the sister wanted (she earned it!). And didn’t feel great about it.

To walk back some negativity, let me say other aspects of interactivity - graphic flourishes and text pacing - were done very well, and to advantage. In particular the POV cues in color and font were really nicely rendered.

So where does that leave me? A piece whose setup and background are top tier that I can’t express enough admiration for. Whose employment of Irish Myth was entrancing. Whose take on Christianity was confrontive and challenging. Whose language and narrative are superb. And that only fell down when it let ME get involved. So, who’s the problem here?

Mystery, Inc: Daphne
Vibe: Mythic
Polish: Gleaming
Gimme the Wheel! : If it were my project, I would marvel that I had anything this transgressive and marvelous in me. Then I would, with great regret, excise the brother’s side of interactivity and focus on sharpening the sister’s choices, responses and climactic gameplay. Because y’know, SAYING I’d do that is just super easy.

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: 4/8/24
Playtime: 25min, Master of Politics, 4/7 deaths

If there is a more fraught topic to mine for slapstick comedy at the moment than US politics, I’d like to know what it is. Biting Satire? Caricature? Anarchic Absurdism? Absolutely. Anything with a point of view and an edge, the sharper the better. But slapstick requires a much lighter devil-may-care tone, especially if you’re going to have the player engage in cartoon violence with actual fatalities. Due to an accident of birth coinciding with narrative cues, I can only interpret this work through the lens of US politics. I apologize to anyone looking for different.

The work seems to understand its comedic challenge, and opens by positioning itself atop three super-exaggerated supports. 1) Ossified Bureaucracy cynicism. 2) Both-sides-equivalence-ism. 3) Narrative Simplification to the point of abstraction. The latter, I think, is the one that gives this piece its fighting chance of working. The unsung hero of support #3 is the illustration style. There is no better clue that nuance and accuracy are not welcome here than its visual palette and artwork style. I do not intend it backhanded when I say it is reminiscent of childlike doodlings. In fact, it is quite crucial that it is. The visual/artistic shorthand gives permission in a sense for the other two legs to stand unashamedly.

Absent the graphical cues, legs one and two seem hopelessly misguided against the last decade. We are not pretending to distort and mock actual politics here, we are exaggerating inadequate cliches about politics as a backdrop for madcap antics. The player intro drives this home superbly - our goal is to pass the most hilariously inoffensive law imaginable. Just the one. These low-seeming stakes in this alternate-reality West Wing divorces us from having to parse real-world parallels, or suss out layered meanings. So when bizarre character turns, hidden labs, Looney Tunes violence happen, we are not bound to decode them, we can just roll and play in the space. Even the ending that provided the most hope was a funny bit of cynicism that would be actively appalling played against a more real backdrop.

I was game to do my best to go along for the ride. I committed to and suffered cartoon violence. I found all the non-death endings. I freely sampled the actual death endings. I don’t think I ever fully escaped the spectre of its inadequacies in reflecting its purported subject matter but I got pretty close. There was a detail that troubled me about this more than any other - that the unnamed opposing parties were colored red and blue. For me, I needed to be pulled OUT of that space, and those colors were a counter-productive reminder. Literally any other colors, I dunno, pink and teal?

Ultimately, it didn’t quite succeed for me in replacing our dire reality with its own. But there were sequences that absolutely did pull me into its mad orbit for a few moments of subversive glee. At its best, it kind of made me long for ITS version of toxic politics over what we are actually living with.

Mystery, Inc: Scooby
Vibe: Slapstick
Polish: Smooth
Gimme the Wheel! : For sure I would change those colors, if this were my project. I would also try to infuse other touches to further distance from current reality, and sell the Bizzarro Congress. The zanier the better.

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: 4/8/24
Playtime: 2hrs, unwinnable at 1.5. Restarted, 1.25hrs later ANOTHER unwinnable state? score 260/300, Read spoilers, done

An old school lightly-horror-themed parser? Seems like this entry would be talking my love language. Thing is, my intro to the hobby decades ago is definitely seen through rose colored glasses. There are aspects to parsers that I enjoyed when we didn’t know any better but DEFINITELY don’t want to revisit forty years on.

Let’s start with the good callbacks. I have referred to something I call the “Implementation Horizon” in parsers - the level of implemented detail that acts as a soft signal to the player where to stop poking. Zomburbia integrates this horizon deftly into its gameplay by leaning to VERY SHALLOW. This is not a problem, in fact it is very much a strength. Because the implementation is shallow, area descriptions are terse, punchy, and signal interesting items clearly and crisply. There is no futzing about with smothering detail, hunting out the one interesting noun in a sea of them. You don’t need to be TOLD you need the brooch. Its simple presence indicates that quite clearly. This should not be underestimated as a creative choice, it really smooths out player frictions and drag in a seemingly broad space.

The shallow implementation also dovetails nicely with old-school brevity. Descriptions are not flowery and dense, they convey their imagery and importance economically and crisply. The net effect is to make this mid-sized game kind of zippy. Couple that with a good-natured, quirky setup and cast, light humor (especially in death scenes) and it enables a very amiable old school experience. One of my favorite touches was (Spoiler - click to show)the protagonist slowly turning into a zombie. A great little goose to the proceedings. Kevin was also just delightful.

It definitely has gaps though. It is one thing to have a shallow implementation horizon, it is another to not fully plumb that horizon. There are a LOT of unimplemented synonyms, inadequate disambiguation prompts, and bugs (in one instance, dropped items were not listed in room location, and needed me to reread my transcript to figure out what needed picking up.) Some papers were coldly listed as ‘not flammable’ as I sparred with a particular puzzle. It did not fully recognize game state, in one instance telling me "You can’t find anything wrong with the broken hedge trimmers." Those broken ones you mean? Nothing notable comes to mind?

All of that could definitely have been forgiven had the game not also leaned into my two LEAST favorite old school tropes: inventory management and unwinnable states. The former was never really entertaining as a puzzle, it was a misguided attempt at ‘realism’ in works that didn’t need or want it. Its effect is book-keeping drudgery of the least entertaining kind. And this from a guy that plays with spreadsheets. Unfun wastes of my time grate here, particularly when the overall vibe is otherwise so fleet.

Which brings me to the unforgivable sin (according to Monsignor McC) of this game: quietly unwinnable states. My first playthrough, after two hours I stumbled into two of them. One of them was at least clued by in-game warnings, another… just happened? I was on the edge here: was the game enjoyable enough for a replay, two hours in? Its attitude was so friendly, I wanted to give it the benefit of the doubt, so I plowed back in. Took me ~40 minutes to retrace my steps which was longer than I wanted at skim-speed, but then got back in the flow. Thirty-five minutes later I had racked up 260 points and was firmly into endgame… when I think I hit another one. I say ‘think’ because I had a flash of something I should have done, but at that point was beyond my UNDO window to revisit. It is possible that the game could have provided NPC business to reopen that window, but nothing in my experience so far indicated that was likely.

Ok, yes, not having a savepoint is on me. I knew what I was in for at this point, I’m an adult with some level of object permanence and cause-effect understanding. What can I say, I let the breezy environment lull me. So here I am, maybe two steps from end, do I go back AGAIN, maybe another hour’s worth of replay? I do not. Old school parsers didn’t have a wealth of alternatives vying for our time. They were what they were, was up to us to meet them on their own flawed terms. Today? I got choices, man. I chose to read the Hint sheet to see what I missed and yeah, I was on the right path. Yay? *sigh* I woulda really liked that, had I not needed to rewind so far.

Mystery, Inc: “Z-z-z-ZOMBIES?!?!” Shaggy
Vibe: weirdly enough, Scooby-Doo Horror
Polish: Rough
Gimme the Wheel! : If it were my project, I would eliminate any and all possibility of unwinnable states. Just kill them with fire. If that doesn’t sate my blinding rage, then nuke the inventory management too.

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: 4/8/24
Playtime: 45min

How smart are Octopi? One list had them #8 in ranked sub-human IQ, below Orangutan/Chimps, Dolphins, Elephants, Crows (wow, you go crows!), Pigs and Dogs. Other fun facts: Chimps and pigs have played video games. Smarter dogs have learned basic Parser vocabulary and Verb-Noun syntax. I mean, none of my dogs for sure, but some.

What drove me into that divergence was concern that I might not be as smart as an Octopus.

This is a one-room parser game. As a pet octopus (probably a thing, right? Some folks keep tigers and alligators, so sure), your goal is to change the view from your aquarium, and not get in trouble doing it. It is a wry, tight little game - maybe a three step puzzle with some red herrings to sort past. The nature of the puzzles were clever enough, yet because I declined to (Spoiler - click to show)>X ME still required a hint. Followed by a headslap.

The humor here is gentle, mostly of the baffled-Octopus-take-on-weird-humans variety (I particularly liked the ‘For Neptune’s Sake’ expletive). If nothing else, the image of a baseball-cap wearing mischievous Octopus is a gift to all of us. If you imagine a balance-scale, with gameplay frictions on one side and puzzle challenge/raw entertainment on the other, a great IF experience would tilt noticeably to the latter. The greater the goods, the more frictions can be shrugged off. Here, the challenge/humor was lighter, and correspondingly, minor frictions suddenly became impactful to the balance.

There were quite a few: vocabulary was notably lacking in synonyms. Pillows but no pillow. Cap but no hat. Bathtub but no bath, and on. You were able to put items on the dresser before knowing how to retrieve them. Missing verb/nouns previously referenced in the prompt text. A continual need to resubmerge, but no shortcuts (that I found) to long form >GET IN AQUARIUM. (Spoiler - click to show)Inability to >JUMP past an open drawer. None of these are fatal, but do accumulate against its lighter charms.

The final puzzle solution itself is probably the funniest part of it, and even that is a LITTLE weird because I-the-player landed on it super fast, but I-an-OCTOPUS would never have any idea to do that, nevermind what the outcome of my actions would be. There was a bit of a subversive charge to that dissonance that made for a high note ending. So, maybe I am smarter? Maybe it’s not a competition though, maybe the real competition is who is less delicious? Which I win HANDS DOWN! Hopefully unverifiably so.

Mystery, Inc: Scooby
Vibe: Playful
Polish: Textured
Gimme the Wheel! : Ironing out the vocabulary frictions for sure would be my priority if this were my project. This is a clever, wry little game. Getting the parser out the way would let it land without caveat.

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: 4/4/24
Playtime: 1.75hrs, 4 plays, 4 fails

Have we culturally saturated ourselves on Star Trek riffs? I won’t leave that hang: No. No we have not. VoM leverages a deeper-cut aspect of its inspiration to tremendous advantage: reductive two-fisted approaches to complicated problems.

Let me start by acknowledging ALL narrative is reductive. Figuring out what to reduce to tell a compelling story is a core challenge of storytelling. What details are important to the tenor of the piece? What details destroy the piece with abject ‘realism’? Adventure fiction in particular uses two-fisted action either as metaphoric shorthand or as a mechanism to deliver morally-unambiguous thrills. In our post-COVID world, the idea of sending an under-fueled, under-gunned boat of cure through enemy territory with insufficient resources to get there… ridiculous! This is a diplomatic/large military operation of infinite complexity and nuance!

In Star Trek world though? THIS IS EXACTLY THE CORRECT APPROACH. Evoking that vibe bypasses any quibbles we might have and puts us smack into the right frame of mind. The piece does not provide thinly veiled caricatures of familiar characters. Why would it? There’s plenty of that out there already. Instead, it crafts a series of Trekky scenarios in just the perfect combination of unique and familiar. We are essentially watching a season-long arc (presuming Trek trucked in that) on fast forward. Our familiarity plays off these scenarios in exactly the right way to maximize our enjoyment and minimize drag. We don’t need the details, we get it. It is a terrific choice, implemented confidently, and lands like gangbusters.

We are blindly exploring a sensor-defying nebula, searching for the route to a plague-ridden planet. Encountering all manner of alien species, strange phenomenon and ancient artifacts, not to mention meddling Glingons. And solving them all via WWKD. (What Would Kirk Do?) Each mini-encounter is an abbreviated television episode where we are trying to wring out fuel, weapon upgrades or information and not lose TOO many redshirts. These encounters are satisfyingly broad, varied and dangerous. If we seize initiative and power through, with a little luck we might save the day.

First time, I didn’t . Ran out of gas. Barely skimmed the endscreen before cycling back in for more. On repeat play, some gameplay artifacts started showing. For one, encounters started repeating. Obviously I was more successful second time. For another, the path through the nebula randomized, meaning every game would feature blind exploration, with many possible deadends and backtracks. I failed again, this time as a result of an encounter decision I had no way of deducing. Just guessed wrong. Then out of fuel again on a third run.

Then a playthrough that broke me. Applying what I had learned to by-now-familiar scenarios, and focusing maniacally on refuel opportunities I explored to within four jumps of the end, with three doses of fuel. It was in sight! I was presented with a wormhole that promised to shoot me… somewhere. No way to predict, just guess. I guessed… wrong. It shot me so far from the goal, and provided no opportunity to refuel. I conclude: 1) the randomizer is not adequately constrained for balanced gameplay and 2) waaay too much weight is placed on blind guessing problem solving. The latter is bad, but at least manageable through repeat gameplay. Coupled with blind exploration, the former is death. To know that I can exhaust fuel through no fault of my own, or be placed in unwinnable state by random luck… these are deeply unsatisfying experiences.

Even with all that though, the charm of the setup and encounters still shines through. Yes, maybe they get a little tiresome once ‘solved’ but they haven’t yet chafed. Yes, it was a fun, immersive experience for the first few runs. No, it is not compelling enough to fight the randomizer until you win. But honestly, you still get plenty of grins without that.

I realize, due to my stream of consciousness ramblings, I have neglected to praise the MacIntosh-1bit graphics which are just delightful and resonate with the retro-narrative vibe in a terrific way. For whatever reason, Ink continues to showcase superior graphic design, and Marigold is a proud member of that fraternity.

Mystery, Inc: “We’ve got a Mystery on our Hands, Gang” Fred
Vibe: Boldly Going…
Polish: Gleaming
Gimme the Wheel! : If this were my project I would pay attention to the route randomizer, and ensure refueling opportunities are presented frequently enough to avoid dead runs. I would ALSO double, maybe triple the encounter mix, so that replays have a decent chance of showing some new ones in with the old. Reward replays with new challenges and opportunities to bellow loudly at the sky. GGGLLEEEEEEXXX!!

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: 4/4/24
Playtime: 1.75hrs, (Spoiler - click to show)Stayed in city, joined a faction

For as big a horror fan as I am, vampire-fetishism has never been my bag. To the extent that I have any tabletop RPG history it would be more Call of Chtulhu than V: Masquerade. Despite leading with its inspiration (the latter), I was very pleased with the smoothness Loose Ends got me up to speed on the deep background of factions, norms and abilities. Trickle feeding lore as it was needed was so much more engaging than a massive infodump would have been.

I was positively delighted that gameplay and story owed a lot more to Noir Detective than RPG sourcebook. Like a lot of great Noir, it uses a very specific political and social backdrop to inform a more-than-appears mystery, with a hard-boiled, out-of-their-depth outsider player-detective. It also seems to be a pretty deep implementation, supporting a variety of play styles. A handful of selectable skills and abilities seem to permute the player space in a nicely customized way.

It is a choice select mystery. This is a challenging paradigm for mysteries, as without careful curation, even simple absence/presence of options can provide unearned or mimesis threatening cluing. Loose Ends is not perfect here, but it is pretty darn good at it. Its biggest compromise on this front is marking options that may hold information with icons. It acts as a stealth hint system, that often wasn’t needed due to well-connected chains of clues. In one case though it did generate a repeat visit I might not have otherwise bothered with. I think on balance its value as a soft ‘director’ outweighs its downsides.

In addition to enabling a variety of player capabilities, the work also seems to enable a variety of player motivations and story paths. With diligence you can solve the (pretty cool) mystery, but what you DO with that solution seems to be up to you! That’s just nifty. It leverages Telltales’ ‘X WILL REMEMBER THAT’ mechanism to great effect, rewarding player choices with faction alignment that potentially changes the levers of power in the city. (Sidebar: Is there a more important narrative-game innovation in our lifetime than that pregnant phrase? I guess barring folks old enough to have seen the genre invented in the first place.)

My biggest quibble with the game is its lack of state awareness. Many times throughout the game, stock location descriptions include objects that have been removed, refer to dialogue that is no longer relevant, or concatenate game state text in jarring ways. In its most egregious artifact, it allows recovery of clues that have been destroyed. Below is an intrusive example:

(Spoiler - click to show)"[...] Lucille freezes—then a spasm runs through her body as her control of her own nerves is severed, muscles and tendons moving as Varkonyi directs. With another gesture he shuts down a bundle of nerves, sending her sprawling to the floor. For a moment she can do nothing but twitch, but with effort she staggers back to her feet.

"Lucille stays close to your side, watching and waiting for the right moment to strike—and then she finds it. In a split second she’s right in the middle of everything, laughing wildly as she whirls around in a flurry of steel. Another split second and she’s thirty feet back, covering your advance."

I have some forgiveness for these kinds of artifacts and even so, the work had enough to push itself past my ‘just ignore it’ threshold.

The only other off note for me was the denouement. As these things do, it kind of summarized the net effect of your choices on the ultimate outcome. I was unpleasantly surprised to see my choices showed me aligning with a faction I had no intent of aligning with. In fact, I had deliberately attempted to preserve faction-free independence throughout the game. I suppose some combination of my final actions and who I chose to ally with swung the algorithm on me, but I was not expecting it.

So yeah, slightly sour ending but engaging through its runtime for sure. Here's the big twist though: the authors have since updated the game, seemingly addressing many of these issues! I can only report my own experience, but assuming they did as good a job on the updates as the base game, they likely turned a 4-star experience to a 5-star one!

Mystery, Inc: Shaggy, though a strong argument for Velma too
Vibe: Vampy Noir
Polish: Textured -> Smooth?
Gimme the Wheel! : Absolutely my version of this project would try to polish its state awareness as a first priority. I think I would also try to soft hint faction alignment implications to give a little more player information and influence on the outcome. To the extent this was done... backseat driving works ya'll!

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: 4/4/24
Playtime: 15min, two passes

I know I just said two passes, but this is a one playthrough game. It pretty crisply tells you exactly what it is up front - an exploration/simulation of the grey area between sleep and wake. The presentation is terrific - swirling backgrounds of symbolic dream images or sleepiness-contorted real world fragments. I think the plunging, swirling staircase was my favorite. It also plays with font and layout in intriguing and evocative ways very much adhering to its mission statement.

The story it tells is drowning in specificity, to its great benefit. It’s not trying to be a general dream state, with shadowy details that might or might not resonate with you the reader. It presents a protagonist of specific experiences, well and tightly described, then sleepily distorts those vignettes. That is its true power. Those specific details are our entry into this halfway-state. Only by understanding what clear looks like to we appreciate the depths of murky. I was swept along in its thrall, and happily report it delivers its intent with panache and confidence.

My first playthrough left me in a happy fog, kind of like an hour into an evening of edibles. Uh, so I’m told. Always leave them wanting more, right? Well, when I want more, I want MORE. In this case, that meant revisiting this short work.

Peppered throughout the proceedings are occasions where you get to select sleep v wakefulness. I decided to poke a bit, see what those choices amounted to. This was a mistake. During first playthrough, my selections had everything to do with the ebb and flow of the dreamstate. Where did it FEEL like I was going. That was cool.

Second time, deliberately playing with it, it looked to me like those choices had no effect on the narrative. Worse, the way I determined that was making a choice, then going back and making the other choice. Sometimes this was not possible, but when it was I detected no difference in the subsequent text. It didn’t seem to matter which choice you made. Except it did, because making a choice and rolling with it kept you in the flow of the piece. Stutter-stepping back and forth shattered that calm and effectively destroyed the mood of the piece. Which was really its whole point!

Learn from my mistakes, team. This is a really cool one-off experience. Like my oft-cited butterfly, examining it closely wrecks it.

Mystery, Inc: Shaggy. You know why.
Vibe: Pre-Munchies Fog
Polish: Smooth
Gimme the Wheel! : What would I do if it were my project? Good question, it is very accomplished at going after its goals. I think I would expand the use of music. Ambient sounds often try to reflect the current scene, but their transitions to new scenes are usually abrupt. Rather than disrupt the flow, I think I would commit to an unbroken, dreamy soundtrack. Music could powerfully underline the mood it is going for. Even better if you could engineer smooth thematic changes as the game progresses and avoid those jarring cuts.

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: 4/4/24
Playtime: 30 min

Up front, the game told me this was part of an ongoing series to which I had no prior exposure. These disclaimers immediately prompt the question, ‘Am I too background disadvantaged to appreciate this?’ My success rate with these kinds of things is pretty high - Series like Little Match Girl and Lady Thalia notably ease new players in without friction and quickly get us in the swim.

Beseech didn’t quite achieve those heights. Interestingly though, for a while, it used that opacity to its advantage, creating an interesting frisson between a world that of course knew who our Power Throuple was, and me who was desperately trying to catch up. If I’m honest though, that frisson was kind of an artificial boost. There were some narrative choices and gameplay choices that didn’t play for me, and absent that ‘gotta figure out what’s going on here!’ charge, would have tired of it much sooner than I did.

The first narrative sin, for me, was the Power Throuple themselves. Cast as uber-Space-Marines who were so valuable that military structure bent over backwards to accommodate their flagrant insubordination. You know what that kind of double standard does to unit discipline? No, the work does not know. And worse, the Throuple were so, so, so smug about it. About the only time I can tolerate this kind of archetype is either when they subvert their competence somehow, or when we fast forward into outlandish pulp adventure. Beseech did neither.

The second narrative sin, though perhaps specific to new readers, was that their identity was revealed so offhandedly, so late in the story, that it was very much a ‘burying the lead’ moment. They are (Spoiler - click to show)Horny Space Demons! Maybe I could have learned that a lot earlier, certainly before they go on a mission? The reveal was so vastly underplayed as to effectively be anti-climax.

The last narrative sin was lack of interesting conflict. They were presented at the jump as final-resort weapons of irresistible effectiveness. They were employed as such. Sure enough, they lived up to that reputation. There were no reversals, no intricate plans, not even any portrayal of HOW irresistible they were. Hell, there wasn’t even any conflict - (Spoiler - click to show)the antagonist surrendered without protest, and in fact went out of his way to say how awesome they were. Uncharitably, the arc of the piece was ‘We are awesome. The enemy agrees. Now reward us!’

Now, as part of an ongoing series of games, maybe this isn’t so terrible? Maybe this is just a low-stakes interlude (as suggested by introduction) between high stakes adventures. It’s not unreasonable to see it that way. For me though, as a standalone story without background literacy, it did not work.

The narrative was not my only friction with this piece. The Twine link-select UI also chafed at me. Visually, it was attractive. A futuristic font with unique highlighting on choice links. The problem was, there were two types of links. The first was an aside - some comment on things going on. These were actually the best part of the piece. The wry aside observations from the protagonist were funny in their often blatant horniness. The second kind of link was the ‘proceed with story’ link. I did not detect any links of the ‘affect the narrative’ variety. The problem was that the words chosen as links gave no clue which type they were- not in phrasing or position. An example (choices bolded):

"There was no hail of gunfire, no clouds of smoke and war. Instead we were greeted with something shocking. Something none of us thought we would ever see in our life times."

You might expect from that construct that the first link would provide some additional detail, while the second would naturally push the scene forward. No, it was the opposite. The work did this ALL THE TIME. This example is somewhat atypical anyway, in that more often, the highlighted words seemed arbitrary. Like if they were ‘There was no’ and ‘thought we would’ in the above sentence. Even worse, many times there were multiple paragraphs, where the natural thing to do would be select links as you read them, except the first link might move the story forward and expect you to have read the whole page! Independent of any narrative quibbles, this link confusion drove me to distraction.

Between the character, plot and UI choices, this was not for me. I could certainly see this playing better in context of a larger series, and hope longtime fans appreciate this more.

Mystery, Inc: Daphne
Vibe: Horny Space Demons
Polish: Textured
Gimme the Wheel! : If this were my project, the UI is where I would put my energy. It is a linear novel of sorts. I would give a lot more thought to the link architecture and its impact on how the piece is read. I would especially make sure those nifty asides are consumed in a natural way.

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: 4/4/24
Playtime: 1 hr, long civil war ending, but hey, no Hitler!

There’s a lot of folks ready to draw parallels between the rise of Nazism and current US politics. I’m not historically literate enough to contribute to that dialogue, but boy am I intrigued by (and sympathetic to) that analysis. My antennae twitch whenever the topic comes up. I ALSO happen to dig modern board games, particularly card-driven political games. So this entry could not have been more engineered to my fascinations unless maybe it included 80’s slasher icons. Boy would I play the HELL out of a Jason v Hitler game.

It wasn’t immediately clear what I was in for. Given the intimidating plurality of German political parties, each with their own permuted relationships and alliances, and public sentiment percentages that suggested a fine grained-navigation of cold algorithms, I feared my historical illiteracy would be a prohibitive handicap. Thankfully, and also dauntingly, there is a library of background reading to set the player up for what follows. The game had prerequisite reading! I don’t think I was at ease until I saw the Deck/Hand paradigm. Turns out the transition from apprehensive to ecstatic is super easy.

What followed was gameplay that echoed any number of cardboard experiences, requiring juggling party and government decks (each presenting a series of unattractive choices), a limited resources pool, and unstable political alliances to hopefully keep the country steady enough not to give the Nazis an opening. History has kind of foreshadowed how hard THAT was going to be. I was smitten after the first two cards played and just totally immersed from there, nevermind that my choices had uncertain impacts. Nevermind that some special powers were more opaque than others. Nevermind that most of the historical cast were unknown to me. I was fighting Nazis fer cryin’ out loud - no time to bemoan fog of war, just start swinging!

I cannot speak to the historical accuracy of the thing. It certainly presented as well researched. I cannot speak to the compromises, algorithmic or otherwise, made to facilitate gameplay. I can say my hour was a white knuckle series of challenges, moral quandries, and frustration with my fellow Germans. Holy Crap was it compelling. Behind it all danced the tantalizing ‘well this does/doesn’t have a modern US parallel’ dialogue.

This is clearly the gamiest entry in SpringThing24. The narrative is emergent, as most well-designed, themed board games are. Is it Interactive Fiction? Technically, yes, but maybe in a way that unnecessarily muddies what we mean by IF when there are crisper ways to summarize this experience. Is that a lick on it? Oh, hell no. My playthrough ended in civil war, because I was unwilling to cede to the Nazis. I got chills as I let the modern US parallels sink in.

This thing is bookmarked. ABFF. Always Be Fighting Facism.

Mystery, Inc: A construct this intricate? Fred
Vibe: Boardgamegeek Top 10
Polish: Smooth
Gimme the Wheel! : If this were my project, I would Kickstart this thing as a prestige-format board game. Wooden pieces, thick cards, the whole nine yards. Yeah, I’d need to lose the opacity of algorithms, and streamline mechanisms to adjust public sentiment, but small price to pay. Maybe as a backer bonus thresshold, provide US 2024 alternate decks.

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: 4/3/24
Playtime: 20min, finished

I kinda love that there is a “children’s story” sub-genre of IF. We’re dealing with the breadth of human imagination, IF should have ALL THE THINGS, and our chronally challenged progeny deserve the magic as much as anyone. That said, there is no getting around the fact that I am not a child. Historically, I mentally conjure a childish avatar in my head when engaging these works, to assess how these things are landing. We just have a grand old time goofing together, this mental construct and I, like the brain-damaged maniac I am.

I found it harder to do with this work, and I think I know why. It wasn’t the presentation, at least not the graphical presentation. The excellent ‘painted’ backgrounds and animated-cell characters are Bambi-esque, immediately setting a friendly and welcoming tone. The setup is classic misunderstood-protagonist-winning-through-kindness. Revolutionary? No, though maybe in modern times we can use a lot more of it.

The UI paradigm though is punishing, and its primary sin is a common one: injudicious use of timed text. Text plays out sloooowly, not unlike someone narrating a book aloud to a pre-reading audience. Ok, thematic, except absent the verbal intonations and performance that make that tolerable it is just sloooow. Even if you try to speed it up by space-barring, subsequent text blocks remain delayed even after the current words are flashed up. Both choices are jarring. According to my mental avatar, kids are LESS patient than adults, not more so, so this choice is doubly defeating.

The UI has other issues too - the text box requires scrolling, but it is invisible so it is not immediately obvious WHEN it needs scrolling. This makes for some early delays in an already snail paced progression. Even a tinted, transparent box would have clued that better. (There are also a noticeable amount of typos in the text it bears observing.)

Then there is the narrative. There is almost no meaningful interactivity. Yes, you can decline to be helpful, but in a work titled Do Good Deeds … what level of sociopathy are we talking about here? ‘Click to continue’ is useful in IF for sure, but when ‘continue’ means more timed text, its welcome develops some back pressure. More to the point, there are a LOT of interactions. Story telling tradition recognizes the power of threes - Establish, Reinforce, Conclude/Twist. This is an especially powerful technique in kid’s lit. Deeds is embracing the power of… tens? Ten vignettes different in detail, but samey in result? Another dimension of drag.

All that said, the core presentation has a lot going for it. The individual interactions are varied enough to express a breadth of generous problem solving, with a large cast of woodland friends. The UI issues seem addressable to tighten down the experience. I could see this pushed into shape for my youthful avatar.

Mystery, Inc: Talking animals? It’s Scooby
Vibe: Kids’ Lit
Polish: Rough
Gimme the Wheel! : We talked about the UI and typos above. If my project certainly my first stop. On its heels though, I think clubbing the encounters into three groups of three, where the results of kindness escalate the protagonist’s acceptance in the larger loops would better leverage classic storytelling BKMs (Best Known Methods).

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
WARNING: Review is from an early, incomplete version of the game

Played: 4/3/24
Playtime: 2.25 hrs >7 fails until win?

I made a good-faith attempt to spoiler-protect this thing, but my responses are so specific… caveat emptor.

New as I am to the modern hobby, I am occasionally blindsided by obvious-in-retrospect conceits that are likely not surprising to others. I am familiar with the fanfic phenomenon - enthusiastic amateurs writing about copyrighted properties simply because they love it so much. It should not be a surprise that fanIF also exists in the world. Presumably less porn-focused, but hey I’m not judging either way.

This is a fanIF riffing on Balder’s Gate 3, a D&D-based AAA console RPG. I have no relationship with that property (Alan Wake/Remedy Games is more my speed), but c’mon I grew up in the modern world, I know what D&D is. Dream ably catches me up on what I need to know to provide a much tighter bottle scenario: escape a one room mental tomb with a vampire compatriot. It also lets you pick your D&D Class which, hey, if you invite me into the party you’re getting a Rogue. You just are. If you didn’t want a Rogue you shouldn’t’a invited me. That’s on you.

I ended up on roller coaster with this thing, and I’ll use an early quote to shepherd us through:

"This game does presuppose that your character cares what happens
to Astarion [the vampire party member in question -jj]. If you
don't like him (which is a very legitimate opinion to have, he is
an asshole) you should probably not play this game."

I laughed out loud encountering this the first time, as that could easily have been my knee-jerk had the game not warned me to play along. So I played along. The one room escape is a fiendishly clever Dark Room. Due to reasons, you have to teach yourself how to interact with the world, including seeing, speaking and touching. As you teach yourself, you haltingly explore a pretty spare crypt and have to figure out how to escape. I played in ‘Balanced’ mode, and it is CHALLENGING! Your companion’s health leaches away every day, and if Astarion dies, you die. You can slow the bleeding by talking and comforting him, but every moment you spend doing that you are NOT improving your abilities to facilitate escape. Events happen around you to increase the challenge, and there are few clues what the ‘right’ mix of activities is. He died in a half hour the first time.

But I was metaphorically trapped in this puzzle! The balancing act was interesting and fun. Deducing cause and effect, what is important, where things might go, USING MY ROGUE POWERS, all of this was magnetic in gameplay. I cycled more times, almost maniacally poking into new corners here, engaging the poor sap differently there, leveling up at different rates, always learning. It was Time Looping. I was Time Looping and I loved it more and more except…

…except it became more and more clear that the way to success was to (Spoiler - click to show)emotionally buttress my fellow prisoner, to slow his decay. Thematically I get it, its really clever actually. In PRACTICE it was increasingly irritating, on a geometric progression. Not only because I was spending greater swaths of my day just (Spoiler - click to show)holding his hand, when I could be, y’know, THIEVING SOME ESCAPE TOOLS. But also, with every loop, I got smarter while he didn’t get an iota less Needy. If anything, by keeping him alive longer, I was treated to increasingly unwanted codependent behavior! Yeah, I’m trying to set up a finely calibrated sequence of sensory growth, exploration and guard interaction, but BY ALL MEANS LETS TALK ABOUT YOUR FEELINGS FIRST.

Look, I KNOW it’s thematic. I KNOW it’s plot justified in the most elegant way. I KNOW it was slyly subverting dungeon adventure tropes for emotional narrative and an extremely vital exploration of the trauma of solitary confinement. I don’t even begrudge well-chosen gameplay compromises like after 150 days only NOW does his decay escalate; or famously immortal vampires cracking under pressure of advancing time. My problem is, after looping so many times, I was pot committed to a High Adventure rescue. I was not receptive to a segue to (Spoiler - click to show)slashfic. If that was the piece’s aim, it certainly held its cards close while I built contrary expectations. Additionally, I think there is a missing piece. It is clear what Astarion needs from the PC. It is not clear at all what Astarion provides the PC, emotionally or otherwise, why the PC should care. Maybe the original IP provides this? For a noob like me though, by repeating his neediness over and over via gameplay loops, it curdles to Cling. Have we not established at this point that I am an emotionless husk? This cannot be surprising to you.

Inevitably, I saw the writing on the wall. There was no High Fantasy rescue in my future. I needed to do what I needed to do to get him out of the fox hole. So I hid the pity in my eyes, looped 3 or 4 more times (over two hours total) and nursed him through. Things seemed to be progressing, and then ACT 1 ended.

Ok, that was progress! We didn’t die! (Spoiler - click to show)His clammy hand was clingy and we hadn’t escaped yet, but things were moving in the right direction at least. I had seen in Menu that there were three acts. I had presumed I got to play all three of them. Nossir. It seems the other two are not implemented yet? So after all that, the game ended and I DIDN’T EVEN (Spoiler - click to show)ESCAPE??? WHAT THE HELL AM I HOLDING THIS NEBBISH’ HAND FOR THEN???

There was a noise that came out of me I would not have believed I could make. For a game that needed me to care about Astarion, after I had gamely agreed to do so, it went to great lengths to break me of that then just left me twist. I am so sorry, that is just classic Scrappy.

Mystery, Inc: Classic Scrappy
Vibe: Gothic Escape Room
Polish: Gleaming
Gimme the Wheel! : If it were my project, I would perhaps engineer a High Fantasy Escape solution that balanced emotional maintenance with daring-do. If that was really anathema to the purpose of the piece (which it well could be), I would better clue the intent up front, then focus on Astarion - pay attention to how looping affects his character and give the player reason to care, rather than demand it as a prerequisite.

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

In deference to the idea that this is both incomplete and clearly not for me, I am omitting my rating from the average.

Adapted from a SpringThing24 Review

Played: 4/3/24
Playtime: 1hr, 14/16 clues, right cause of death, wrong drug

If I part the opaque mists of time, push back untold eons to my reentry to this hobby, reaching, reaching nearly two entire trips around the sun to the barely discernible epoch of Fall 2022… this authorspace was virgin snow to me. Every game came as single line on a blank slate - no context of author idiosyncrasies, platform biases, tell-tale prose and fascinations. Just the raw work itself. Ah, such a simple, untarnished time and state for a reviewer full of unearned confidence and bluster.

An interminable 18 months later finds the withered, corrupted husk before you: penetrating brilliance and revelatory insights dimmed and drowned beneath a cacophony of prior art and superficial connections. You require evidence of my tragic artistic collapse? Not even past the cover page of this game, the eureka that pushed all other thoughts from my head was “Oooh! Oooh! I know this!” For a mad minute, I thought it could even be a Twine reimplementation of that former parser effort.

As final, damning evidence of my intellectual bankruptcy let me now proceed to review this work, liberally comparing it to its predecessor.

IT IS BETTER IN EVERY WAY.

The Twine platform is used to great effect in this work - its game-pane setup, liberal use of mood-setting graphics, case file/interview subscreens, and even text organization all combine to immediately cast the player in role of no-nonsense, just-the-facts-ma’am detective. The Twine command paradigm of selecting highlighted links on the page provide a superior framework where links only allow actions that support the investigation, as opposed to a parser’s need to accommodate any number of mimesis-breaking player fumblings.

The mystery is very capably put together - enough red herrings and dead ends to make searching out truths fun and challenging, not too many to drown the player. Many different items and leads that branch and intersect in interesting ways. Even the flourishes like timed text are used to advantage that could easily be intrusive.

The author uses all these tools to push the player into the role of Forensic Detective, then opens the door on clinical test results, chemical names and lateral thinking. My biggest beef with the previous game was that it didn’t sufficiently show its stripes, and let the player muck about with parser puzzle toys instead. It wanted Quincy, but let you be Clouseau. This time, the player is aligned from the jump - get that Keystone Cops nonsense outta here, pros are at work! The work is better focused, and better showcases its strengths, for it.

I really had fun with this one. In the end, I drew satisfaction from legitimate deduction and clue connection to determine cause of death. I failed however to identify the chemical source of the problem. I did miss two clues somewhere, perhaps those held the final piece I needed. OR PERHAPS NOT. Because the first thing I did after informed of my failure was Google search some chemicals, and ON THE FIRST RESULTS PAGE, THE MYSTERY WAS SOLVED.

I COULDA USED GOOGLE TO HELP SOLVE THE MYSTERY ALL ALONG! God, I love that so much. This thing made me a detective and with just one more bit of extra-game lateral thinking I might have closed the case. LIKE A REAL DETECTIVE. I can’t remember a failure so satisfying, and the credit goes to the real-world, clinical vibe the game created through graphic layout, mystery construction and tight UI control.

I kinda can’t wait for the next one in the series. You better BELIEVE I will be testing if it measures up to this one. [spoiler aside to author - that said, there is a discernible pattern in these two works that casts a shadow… beware!]

Mystery, Inc: Velma
Vibe: Forensic Detective
Polish: Smooth
Gimme the Wheel! : If it were my project, only one tweak: the body’s apparent sex is left unrevealed when examined, leading to a strange few minutes of disconnect when finding female name references around the apartment. Yes, it can be deduced but doesn’t feel like that detail should need to be.

Adapted from a SpringThing24 Review

Played: 4/2/24
Playtime: 45min

We’ve been using ‘Interactive Fiction’ as synonym for ‘text-based game’ for so long, it’s like repeating a word rapidly until it loses all meaning. Hey, there’s a term for that! Semantic Satiation - a term that probably requires less reps than most for its meaning to dissolve. Anywho, we’ve been doing it to IF for so long we lose track of full meaning of ‘Interactive’ ‘Fiction.’ Thanks Quickenheath for the reminder!

It has been a while since I’ve seen a work this gamey land this far on the ‘fiction’ side of the spectrum, longer for one this accomplished at its mission. Yes, there are IF trope aspects of searching locations, collecting inventory, solving password and poetry clue-based puzzles, but they all spring from narrative so organically that they don’t feel like puzzles. More like the natural flow of events we’re just swimming along with. I don’t mean to imply it is on rails, its mostly not. I mean the world building, character motivations, important artifacts and events are all painted so crisply and clearly that the story itself makes it clear where we need to be with barely any artificial nudging or narrative-killing false paths.

It is a rogue’s love story of adventure, rescue and hidden legacy. Crucially, the non-daring-do aspects are given more weight, making for a reasonably fresh take on the genre. And by “fresh take” I mean “showing my whole @$$ with ignorance of romantic literature”. The story itself sells its earnest emotionality with matter-of-fact prose that conveys the sweet emotions without becoming cloying. The world building is precise: just enough to intrigue and bring wonder, and crucially fuel the plot, not too much to overwhelm or generate unanswerable questions. If I had a plot quibble, it is the love interest’s revealed identity. Isn’t it wild enough that they are (Spoiler - click to show)a fairy? Did they need to be a (Spoiler - click to show)fairy PRINCE(SS)? But y’know what? Those kinds of things are pretty de rigeur for this kind of narrative. The ultimate climax was still a natural, satisfying product of the entire plot, made more vivid through interactivity.

A lot of that credit goes to the narrative, but the presentation and technical choices are doing a lot of work here too. The different font work, use of color and layout, are all just to the perfect side of the ‘evocative-intrusive’ line. Most especially effective are the aside-links, that provide flashback details when clicked, and even more the links that cycle words and phrases on the page. Those latter so crisply evoke a character struggling with a concept or idea by testing phrasings and leverage IF’s strengths to do so more effectively than static media. Really, the whole package does that - combines interactive flourishes and techniques to perfectly enhance a narrative that deftly enables their employment.

Viva Valentine and Aubrey! Viva la narrative! Viva viva viva viva Viva viva viva viva Viva viva viva viva Viva viva viva viva Viva viva viva viva Viva viva viva viva Viva viva viva viva Viva viva viva viva Viva viva viva viva Viva viva viva viva Viva viva viva viva Viva viva viva viva

See? Semantic Satiation. It’s a thing.

Mystery, Inc: Daphne
Vibe: Fairy (ah? ah?) Tale
Polish: Gleaming
Gimme the Wheel! : If it were my project, honestly not sure I would feel compelled to do anything here. It’s perfectly coherent in form and function. Get onto that next project, author!

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: 4/2/24
Playtime: 20min, two endings, 4 cycles

I can’t remember the last time I laughed, out loud, where I could be heard by others, on the opening screen of an IF. Yes, I’ve done it midgame at particularly good gags. Heck I’ve repeated the word ‘INVESTIGRAB’ aloud an unjustifiable amount of times during one game. But at the jump? Unprecedented. The artwork in this game is exceptionally expressive and delightful. If I thought I could get it past my wife, I would search out a framed copy for our house.

Talk about right-footing, I immediately wanted nothing but good things for this game. Charged with bringing peace to humans and their sentient potato neighbors? No further details needed, I’m on board! It gives me no joy to report I did not repeat that initial high during subsequent gameplay.

It is a limited choice game, often with screens of no choice, or ultimately inconsequential ones until the final scene. This is fine, some of the choices bring chuckles which is legit. Often though, the focus seemed to drift. There are tons of potato puns and witticisms, though nearly all of them revolve around cooking potatoes. That’s weird, right? It’s like if all our aphorisms revolved around cannibalism. At one point you are invited to eat potato chips. World of sentient potatoes. Feels unsettling seeing it written, doesn’t it? I’m not saying that can’t be used to good effect. Heck, maybe the potatoes in this world just LIIIVE to provide culinary joy, like maybe its their whole thing! What’s weird is not NOTING that its kinda weird, narratively. I don’t want to pile on this too hard, it’s not like I’m looking for sociologically sound world building with sentient potatoes. Its more like opportunity lost to milk some more fun from the bonkers premise.

Missed opportunity rings out throughout. There is a mystery to solve, except the prologue reveals its solution completely. Nevertheless, you still flashback to the entire (failed) investigation as midgame, only to arrive exactly where you left off during prologue. Missed opportunity to flesh out the humor or better set up the endgame.

I will say, the closure was stronger, in that it presented actual meaningful choices including a nice observation of hum…er potato nature. It also seemed to lose the farce of its setup and might as well have been commentary on US electoral politics. Well, except that that delightful artwork continues to tickle the funny bone throughout.

Those narrative/prose quibbles are real, but kind of incidental. Honestly, the potato-based UI and artwork alone would have buoyed me past all that if not for larger issues. It needed a little more …baking… to be done. (Eh? like a potato?) I hit lots of issues that kind of compounded on each other. Despite my giving it a fullscreen window to play in, the UI pushed control buttons off the bottom of the screen, often. Sometimes even selectable text choices. The mouse was somehow super finicky, many times it registered a double click, skipping me past dialogue screens. No other window on my desktop suffers this, it had to be the game. Lack of Undo/Back means I had to full restart to recover those. The protagonist, according to illustration, is clearly a woman, yet one character refers to her as a guy. Maybe my presumption, I suppose, but never clarified. I cycled four times, got an unnumbered ending twice, and the same ending another two times, once numbered 2, the other time #3. This is ignoring some jarring emotional escalations during dialogue. Combined, it lent an ‘unfinished’ air to the work.

Even at that, my overwhelming impression is still a lingering goodwill and appreciation. Look, it could be sharper, it could be more polished, sure. But I’ll always have the gift of that opening screen.

Mystery, Inc: Scooby all day long
Vibe: Political Farce. So, y’know, Political.
Polish: Rough
Gimme the Wheel! : For sure the technical issues would be first priority, were it my project. Clean up text, UI, window management. Get that out of the player’s way and jump on the back of that tremendous artwork.

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: 4/1/24
Playtime: 30 min, two playthroughs

I don’t get the sense that Frank Miller particularly cares what you think about his legacy, which is his prerogative as an artist. 80s/90s US comics fascination with Western-idealized Japanese culture can sure use some re-evaluation though, and his name will loom large over it all. I raise this spectre because despite being a reasonably well-read, well-traveled adult, nevertheless that is the main touchstone I have to bring to bear to this piece. (Well, along with dim memories of the miniseries SHOGUN, no the earlier one, that my parents looooved.)

This is relevant to my review because leaving aside any specific cultural details, the overwhelming VIBE of Miller’s works’ was amped-up, self-serious melodrama, preoccupied with a vaguely defined but super urgent all-caps HONOR. It is kind of hard to tell where Chris Claremont stops and he begins. What was expressly missing was any sense of humor. Given the works he now says should be read as comedies, this is probably a good thing.

A Simple Happening drives unknowingly into that cultural baggage with a parser game of samurai committing seppuku (ritual suicide). There is every probability Miller’s corpus is an unfair backdrop to this work, that the resonances are unintended and purely my own invention. I accept this. Certainly, the work attempts to cue its mischievous heart early, in describing the offense that brought the player to the solemn ritual.

Even without Miller though, between the relatively spare descriptions of place and setup, and the charged ritual hanging over everything, its tone cannot help but be somber and suffocating. The early game observance of ritual, again described in tight, almost journalistic sparity, reinforce the solemnity of the proceedings. In particular, the cheeky ‘death poem generator’ is a subversive bit of humor, except that the straight-laced randomized phrases themselves don’t play along with the joke. A bit of compounding wry humor there could have done worlds to try and blend the tones. When the game shifts to an escape, and one filled with clear slapstick moments, the effect is jarring. Not unpleasant, mind, but decidedly dissonant.

The game presents as a dire melodrama, but anytime the player goofs, the game goofs right back, then quickly re-establishes its somber mood. In many cases it REQUIRES the player to goof to make progress. It makes for a very conflicted tone to the work - clearly intended comedy threaded through Miller-esque all-caps HONOR. And some not-for-laughs murder. All reinforced by the abrupt end to the journey.

As a comedy it is often funny. It just doesn’t try to reconcile its two tones into anything larger: not ironic contrast or pathos or even subversion. I played it twice to see if it was me. (Which is a wild claim. I mean, it was clearly ALWAYS ME.) The second time, I deliberately goofed early and often and was surprised that many of the gags themselves were terse and truncated, like the jokes themselves thought they were intruding. Even when I leaned hard into the comedy, I felt like the game was holding itself back. In the end I didn’t have a bad time - just one that couldn’t reconcile its two tones in a satisfying way.

Fair’s fair though, SO much funnier than Dark Knight Strikes Again.

Mystery, Inc: A somewhat muted Scooby
Vibe: Conflicted
Polish: Textured
Gimme the Wheel! : For sure, if it were my project, I think I would thread the playfulness more clearly into the early going, both with the poem generator and certainly the (Spoiler - click to show)attack to escape. Some slapstick in the latter would go a long way to a more coherent mood. Maybe also some words from (Spoiler - click to show)the wife to segue tones into pathos.

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: 4/1/24
Playtime: 1hr, 2 endings, but trashed my success poem!

If you were going to pitch the anti-JJMcC work, like the work engineered from ground up to push me away and keep pushing until I fell into an ocean, well, let’s just eavesdrop on the pitch in progress:

“… see the hero is sentient AI, right? And what it wants is to save humanity from its sterile profit-driven doom. But get this, what will save them is ART!!! Keep up, son, we’re still accelerating. So the game protagonist is not the hero though, they will be a corp-drone sheeple redeemed by art… what? Seriously? A drone’s initiative impact narrative, are you hearing yourself? Be realistic. Forget the sheeple, they’re just the player’s shell. The point is the art, only not just any art, are you ready for this? Are you ready? What brings down dyscapitalopia is… PEOTRY!!”

Imma stop you there made-of-straw pitchman. So many anti-JJMcC boxes in such short time. AI valorization; hopelessly naive Art-stronger-than-profit; marginal player agency; Poetry. Longtime readers will recall a certain antipathy for what I have called Poetic Verse. Y’know what is teeming, just chock-a-block with Poetic Verse? POETRY. For me, at it’s best, Poetry is glib, amusing wordplay. Far more often it is overwrought linguistic excess that I have no patience for.

Well, Prosper.0 is evidence why clearing these pitches past me is a BAD idea. Is it guilty of all the things it pitched? Yeah, it kinda is. But it adds two things so crucial to the proceedings as to completely transform the entire experience: a clean, simple, but immersive graphical presentation and a POETRY minigame. The latter being the heavy hitter here.

Setup first: the player is a worker drone in a dystopian Corporate far future, purging art from computers and summarizing entire civilizations in a handful of reductive categories. Uh, kinda like what you see at the bottom of this review. The graphical presentation endeavors to put you at that far-future terminal, madly sorting those bits in soul-crunching mouse clicks. It is a clean, evocative design (not the least of which the teletype and reverse teletype word presentations) Until the hero AI pops in and… brings the poetry.

Nevermind the flimsy narrative justification, nevermind the logistical problems of the setup, nevermind the straight-faced and totally committed assertion of Poetry’s potency in the face of uncaring capitalist incentives... you gonna write some poetry. And that is where things take off.

The poetry minigame is somehow completely winning, a thoroughly engaging exercise of madly clicking words as they vanish before your eyes, then trying to make coherent poetry out of the resulting word salad. IT IS ENTHRALLING. My first attempt was a too-cool-for-school parody that couldn’t even maintain its ironic remove to the last line. Against my own nature and sensibilities I found myself TRYING to get usable words, then honor the subjects as best I could, THEN ACTIVELY BEMOAN MY LIMITED SKILLS IN AN ENDEAVOR I HAVE LITTLE REGARD FOR. Ultimately, the plot contrivances were immaterial. The game wanted me to believe in the power of poetry and wisely decided the only way I would is to MAKE ME DO IT. With just the perfect amount of evolving artificial/randomized constraints to keep things fresh. It also has a bit to say about the limits of expression and the inherent loss of depth in any documentation that add the right sour/salt to keep things from getting too cloying.

You cycle through a series of slightly varied exercises, then come to some final narrative choices that impact you but not the plot. Then you get to see your poetry one last time! The alchemy that generated that engagement kind of moots any objections the setup might provoke - I kinda didn’t care how contrived the setup was, it was barely but just enough to push past all my reservations and rejections. It did what it needed to do to showcase its centerpiece statement: Poetry is kind of an act, not a product.

I swear to God, five stars for a POETRY work??? Who even am I anymore?

Mystery, Inc: Velma
Vibe: Geeky but winning High School English teacher
Polish: Smooth
Gimme the Wheel! : My only quibble with the game was my inability to recover poetry lost to an ‘explore alternate ending’ option. Would try to keep those available, even with an alternate path exploration.

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: 4/1/24
Playtime: 20min, all endings

Tired of typing words? Flummoxed by modern graphics engines and their obsession with triangle counts? Ready for some relentlessly optimistic affirmations and low-key puzzle/exploration play? TAP! has you covered, fam!

Its roots would be discernible even without its billing as an enhanced class project, and I don’t mean that negatively. Any class that focuses on Atari-Adventure era game esthetic has my support. If you’re gonna pillage and pervert our educational institutions with reactionary politics and the tyranny of STEM, this approach at least tilts at all the right windmills!

It does show its cards a bit with typos (maybe the most impactful, sometimes getting the wrong letter of “And now you know what [letter] means!”), off grammar and inelegant path choices in places, but nothing too distracting. There is a mild 3-pass puzzle of hidden entrances and code-repeating that lead to an ultimate final truth, and hidden path ala Adventure’s famous Easter egg. Nothing here is earthshaking, but conversely neither is it sour or offensive. Just unnuanced positivity which, what kind of monster is down on that? Ok, often me, true. Not this time though.

As a training/first game it is appealing and friendly, if slight. Look forward to seeing where the author goes from here.

Mystery, Inc: Velma
Vibe: Atari Adventure, with compassion
Polish: Textured
Gimme the Wheel! : If it were my project, I would feel the pride (Ah-ahh! didn’t even do that on purpose!) of accomplishment, then channel that momentum into the next project. TAP! is great where it is for what it is!

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: 4/1/24
Playtime: 15 min, 3 endings

This is a very short, stock-format Twine entry, with very few choices telling a mostly linear story. I exhausted the choice space in three cycles (though not the permutations of those choices, if that makes a difference). The choices provided more information, background and color and notwithstanding some different events were variations on a single theme. I feel like exhausting the space was the most satisfying way to consume this piece.

So, it was shallow and repetitive and on rails then? No, not at all. I am deliberately being vague as the few moving pieces the work offers mesh so precisely with each other that pinning any piece of it down might rob the reader of the ability to watch the gears flow together naturally. You know me though, I gotta try.

Hm, lemme try this. The work presents a dream-like and offscreen post-apocalypse setup with uncertainly reliable protagonist and antagonists. The blurriness of its details paradoxically are executed with extreme narrative precision, including ultimately-satisfying but jarring-in-the-moment descriptive choices. The reality of the situation dances in your peripheral vision but refuses attempts to focus on it. Seemingly key details are omitted entirely, only to later be resolved as maybe not so key after all. Almost by magic all these slippery and fractured story elements resolve into a complete whole by the end. It’s an admirable narrative sleight-of-hand, including its limited use of interactivity to underline key elements. It’s like if Chris Nolan adapted Little Nemo but not quite so fanciful.

It probably helps that themes of autonomy and control feel desperately vital just now, and the conceits of this particular dream logic build-a-story-by-innuendo approach enabled some legitimate insights, however oblique. Actually, the obliquity(?) helped sell things I think, in a way polemic or monologue would not.

If there is a downside, it is that between the deceptively limited individual components, and the ephemerality of the combined narrative construct I can’t talk about it without just trashing it for you all! You want me to pull apart a butterfly while assuring you it is beautiful despite its screams? Of course you don’t, and that was waaay too dark a metaphor. I would say enjoy it, submerse yourself in the dreamy vibe of it, let the connections come organically. You are in capable hands.

Not dissecting it does carry its own perils though, as even now I can feel its gossamer architecture slipping between my fingers. Down the road, will there be anything left to discuss…?

What were we talking about again?

Mystery, Inc: Daphne
Vibe: Dream Horror
Polish: Smooth
Gimme the Wheel!: I wouldn’t dare touch the thematic clockwork, but if it were my project I might spend some time reskinning the presentation. Non-stock font/color and layout choices could easily enhance the proceedings and further stitch the work together.

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

If, through some strange quirk of the hyperlink-chain that got you here, my words are the first you are reading about this game know this: Quisborne is a mammoth game. It took me over 37 hours, 2 full weeks, start to finish. I laughingly said at start "This may take me longer than Spiderman 2." It didn't, BUT IT COULDA. With a game of such epic scale, my normal review approaches strain and buckle. Would you want to read a five hour summary? A three hour thematic deconstruction and post-mortem? Heck, a forty-five minute riff on prose style and craftsmanship? Of course you don't. You wanna know if it's worth your time, and since I probably shocked and awed you I'll just flat say: It definitely is.

Charged with mentoring a young, sheltered Prince, the player pursues an epic quest to fulfill the youthful monarch-to-be's dreams of making himself worthy of his legacy and love interest. Yeah, it involves solving puzzles. So many puzzles. If at this point you are starting to think, "Oh ok, I have the measure of this game," I promise you do not. Every image you have in your head of a puzzle-driven IF fantasy quest is technically accurate. It's just laughably inadequate - like a grainy, faded, off-center and out-of-focus Polaroid of the ACTUAL Quisborne.

Actual Quisborne is a wide-screen, technicolor, surround-sound experience of deep world building, epic scale, vivid characters, challenging logistical and mechanical puzzles, and sweet charm. And wordplay. So many jokes, puns and poems. It's like the man said, "If you didn't laugh at that one, don't worry, three hundred more are coming right behind it."

From the jump it pulls you into its thrall with its graphical presentation. (do use QTADS as your interpreter. You only hurt yourself by not) The graphical flourishes and music are evocative, disciplined and delightful, and marry with the PDF map to create the perfect fantasy-road-novel vibe.

Quisborne is also probably the most tightly crafted parser you will ever play, certainly the tightest one I've played. For all its scope and depth, there is exacting precision in its player experience. Great thought has been put into Quality of Play features, designed to reduce or eliminate player frictions. A frankly deranged amount of time has been devoted to incidental dialogue, atmosphere, scenes and vignettes that suggest a wild, vibrant world around you. NPCs have arcs, memories and call backs, situational awareness and so, so many stories. A staggering amount of unique responses to player actions give a near conversational feel that defies IF repetition fatigue better than any game I've seen. So many, that I suspect even the most leisurely playthrough may experience less than 50% of the text in the game. Is it flawless? No. At its size, statistically it CAN'T be. I found a few bugs (since fixed), you probably will too. I can say, as a percentage of its runtime, the bug impact is in insignificant digits.

On the topic of gameplay engineering, its multi-tiered hint system is amazing. From subtle, unsolicited "by the ways" from your companion, to a pre-hint NUDGE command, to task lists, memories and a top-tier progressive HINT function, your vast problem space may feel overwhelming, but the game provides whatever level of lifeline you prefer.

There are accommodations to make with the game for sure, even beyond its raw scale. The first is its prose. Springing from a tradition of tiny, memory constrained machines, classic IF leans to the terse side of description. Bringing that expectation here is a mistake. Quisborne will inundate you with words - I once uncharitably described it as Class IV torrents of words. They're pretty great words, but man are there a lot of them. They very much do the work of establishing the lore and atmosphere of the world but you will need to adjust to their pace.

These words also weave a finely detailed tapestry. At one point, I had cause to compare it Where's Waldo. There are SO many fine details, picking out important ones becomes a puzzle of its own. Quisborne demands and rewards your attention to detail. It is easy to lose sight of that amidst the heroic scope of the thing but DO NOT FORGET. It is a cold, uncaring fantasy world, it is not your friend. WATCH IT CLOSELY.

The next accommodation is its breadth of puzzle play. You are going to be served a delightful buffet of varied puzzles: (modest) mazey mapping, logic posers, hide and seek, crafting, bizarre logic jumps, creative misuse of objects, so many more. Inevitably, some will hit your brain's precise chemical cocktail better than others. While there are masterful setpieces everyone will clap with glee at, likely there will be a few that chafe more than delight. HINT your way past those is my advice. There's 300 great ones right behind it. I mean by the time you get to the Witch's House... ahhh, no. I want to but I can't.

So, I haven't talked much about the story all this is in service of yet. Y'know how some stories are thrill-ride, twist-a-minute shockers that gut punch with surprise after surprise? This is not that. This is a road novel in IF form, building character and story through a series of idiosyncratic vignettes around a tight thematic core. It is slower, sweeter, and richer for it. The ending it builds towards is just about perfect, thick with deeply earned emotion. When finally finishing, you will get the same mix of satisfaction and regret as from a great novel.

It's very funny. It's EPIC. It's challenging. It's a lot. It's expertly crafted. It's DEEP. It's rewarding. 37 hours well spent.

Played: 3/12-26/24
Playtime: 37.25hrs, finished
Artistic/Technical ratings: Engaging in the moment, Transcendent in realized scope, Mostly Seamless

Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

During IFCOMP judging, I consider myself pretty disciplined about embargoing spoilers or opinions of other reviewers prior to publishing my own. Towards the end I gradually, then increasingly frenzied, read reviews of entries I’ve already published. I’m pretty good at glazing my eyes when I detect titles I haven’t played/reviewed yet. Certainly, I don’t read WORDS. LINKS though… those damn light blue bastards cut through my self-imposed fog quicker than I can back-link away.

Damn you to a fiery hell of a thousand suns @EJoyce !!! In a review of this game, WHY OH WHY did you cite Detective: A Modern Crime Boardgame??? WHY DID YOU HIGHLIGHT IT IN GLOWING NEON BLUE??? Which you did deliberately, don’t play coy! I had forgotten I glimpsed it, which reviewer I was catching up on, but as soon as AnC4 fired up I KNEWKNEWKNEW a) that I had in fact seen it; b) that it almost certainly had to be in a review of this game; and c) I WOULD BE ABLE TO THINK OF NOTHING ELSE ITS ENTIRE RUNTIME. Obviously, I have since tracked you down, @EJoyce, before you can escape judgement for your crime! You may face justice, but I have to live FOREVER with the stain on my integrity.

Damn you even further @EJoyce because you are RIGHT to invoke it.

For the uninitiated (which @EJoyce probably already brought you up to speed, but Imma do it just in case), D:MCB is a card-driven, cooperative mystery game, where you play your investigation over several game days. It owes big parts of its gameplay to the prior boardgame Sherlock Holmes, Consulting Detective. You select clue cards that provide leads, interviews, forensics (and red herrings), and that take a variable number of hours from your timer. At the end, you answer a questionnaire whether you think you’ve solved it or not! I don’t know if it was an inspiration for AnC4, but they sure share DNA. And why not? It is great DNA! My family and I play a scenario most holidays and have great fun putting up mind map boards with yellow stickies and colored yarn. Our hit rate is pretty good, but far from perfect. Our favorite was the LA Crimes scenarios - they were fun mysteries but also tied into a kind of fun-bonkers overarching plot.

I digress. When I first fired this game up, AFTER MY CRISIS OF INTEGRITY, I nearly shut it down thinking, ‘this would be great to play one weekend with my remote son!’ Sadly he was unavailable through the span of IFCOMP23 judging so with great reluctance I solo play/dual screened it. This is very much NOT the best way to enjoy this game. I mean, its fine? It’s just, the table talk/wild speculation/jockeying for pet theories and lines of inquiry, that’s part of the fun. Not covered in this review.

The dual screen conceit had its charms though. From my god’s eye view, I could see the text was slightly different between the two. It appeared to be flavor, appropriate to the character but not carrying different mystery information? Or even questioning options? That was cool, but would have been better if it had different info/options too! I was also hoping there would be opportunity to ‘split up’ and cover more ground, though did not seem to. Both of those would have been a nice tweak of the formula (though the latter could def lead to some post-game finger pointing! “What do you mean you forgot to mention the FINGERPRINTS??”)

The mystery itself was nicely broad - a wide array of suspects and possible motives. Some concrete clues to follow up on. The writing was clean and effective - it carried a bit of character for our dual protagonists, their Girl Friday, and most of the suspects themselves had distinct voices. Motives and opportunity were ably planned and believably trickle-revealed through interviews. As predisposed as I was to this PARTICULAR flavor of gameplay, I devoured it for sure. I didn’t do a great job establishing a strong theory, but I was missing my co-detectives. These things are kind of review proof in one sense anyway. Between probably chasing bad leads and insufficient cleverness, there are so many ways it could be my fault, I’ll likely never know if the mystery was ill-constructed. Sure didn’t feel like it!

I wish I could report that I got as far as the final poll then shut off, saving the spoiler to play again later with family. I was simply too Engaged to think of it until too late, and now that is lost to me. @EJoyce, somehow you are responsible for that too! It was a Seamless implementation of this mystery system, one I am deeply predisposed to.

The only off note for me was - why all the famous names and this bizarre Antiquity/Historical/Golden Age of Hollywood mashup? No, that’s not the question. The setting is delightful. The question is why not USE this inspired setting to advantage? D:MCB gives you shell characters, but with slightly different skills that may not encourage deep role playing, but at least give everyone something unique to bring to the mystery. Our protagonists here were mostly interchangeable, despite having a leg up name recognition wise to their boardgame counterparts! As it was, we could as easily have been sharing a single screen for game planning and execution. The protagonists are surrounded by an idiosyncratic cast of characters, but none of them (excepting perhaps Rasputin) evokes any fun connection to their namesakes. The mashup setting kind of faded into the background as the plot went on. Yeah I was talking to James Dean, but had little sense it was THAT James Dean. Were the famous names just mnemonics? That felt like an unconscionable missed opportunity to elevate the material in a fun way.

What? I already told you I was in the bag for this thing, I can’t ask for just a little more? Don’t answer that @EJoyce. You’ve done enough.

—

Aaand now I’ve read @Ejoyce’s review and it is a really insightful dive into the nuts and bolts of this game. A much deeper and more clear-eyed evaluation than my “Hey this reminds me of that thing I like!” take. Y’know what though? I DID really like it. But that review gives you more to chew on. Stinkin’ @EJoyce. Yeah, the irony of linking to it is not lost on me.

Played: 11/9/23
Playtime: 1.25hrs, finished, accused innocent person
Artistic/Technical ratings: Engaged, Seamless, penalty point for not fully leveraging fun setting
Would Play After Comp?: Well, I can’t now, can I? CAN I @EJOYCE???

Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

There is a roadside attraction in Nebraska called Carhenge. You can probably imagine what it is, just from its name. It is a loving, painstaking scale replica of Stonehenge, created from sculptures made of automobile hulks. Objectively, it is a baffling artifact. Yes, Stonehenge is cool and has some cultural cache. But the work required to execute Carhenge was mammoth, relative to the modest means of its creator. It is kind of a funhouse mirror reflection, rendered on a scale that while reduced is STILL humbling to observe. The result is a work that has the general shape of its inspiration but its towering weirdness is all its own. Its impact becomes less about ‘does it look like Stonehenge?’ and more about ‘who would do this and why?’ Even if the result of the effort doesn’t objectively appeal to you, the baffling passion of its creator is magnetic.

'Kay you can probably guess Stonehenge is 80’s RPG text games and Carhenge is Hawkstone.

When you fire up Hawkstone, a file cheekily named Adventure.exe, you get a welcome screen that homages a TRS-80, complete with directory structure and auto-typed (with typo!) start game command. It is a powerful start! It evokes its inspiration and immediately puts the player in place, before a keyboard in 1980, firing up the latest fantasy-inspired text adventure. This one with RPG-like stats and character progression!

It has wry humor to it - killing a worm confers treasures, though using them is mostly not possible. You find weird artifacts throughout the landscape like live fish, specifically branded matches, valuables lying in random places. There are anachronistic jokes - you can find Online Shopping and maybe my favorite Crypt Currency. And you just explore without clear purpose beyond maybe LEVELING UP!!1! The leveling system is pretty arbitrary, comedically so, and I was never sure whether it actually was used in gameplay. I actually really liked the hint system - it cost gold to use, and since you could not be sure if and when you would get more acted as a soft back pressure to consulting it.

Between the quasi-useful items you can collect and barely-motivated obtuse puzzles to solve, it is a decidedly off-kilter vibe, keeping the player off balance and never quite sure what is coming next or even what needed doing. After some initial, fairly straightforward ‘go-find-use’ puzzles it rockets into a ‘read author’s mind’ exercise without warning. My best advice, which the game did give to me but I didn’t understand at the time, is to lean on the >USE and >GO commands when stuck. Doesn’t matter if it seems logical or not, like Frank’s RedHot, put that sh*t on EVERYTHING. At one point you need to (Spoiler - click to show)>GO ORB. That’ll get you maybe 60% of the way there. After that, you’re on your own. Quite literally. The game is no help cluing what weird thing it wants you to do next, what verb you would never think to employ.

I consulted the Walkthrough a lot. Overwhelmingly, when I did my takeaway was ‘Hnh. I, ah… hnh.’ It was like the author was implementing a psychedelic dream logic acid trip that only made sense because they lived it, with no thought or accommodation for those that had not. For me, the unhinged weirdness of it was not leavened with enough humor to be compelling. If it had let me play along with narrative nudging or clues to point me in its non-Euclidian directions maybe I could have embraced it better. Instead, it practically screamed ‘this is for me, not you, player!’ and I became preoccupied with the question ‘who would build this and why?’ Because it is quite an achievement - the Walkthrough is LONG. Eventually, I stopped playing and just skimmed the walkthrough to see what kinds of things needed doing, and realized I never had a chance of getting on this thing’s frequency. It was deeply arbitrary and opaque with almost no in-game cluing of any kind and presumably scratching a singular itch.

As a gameplay experience it was Mechanical and Intrusively opaque. As time went on there was less and less me testing, experimenting and exploring and more ‘sigh, what am I supposed to do next, Walkthrough?’ But I can’t help but marvel at the passion and investment of the author in bringing this ungainly, baffling, towering thing to life.

"We admire these things not because they needed doing..."

Played: 11/8/23
Playtime: 1.5hr, not finished, eventually laid down my cards and pushed away from the table
Artistic/Technical ratings: Mechanical, Intrusive opacity
Would Play After Comp?: No, Experience feels complete

Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

It took me twice the time to find a version of ADRIFT I could install and run as it did to play this game. That seem right to you? It’s fine, it kind of felt like a prelude puzzle of sorts, clicking and typing commands, getting feedback why it wasn’t working, consulting walkthroughs and hints from intfiction.org, finally being greeted with that lovely, lovely victory prompt: “Type B to begin…”

My executable quest had everything - stakes (it is threatening my table run!), puzzles (how do I trick my virus detection software…?), comedy (my wife’s double take at seemingly random profanity), a dramatic arc cresting in victory. Such an epic quest, all setting the table for… (Spoiler - click to show)making tea and shuttling a scroll up a few flights of stairs?

This is an episode of an ongoing fantasy series - one with kings and dukes fighting invading lizard men and questing for an axe of legend. My role in this sprawling tapestry? Look up some stuff in the library! It’s almost unfair for the game to have to compete with its own lore AND my epic Installation Quest. Low stakes are not inherently a problem, in fact they can be quite fun. The contrast of low stakes and high difficulty is inherently funny, and easily escalated with witty characters, plot turns and compounding absurdities. Without those things though… they’re just low stakes.

The work was crisp and mostly friction free, it definitely had that going for it. The gameplay was parser based, guided by a list of ten tasks to complete, most in service of getting the King his genealogy information. These kinds of task lists are not a bad choice, they ensure the player is clear on the goal at any given point in time, and gets a quick charge of GOT IT! when one is struck from the list. As I was working the list, I found myself tracking the tasks on three axes - stakes (how compelling was what needed doing), difficulty (how engaging was the puzzle challenge to do it) and enjoyment (how funny/satisfied was doing them). The fact that I felt compelled to do this at all was an early warning sign - usually I try to do that kind of analysis in reflection.

For me, the stakes were really low, like pick up my keys off the table low. Again, not a problem per se, but not compelling enough to drive engagement on its own. The puzzles I found to be surprisingly on rails. The game would actively block off map areas not needed to solve the current task, effectively shepherding you to right area. Sometimes the tasks were multi-step, but I don’t think any required even half a dozen. In one that was perversely amusing, the task was (paraphrasing here) (Spoiler - click to show)trace the king’s lineage. You might think that would be a puzzle involving finding specific scrolls or books, making logical connections between births/deaths and cross linkages with family names or notable traits. What you might not think to try is (Spoiler - click to show)>TRACE LINEAGE Literally just type the goal in as a command and satisfy the task! When the most involved puzzle is making tea, but it is EXACTLY the steps you would take in your house, is it really a puzzle? Other puzzles only required that you show up in the right room, and the game then completes tasks for you!

So, low stakes, low intellectual demand, humor would have to carry the day! Here too, bare bones. Some wry lines here and there but mostly clear, economical transitionary text then ready for the next command. It was functional, it had a good heart, but it wasn’t trying to make you laugh, just convey the next event.

I wouldn’t say this was a BAD time, it was zippy enough, certainly I was never stymied. But it all came so easily I only half felt like I was doing the work. The charge of ‘completed task’ was muted by lack of meaningful thought or input on my part, and lack of giggling on the way.

I finished with 9/10 tasks complete, the end result of which was, yup, confirming what the story gave me every reason to believe had to be true. I had assumed I could complete the last task out of order, but the game’s guardrails did not in fact allow me to return to the remaining puzzle sites when completing other tasks. Without stakes, narrative twist, puzzle or humor providing any Sparks it was ultimately a pleasant enough but Mechanical experience with Notable Bugs (and narrative rails) to overlook.

I will say, the stories told in background lore DID sound very interesting. Rest of the series might be worth checking out. I really liked the apparently deep episode count of shared-world games listed at the end. It had a nifty “pulp paperback series” feel to it, with evocative pulp fantasy titles. Probably with Frazetta covers! And now I am wondering what a Frazetta cover of muscled fantasy heroes and buxom damsels making tea would look like. If anything would tempt me to flirt with AI, that might be it.

Played: 11/8/23
Playtime: 45min, finished
Artistic/Technical ratings: Mechanical, Notable bugs and rails
Would Play After Comp?: No, experience seems complete


Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

During IFCOMP22, this author’s work snuck up on me. Last year, I was treated to a homebrew parser implementation that wowed me. It’s the backbone for this game too! No more element of surprise, I’m on to you this year, game!

I wish I could say that history repeated itself, but that was not to be my experience. My issues come down to two: Interaction and Fiction. Ok, that was inexcusably glib, I’ll explain. It seems inevitable that at some point I’ll end up comparing this to last year’s too, but I’ll hold off as long as I can.

On the Fiction side, the premise is tissue thin - retrieve a fantasy orb from a cottage and its surroundings. There is really nothing to latch on to here, no interesting world building, environment engineering or character work. No motivating impulse. Understood game, it’s a puzzle-fest, nothing wrong with that. Don’t sugar coat it for me. Nevermind that SUGAR IS DELICIOUS, I’ll just go straight to the medicine. Here’s the thing though. A fictional setting and framework, particularly fantastical ones, can be more than just sugar. They economically let you define ‘rules of the world’ that can inform a player’s actions and crucially give you chrome to mask the barriers. Without leveraging that, you are reduced to “You just don’t feel it is the right time…” “There is a barrier to progress, maybe you need to do something unrelated?..” “Something (the author) is telling you no…” It lays bare what we all know to be true - that IF puzzle solving is guessing the author’s intent. I know to be true that my parents are fully anatomically correct homo sapiens. Let me infer it, please dear GOD don’t make me SEE IT.

On the Interactive side, the puzzle design is rife with remote-effect knobs and switches with so much virtual real estate between them deduction is nearly impossible. You may pull a lever and ON THE OTHER SIDE OF THE WORLD something interesting happens? Is this Butterfly Effect, the game? Even some clues are fixed remote from the puzzles they are cluing. There are red herring objects that look and feel like puzzles, but since they’re not they become huge wastes of time that you’re never quite sure WON’T be needed for some remote effect. Some game objects spawn new objects in old areas without hint, meaning if you don’t RE-examine old things you’ll never see them. And if you do, you will have no idea what it was you did that made it show up. Arbitrary barriers vanish when you get the right object, without clue that they’ve done so or why. All this makes for an opaque world with unpredictable behaviors and attendant lack of perceived player agency.

Perhaps most egregiously, the puzzle design was often actively at war with its interface, which was its biggest strength. This homebrew parser implementation POPS ya’ll. It is speedy and tight, and very capable. Why then are puzzles not leveraging this super impressive strength? Instead, they seem to steer directly into the cracks. Using spells requires a laborious spellbook paging exercise to relearn EVERY TIME. (The fact that spells are so infrequently useful actually makes that WORSE.) There is a maze that while clued, requires two commands for every step, and it’s not short. And you may need to navigate it several times. Another maze you don’t even get to interact with. Instead you are led through in a chafingly pointless and extended timed text sequence. Other puzzles require pressing buttons to set a code one increment at a time instead of dialing it in directly. Between the obscure design of the puzzles, and the punishing interaction needed to experiment with them, it feels like no thought was given to how it would PLAY only how to connect the desired clockwork of successful moves. I don’t believe it was engineered to maximize player frustration, but I see where that conclusion could be reached.

Ultimately, I consulted HINTS often here, somewhat sheepishly given its Spartan layout. I was almost always rewarded with ‘ok, but how was I supposed to know to do that?’ The answer is an implied ‘explore and experiment,’ which ok I guess? Then why make experimenting so painfully frictiony?

At this point I can no longer resist invoking last year’s game as contrast. It was almost a mirror image. It had a light Fictional setting that did SO much lifting in justifying the puzzles and cluing the cause-effect of the place. And was fun in its own right! The puzzle design leveraged its poppy engine for really engaging gameplay and satisfying puzzles. More of that please, author! This was a Mechanical exercise for me, puzzle design Intrusively anti-gameplay.

Credit where due though, there was one (Spoiler - click to show)spelling puzzle that I found to be a really clever and fun tweak of form. There is cool stuff in there!

Played: 11/7/23
Playtime: 2hr 160/350, not finished
Artistic/Technical ratings: Mechanical, Intrusive remote and slow puzzle design
Would Play After Comp?: No, not my puzzle style


Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

Historically, the British have a lot to answer for, no doubt. They may not have invented colonization, but they sure perfected it. They turned class warfare into a national past time and a global preoccupation. They pulled the levers of racism to throw European economy into chaos. They plundered historical legacy from cultures around the globe. Don’t even get me started on their culinary corpus. But you know what they DON’T need to apologize for? London Dry Gin.

London Dry Gin took Dutch Genever, a full-mouthed almost-whiskey, and/or too-sweet-by-half Old Tom and said “rawther, pip pip, we’ll just sharpen this up, old bean, distill away the sugars, layer in botanical complexity for a crisp, clean dram that is best chased with more of itself, what ho?” Y’know, cause that’s how they talk. London Dry Gin single-handedly turned the Martini into the most popular cocktail in the world for the latter half of the 20th century, before the Martini got corrupted by the complete nothing Vodka and the Old Fashioned justifiably stole the crown. Gin pairs so sublimely with Tonic and lime that its name is synonymous with ‘refreshing.’ In the Negroni, the Italians showed that Gin can rescue even the unappealingly bitter Campari. If you’ve never had a London Dry-based Corpse Reviver #2, you have chosen a life of privation and self-denial that disrespects your brief time on this mortal coil.

London Dry Gin doesn’t deserve Virtue’s scorn.

This is a fiction with almost no interactivity. There are less than a handful of choices to make, and only one seems weirdly impactful. Most of the time clicking is purely to advance the text. The story itself is a character study of an unpleasant, unfulfilled housewife with suppressed trauma transferring her desperate dissatisfactions into social outrage. That outrage takes on its own life, ignoring or eliminating anything that doesn’t feed it (like family relationships or the simple truths right in front of her), and exacerbating things that do, like casual racism. No lies detected, tell me more!

While that is a very timely phenomenon to showcase, and not just in England, the story makes some choices that undermine its impact. For one, the work puts us squarely in this protagonist’s pov - we only have access to the story through her. She is off-puttingly one note. I think the story introduces her trauma as a way to generate sympathy but it is so downplayed it becomes incidental. Don’t get me wrong, foregrounding trauma is probably NOT desirable as that would carry all kinds of unwanted subtext. Rather, before the plot turn, all we get is trauma and repressed anger and a side of mild othering. The story makes no other attempt to make her complex. Even before things escalate she is unpleasant to be stuck with. I think the work might be better served to show more fullness to this character, some positive aspects the reader might want to share. Or even go all in on flaws that are more fun to gawk at. Cruella De Ville is not sympathetic but she is a tremendous hang! Elphaba is deeply (ok maybe somewhat manipulatively) sympathetic and her descent is engaging to watch. Instead we are stuck with someone kind of awful to start with, then we just watch her curdle.

Another defeating choice is how clumsily the story hammers the obvious truth at her. Her daughter flat out spells it out for her (yet despite disapproving of her mother’s arc, doesn’t take any other action?). An MP, presumably not local, knows the truth. That HAS to imply that at least some locals are well aware of it too - where else is he getting his info? Her outrage is portrayed as so magnetic it has become a local political movement. While a bit ham-fisted, I can get on board with self-delusion overtaking reason here. It beggars credulity though that 1) EVERYONE is willing to overlook this glaring, embarrassing fact and 2) that it would not be used by political enemies at a minimum. With a more compellingly rendered protagonist we might forgive this conceit. Certainly conservative party willingness to fan flames for political advantage is not a stretch. Worse, it doesn’t need that political detail to get its message of gross hypocrisy across! It could have stayed a family secret and political disinterest in the truth could be just as damning without straining credulity!

The work is billed as a satire, but the whole thing is pretty humorless. Maybe with a more firm hand on tone, these things would be sold better? As is, the protag seems more grounded than caricature, and the plot developments more illogical than satirical. [sidebar: I hope we all know we are living in a post-satire world anyway, yes? As a species we have lost the ability to detect insincere rhetorical exaggeration.]

While the story may be unconvincing, the interactivity on the other hand was just flat confounding. The only impactful choice to make is (Spoiler - click to show)what beverage to share with an opportunistic politician. Of three choices, two lead to an abrupt, unsatisfying end of (Spoiler - click to show)‘welp she made her own choices.’ It resolves nothing in plot or character, it just ends. Maybe this is the satire? If so, the end screen needs to do a LOT more work to land it.

Regardless, if she chooses the GIN at that last choice we (Spoiler - click to show)mint yet another awful politician! With THAT choice?!?!? I found no thematic or satirical resonance. I don’t think alcohol is even mentioned prior to this. Maybe it’s a metaphorical choice to embrace the most extreme option, drinking the cool-aid as it were? Ok, but there is no clue to the player that that is what we’re doing until it’s done. Also, it feels like the protag had committed to ‘extreme’ WELL prior to this point.

I really feel I need to defend London Dry here, even in satire. The narrative is timely, its theme could not be more spot on. I just found as a story it didn’t spark for me, and satirical elements were too underplayed to land. A Mechanical, Mostly Seamless exercise of page turning. (Shy of Seamless due to confusing ending use of interactivity.)

Classic Martini: Anywhere from 5-2 to 5-1 ratio London Dry Gin to Dry Vermouth (less vermouth is a pose. More vermouth appropriate to other gins, not London Dry), dash orange bitters, stir with ice. Strain into chilled glass, garnish with olive (no brine) or better squeezed lemon twist.

Classic G&T: 2 oz London Dry Gin over lots of ice in a Highball glass, top with Tonic, garnish with slice of lime, and sprig of spanked mint if feeling saucy. Give lime a light squeeze before drinking.

Negroni: equal parts London Dry Gin, Campari, Italian Sweet Vermouth. Stir in a rocks glass with ice, squeeze and garnish with wide twist of orange.

Corpse Reviver #2: equal parts London Dry Gin, lemon juice, Contreau, and Lillet Blanc (or the historically closer Kina l’Aero d’Or), shake with ice, strain into a chilled coup glass, swirled with absinthe. Garnish with cocktail cherry, not maraschino.

Gin is not the villain here.

Played: 11/5/23
Playtime: 45min, 3 cycles, 2 endings
Artistic/Technical ratings: Mechanical, Mostly Seamless
Would Play After Comp?: No, but would definitely have a cocktail after IFCOMP23. Or during!


Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

Part five of the review sub-series “Twinesformers: Parsers in disguise.” The latest reviewed work to derive gameplay from parser traditions, but bend Twine to the task. In gameplay, I found this to be on the rough side of the spectrum. There is a main story pane, which has links to interesting objects inside location descriptions, and a side pane which contains command buttons (Explore, Go, Action, Talk, Cast). You bounce back and forth between location pane and command pane, often needing two or three clicks to get anything done. In my head, this seemed like an interesting paradigm to maybe apply to Texture, building on what All Hands showed us was possible. Here, not only was it clumsy, it was also… visually unappealing? New links could spring in above the text in a disruptive and laundry-listy way.

The spell system has a nice idea behind it, but similarly suffers inelegant UI. You learn spells throughout the game, eventually discovering (Spoiler - click to show)prefix/suffix combos can be recombined to do new things! That is a really cool mechanism, narratively well timed! It is undermined a bit by text choice. You get SO many of them, it is almost impossible to keep them all in your head, so casting becomes a (Spoiler - click to show)lawnmower of combining sub-words until you get the effect you want. The prefixes at least have some kind of mnemonic juice to them, the suffixes felt totally, unintuitively random. The puzzles are mostly straightforward, more pushing at the interface model than brain burning, but there is a nifty time loop one.

In isolation, these gameplay challenges kind of straddle the Notable/Intrusive boundary. Against a bland narrative they would be the dominant takeaway and tip Intrusive. Boy oh boy is this narrative not bland!

It throws a lot of things against the wall, without having any idea how to unify them. The main narrative tone is light bro-comedy, a fraternity of wizards literally called BRO engaged in a low stakes paintball game. It is twisting Potter lore for comedy, but also background, and can’t decide which it wants more. Sometimes Potter lore is fictional, sometimes real depending on the needs of the scene. It is also an allegory for persecution and prejudice, diving into dissonantly serious flashbacks of disturbing magic-user abuse by not-even-thinly-misnamed Muggles. It kind of inverts the whole Potter engagement with these topics without a lot of thought or control or comment on the inspiration’s takes. It also feels a bit off. The wizards in question are uniformly white dudes. Casting them as an oppressed minority has kind of a squicky, coopted ‘no, I’m the victim here’ vibe that doesn’t sit right. Or it wouldn’t EXCEPT…

It is ALSO, and this is my favorite, weirdly homo-erotic! There are almost no females in the game, barring one whom the protagonist showed complete ambivalence toward in the face of her clear romantic interest. The frat bros are super emotionally supportive of each other, a tack not typically associated with sexist Animal House vintage comedies. And OH those wand descriptions. Yeah, wands. Y’know sometimes wands are just cigars. Deeehfinitely not here though. Paintball attacks are openly, gleefully ejaculatory. The spell to paint an opponent is SPLORT. One character’s wand is, and I’m spoilering this not because it’s not great, but because you’ll laugh more if you find it while playing, (Spoiler - click to show)TURGID. It is sold I think by the completely deadpan delivery. It’s not QUITE clear the narrative knows what it’s doing here, even though it definitely does. This playful comedy subtext lends deniability to the ‘poor, persecuted white dudes’ angle. Not a lot, but maybe just enough.

So I guess it’s a gay Potter prejudice-trauma bro-comedy? Well now that I see it written out, there’s almost certainly slashfic of this out there. Despite its loose stitching and contradictions, I kinda love it for that? I think the tone saves it - even its most dire parts focus on the puzzle in play, backgrounding the worst excesses in shadow. Kind of. Usually. Also, isolating the harder themes to flashback provides a narrative break from the lighter, subtext-oblivious paintball sections. You can see I’m bending over backwards to try to justify this strange, strange melange. I’ll tell you one thing, with all this going on, for sure the UI paradigm was NOT my main focus as I was playing!

Just too internally dissonant for Engaging, but raging, bouncing Sparks of Joy showering the place, just splattering all over a Notably intrusive UI.

I am so, so sorry for that. I am an adolescent.

Played: 11/5/23
Playtime: 2hr, not finished, 4/5 foes, 4 medallions
Artistic/Technical ratings: Sparks of Joy, Notable kludgy interface, bonus point for unhinged narrative stew
Would Play After Comp?: Yeah, I kinda think I have to… (oh no, I just, I have no excuse…) …finish.


Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Here is my history with this very beloved property. I was introduced waay back in high school by a friend who had acquired cassette tapes of the original radio show. I DEVOURED them, instantly obsessed. Then I read the books, including Fish and later Harmless. Some time after that, I watched the BBC miniseries on PBS with the laughably endearing special effects. Then the big budget movie whose cast was insanely awesome, but the story suffered lack of breathing room. [sidebar: that is still the order I would rank the works in.] Is that all of it? Did I miss anything? Nope, I think that completely covers…

Uh, the game.

Due to an accident of history my interest in computer games had waned temporarily during the crucial window, and I somehow never got around to playing it. Years later (extending to present day) it was its reputation as an idiosyncratic brain burner that convinced me I needed to somehow steel myself for the experience and never quite got there. So for me, the timelines have just never lined up. Why not just jump into a fan-created sequel? asks IFCOMP23.

Douglas Adams brought an off-kilter, hyper logical, left field sensibility to his work. It’s like fractal humor. From the High Concept premises (many of which are just window dressing) down to the word-by-word phrasing all of it is of a piece - delighting with its insane, unique connections yet clicking together like precision engineering. So, a singular voice, a beloved property, a highly regarded milestone of IF. What an act to presume and follow! “Hold My Beer” doesn’t begin to cover it!

So how did the DICK MCBUTTS scale testicles fare in this effort? Better than you might expect. This game comes from the cruel design school, presumably aligned with its predecessor. That is decidedly not my favored slice of the spectrum, but I agreed to embrace and play the game on its terms.

The game opens with some Adams-tribute text and acquitted itself pretty ok. RE Marvin: “something bad to happen to himself, which it always does.” RE the Heart of Gold: “(which seems like quite an unlikely occurrence, considering the ship you are currently in is very likely to do unlikely things)”. I might eliminate the words “to himself” in the first one, but in the zone. I’m already on its side. Might’ve been worth an offhand mention that we are traveling with Arthur but I assumed. Let’s start exploring!

In early going, I died four times in 65 moves, topping out at a score of 5! This opening, I think, is kind of ingenious. I understood it was going to be cruel, but by opening with so many random deaths it really drove expectations home and kind of neutered whatever objections I might have. Undo/Save/Restore would be constant companions, understood game. No further questions.

Puzzle design, divorced from the mythology trappings, did not enthrall me in their inherent elegance. Buried details, arbitrary timer puzzles with incomplete UNDOs, unsolvable states (thankfully highlighted by the game, though letting you run on for some time before informing you of it). I kind of did enjoy the nonsensical maze that changed with every runthrough, mocking my map. I not even mad, game! (Spoiler - click to show)When hiding behind the Great Device, going one way seems to be soft fail of endless waiting, while the other does what lore had me expecting. In two hours I completed 3 puzzles - two via consulting walkthrough for nudges and one via my prior knowledge of the property and was maybe on my way to #4. (To be fair, at this point who is going to engage Milliways without some prior exposure?) 3 puzzles in two hours is low, like shockingly low.

Still not mad! Getting the opportunity to play in this familiar space, maybe a little diluted but unmistakably echoing Adams’ style, was just fun. Dying, resetting, retrying over and over - this is not a gameplay flavor I seek out but here it felt kinda smooth. Other games have failed to convince me of the value of this cruelty level but somehow Milliways did. Puzzles didn’t quite click together crisply enough to call it Engaging, but Sparks for sure.

It was with real disappointment I hit what appears to be a game breaking bug. In Milliways itself I could not reenter the kitchen without hanging the window. The third time I hit this bug my score had topped out at 80/400 at the 1:55 mark. Too late to consult the walkthrough for a workaround. I am given to understand that maybe this is fixed in subsequent releases, and since this SO impacted my enjoyment, am not including my rating in the average.

Somehow Milliways dodged all the obvious ways to fail. It respectfully honored its inspirations. It ably paid tribute to Adams’ prose. It improbably got me to ENJOY its cruelty and embrace its puzzles. Passing all those daunting challenges, it feels heartbreaking and deeply unfair that it was brought down by something as mundane as a technical bug. A big, brutal, blocking technical bug. For sure worth revisiting once fixed.


Played: 11/5/23
Playtime: 1hr, 55min, hung for last time, score 80/400
Artistic/Technical ratings: Sparks of Joy, Unplayable
Would Play After Comp?: Once fixed, yeah, I think I will. After finally playing Hitchhikers


Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

The last entry in the IFCOMP23 Texture work review sub-series “Playing with Matches” This is a riff on the Robert Johnson/artist deal with devil mythology. It is aided by tremendous cover art, maybe my favorite of the COMP. The myth has staying power because of what it implies: that there is something so compelling about music (despite being an endeavor honestly tangential to our survival as a species) that even our immortal soul is a fair trade. Yes, all of Art is kind of included but really, MUSIC SPECIFICALLY has this primal pull that we are tempted to believe… maybe worth it? I mean we GET the tradeoff even if unwilling to make it ourselves.

It’s been a while, let me recap Texture (again). Lots of possibilities in drag and drop UI, deep presentation challenges thanks to the chaos twins Font Dancing and Text Hunting, keep it on a super short leash. I am happy to report that the twins are all but neutered here, to the piece’s credit. It exerts tight control on page size, both adroitly shifting to a new page before shrinking and providing limited space for new text to hide. This is far and away the Most Important thing to control in Texture, well done game. It is less successful leveraging the the drag and drop interface (with one exception) to do anything a Twiney choice-select couldn’t accomplish.

The exception was a choice to (Spoiler - click to show)tell the truth or lie. At first, I thought it was a bug that the game wouldn’t accept one of the choices. It got a wry grin when I realized, no, the protag is INCAPABLE of (Spoiler - click to show)telling the truth here. It was a nice use of interface to catalyze a narrative escalation.

The text had a different problem which interestingly only manifested SOME times. Depending on the order of your command selection, sometimes the paragraphs jarred with bad transitions. But sometimes the paragraphs worked regardless of order! I love that! The fact that it EVER worked seems to suggest the author paid attention to this, but was unable to make it work every time. I really appreciated the effort. (I actually wonder if Texture makes this harder than it should be. Can an author not define new text ordering tightly? Must it be at the whims of the player only? That is a high degree of difficulty!)

The opening quote felt right for the piece: “No amount of talent trumps hard work.” I been telling my kids the same thing for years! From the jump, we are positioned to disdain the protag and his easy short cuts. Which honestly is no surprise, given the setup telegraphed in the title, art, blurb and protag’s whole attitude. That’s fine, it is clearly not intended to be a surprise.

Unfortunately, given how much we see of the work’s cards, there isn’t really ANY surprise in how it plays out. I got three endings which seemed to be the entire space. Died twice, had my talent repossessed and humiliated myself on stage once. None of those endings gave even the slightest tweak to what I expected when I first connected PLAY to STORY. Regardless of the work’s other merits, that made for a Mechanical exercise. Props for reigning in the Texture pitfalls, but more consistently managing dynamic text ordering, and more considered use of the drag and drop (and text bubbles!) would be needed to elevate this thing. Also, not leaning hard into the mythical MUSIC side of this felt like another missed opportunity. Here, the protag seemed more concerned with the trappings of success than making music. This might just as easily have been “trade soul for good at chess.” Robert Johnson’s myth is so compelling because of the MUSIC, not the Art of the Deal. (sorry)

Played: 11/5/23
Playtime: 20min, three endings - two deaths, one walk of shame
Artistic/Technical ratings: Mechanical, Mostly Seamless
Would Play After Comp?: No, Experience feels complete

Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

The setup is: you are an elf (right? Those guys again…) whose goal is to prepare dinner for their friends. You need some missing ingredients, find 'em! ‘Save the world’ is overrated as a plot motivation, no?

This is a translated work, and there are some glitches to be sure. I took it on myself to note them in my transcript, but started second guessing myself halfway through. Where is the line between ‘robotic adherence to Funk and Wagnalls’ and ‘interesting new language rhythms’? I’m sure not the one to pinpoint that inflection point, but this work actively made me question it.

You know those guys that play doctors on TV, then proceed to give medical advice? My stolen authority is, I’m married to an amateur baker and I’m going to give a baking metaphor. One that will convince you ‘this guy has no idea what baking even is. Maybe should be restrained from entering a kitchen.’

As a game it feels weirdly underBAKED (ah? ah? yah, I did that) with spots of ‘baked to perfection’ inside. Normal cakes bake and the outside firms up first, but you need a toothpick test to determine if the inside is done. Well, this is like a cake that somehow bakes itself inside out! The outside framework is still a bit gooey and loose, but inside there are pockets of firm, fluffy resolution. You wake up in a lab and explore your way through a pretty empty house until finding the kitchen… where the game begins. (In my case 40 MINUTES INTO GAMEPLAY.) So many unimplemented nouns and a slow build setting. The first object I could even examine closely was a toilet pot, and lemme tell you the mental dance my character did on approach was UN. SETTLING. It was a half hour before it was clear I was in a fantasy setting! (Longer before I realized I was an ELF ptoo, ptoo.) You can imagine when one of the first details was ‘I sometimes pee in my backyard,’ how weird THAT came off! Honestly I’m not sure it got any better once I was an elf.

Then, you eventually stumble into the library and a whole tapestry of setting and backstory unfolds before you, liberally peppered with ‘gonna throw fantasy words at you and you’re just gonna have to context your way through.’ I actually really like that approach. In IF, without some careful mood setting, it always strikes me a bit off when the characters explain something they already know for the benefit of the player. Here it comes across as tantalizing world building we don’t completely understand. This is how tantalizing works! If we understood it we’d have a different response: admiration or disappointment. It seems this background is part of a shared world the author intends to flesh out in subsequent works. The glimpses here make a convincing case to keep watching. The world building was the most firm part of this weird, inside-out cake I’m describing, and where most of the text is devoted.

The gooey outside is the gameplay. I mentioned the unimplemented nouns, that are practically ubiquitous. Weirdly ‘UP’ is listed as an exit in every location, but the messaging says, ‘no, don’t try that.’ I can only assume there was a levitation mechanism at play early on that got cut? At least one outdoor location mentions a roof when it rejects you, but maybe the whole thing just should have been trimmed. The puzzles are pretty unchallenging ‘find the stuff,’ most of it laying around or minimal-step sub-questable. One item needs to be marinated in a pond, but the game rejects (Spoiler - click to show) >PUT or >DROP and only accepts (Spoiler - click to show) >THROW . As you go, you get occasional tantalizing backstory details - NPCs you don’t really interact with but have rich things to say; descriptions of the town. Still some baked nuggets in the goo!

So far, flashes of engaging background in a pretty Mechanical experience, right? Well, I haven’t yet mentioned my favorite touch in this game. The HELP system doubles as the author’s DVD-like location-bound commentary track. I resisted initially because I didn’t want spoilers. When it became clear I was walking through a minimally implemented set of rooms, I broke the seal. The author’s voice here is frank and engaging and shot through with the uncertain grasping of a creator struggling with details in service of a goal. That was charming and irresistible, not least of which because it so precisely captured the creative tradeoff process with all its uncertainty, dread and regret. I mean, I’ve felt all of those things in projects of my own ALL THE TIME. In some ways the commentary was more compelling than the underlying game!

What do I do with this physically impossible cake? Between the commentary and the tantalizing background it generated Sparks. Yeah, when cakes are generating sparks I have lost all control over the metaphor. Intrusively under-implemented. Stealth launchpad for the game to follow!

Played: 11/4/23
Playtime: 1.25hr, finished
Artistic/Technical ratings: Sparks of Joy, Intrusively under-implemented
Would Play After Comp?: No, but I look forward to seeing the next game in this universe. Which maybe was the point of the thing?

Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

It’s not that CYOA and Twiney choice-select have ever been that far apart. The multi-pane user interface and coding hooks of the link paradigm certainly enable creative variations way beyond physical media which muddy the water a bit. But at its unadorned, most vanilla core, choice-select is CYOA with automated page turning. This PDF work really connects those dots explicitly, not the least of which with its bare “Go to page X” in-text links. It’s an IF missing link - like if Lucy also had carpal tunnel and was found with her wrist-brace.

EYP is a work with super appealing, light, cartoony illustrations in service of very serious themes and situations. That contrast is tried and true (like in Maus!). It serves to smooth reader identification and provide some punch when suddenly confronted with protagonist strapped to a bed! Some choices are seductively amusing. Who WOULDN’T want to solve the ‘formula of the world’?? Other choices capture a broad array of defeating and empowering actions, running the gamut from ‘try to stay with treatment’ to ‘run afoul of official intervention’. The looping nature of the story is deliberate… no matter how hopeful or dire a cycle is, there’s always more behind.

Between the wildly disparate places your choices can lead (not gonna lie the wanna make some money? path sent my heart into palpitations) and the wonderfully evocative illustrations, EYP had constant Sparks.

It is super short. Its message is clear through a few sadly amusing loops and then you are invited to end the game embracing the fact of the loop and mitigations. Made sense! Kind of. Because you get there after a ‘have you cycled three times?’ question, it seems to imply you will naturally get there after ‘sufficient’ spins. I think it would have worked better with an indeterminate ‘are you ready?’ or ‘had enough?’ player initiative kind of question. For me anyway. Ok, let’s wrap up… wait, there’s more?

One more to be precise, a second possible ending. If you go a certain path, you are invited to run away from everything. This ending confounded me a bit. How do I interpret this? A single ending I understand. Author has a tight narrative, player settle in to receive it. A branching narrative requires more work - all of its possible branches should be equally satisfying to a player that hunts them out. Equally true to the narrative. Because there are only two paths (discounting a literally endless loop which rings sadly kind of true, but is impractical for me to attempt.)… because of that this ending takes on a near equal footing as the first. But that can’t be right can it? It seems to imply dropping out ‘solves’ the mental issues but missing family is the downside, and to get them back you need to re-engage your mental troubles. I’m not a doctor, but that can’t be right can it? Wouldn’t you just have the same mental challenges in a new place, eventually? This time without your safety net? I’m kind of unsure of myself here, because the author definitely seems to know what they’re on about, but is that right? If it is, the work should hold the hand of the uninitiated a bit more to get us there.

Its brevity is to its credit. It knows what it wants to say, says it and gets out. Sparks for sure, a great mix of sad, funny, and no-nonsense with endearing illustrations. Mostly seamless other than that one bug. Penalty point for 50% of the endings that did not land for me.

Played: 11/4/23
Playtime: 10min, both endings
Artistic/Technical ratings: Sparks of Joy, Mostly Seamless, penalty point for seeming uncontrolled message
Would Play After Comp?: No, Experience feels complete

Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

So Ink is the platform that in my head has become synonymous with “Attractive, High quality presentation.” This piece initially leverages Ink’s graphical power, but doesn’t fully capitalize. On the one hand, the font and color scheme are very appealing. On the other, they don’t really reflect or resonate with the work on offer. This was the first time I felt the platform’s presentation strengths were not adequately utilized. There was also a notable typo density.

These were notable, but not fatal to the narrative. Much more fatal, to me, was the bizarre narrative/plot dissonance. The protagonist is introduced as an uber-competent police officer, at least in their own mind. They are called on to resolve a bank/hostage situation. The protag has SUPER strong negative opinions about Wall Street, reporters and other cops, confidently expressed to create an air of cynical cool. However, the protag’s actions, as reflected in choices they might make, are laughably amateur hour. If they seize the microphone to dress down a Nosy Newsman, they are immediately reduced to a flustering mess and need rescued. Despite having the final say on tactical approaches, they can take choices that other police question, justifiably, as silly. Including an option to, per the text of the piece, ‘Die Hard’ it. Why are those options even available? In one egregious section, you cannot avoid making an OBVIOUSLY CATASTROPHIC comment to the kidnappers unless you tried to take a smoke break earlier? A smoke break minutes into a crisis situation??? Who is this clown?

It’s not helped by narrative dissonances all around the character. An NPC is furious at him (though also a subordinate?) then friendly with only a single click between those mood swings. That same NPC is professionally composed in description and action, but then referred to as ‘twitchy.’ The street officers are referred to as Grays, when NYPD famously wear black uniforms. Early on, I was wondering if this was an Alternate, Fascist Timeline ™, but no.

There are bugs: a choice to select a basement entry replays an upper floor exploration - up instead of down. A side entrance seems to hang the game completely. Since you’re looping replays anyway, not catastrophic but off for sure.

I played through 7 times, exploring the space. I killed 5 assault teams, victims of a supernaturally effective terrorist plot. I lost hostages to an obviously bad choice that should never have been on offer, and I knew it when I made it. I ‘rescued’ the hostages, only to discover the robbers had just left under my nose. Running out of patience and things to explore I started to feel a turn in my head.

Maybe I wasn’t meant to succeed? Maybe this game is a next level critique of Copaganda by offering that cops are actually self-important bumbling idiots in love with their own mythology? Whose fragile victim mindset curdles into adversarial relationship with those they serve? Whose belief of their own unassailable Rightness makes them a menace to themselves and society? I love that read! As soon as it occurred to me, I stopped playing because it would fall apart if I stumbled into a ‘winning’ scenario.

I actually don’t think this is the case. The disjoint narrative, typos and careless character and phrasing work don’t suggest this kind of tight control. The face value game Bounced me hard - what it seemed to be trying pushed at my sensibilities, and the clumsy narrative undermined even that. But I kind of love how it played out for me, and the conclusions it let me draw. I think I have to rate the game on what it presents as, not what I made it. This is not easy though, because I SO love my read… no, stick to my guns.

Woof, unfortunate turn of phrase there.

Played: 11/4/23
Playtime: 45min,5 dead cop endings, 1 dead hostage ending, 1 getaway ending
Artistic/Technical ratings:Bouncy, Intrusive bugs and language
Would Play After Comp?: No, I so WANT it to be left here.

Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

Adapted from an IFCOMP23 Review

With a title like that, and a first screen where your default name is VELMA… you have set some expectations let me tell you. You wake up in Literature Club sans glasses, talk to 3 suspects maybe romance, maybe fight, rinse and repeat to see all the permutations!

Collect-all-the-endings games are relatively new to me. I think I encountered my first last year. That said, in that short year I’ve seen a LOT of them. The ones that work for me are the ones that branch out into bonkers disconnected end states, that startle me with just how far they are willing to diverge. I think they kind of have to? Ok, that’s ridiculous, I don’t make the rules for these things. But if they DON’T they have to justify repetitive gameplay and diminishing returns on comedy text some OTHER way. Generally the shorter the return trip and the sooner the branches become available the better. The deeper the branch point and narrower the divergence, the less it feels justified without some other kind of spice.

I think I need more than what Help! is set up to provide. For one, despite the premise, the lack of clear vision is often DESCRIBED, but does not seem to affect gameplay in any interesting way. Why call me Velma if I can’t grope blindly for a while!!! For another, aside from the choice of what your glasses look like, there is a LOT of linear clicking at the beginning before you get to divergent choice points. Certainly the consequences and plot turns those later choices produce have little connection to the paths you clicked making it essentially a ‘blind binary search simulator,’ where your agency in determining path is effectively zero. This is not unheard of in this genre, but puts all the weight on the endstate. Until you get there, your eyes glaze a lot over repeated text screens. I’m not sure how many loops I did… 8? 10? The endstates I found were unique, but didn’t stray far from each other in particulars or vibe. I found less than half the listed achievements, but I did eventually find my glasses (though achievements did not note this?). After the first pass the sly humor could not hold up, the endstate diversity did not dazzle, and it quickly became a purely Mechanical exercise.

Now that I think about it though, there is a kind of subversive read on this. My repetitive looping, then arbitrary clicking… confusing things all around me I can barely make out let alone navigate… that is kind of a META groping in the dark! Each loop, words flashing past as a barely acknowledged blur. Slapping my hand down with no idea what I’m hitting, how it will play out, just hoping against hope I somehow come up with glasses this time? Maybe this was a better blind search simulator than I gave it credit for! Doesn’t change my score, but I think this read on it is making me just a little happier. We good, Help!, we good.

Played: 11/2/23
Playtime: 30min, score 70/200, 4 achievements, found glasses, no achievement?
Artistic/Technical ratings: Mechanical, Mostly Seamless
Would Play After Comp?: No, got the gist.


Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless